Luna Córnea 19. Tiempo

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LUNA CORNEA

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TEMPORAL . UN PROYE CTO

4

Vic ent e Guijos a

LA CAMERA TRANSLÚCIDA

8

Armand o Bartr a

VISTAS D ESDE UNA VENTANA DE G RAS

10

Fontcub ert a, Ni épc e y Müffer -Pohl e

8 HO RAS DOCUrvl E.N TADAS FO TOG RÁFI CAMENTE

14

lñaki Bo nill as

LA DAN ZA DEL CO RTEJ O

16

Sebasti án Rodrígu ez Conrado Tos tado

UN PU N TO EN EL TIEMP O

22

Martin Li eb sc her A nd reas Bee

HORA PI CO

28

Ken Kitano

EL LADRÓN DE ETERNIDADE S

32

Alberto Baraya Fran cis Giaco b etti

DEFINIENDO EL MOMENTO

34

Henri Carti er -Bresson M ark Durd en

EL SUEÑO ETERNO

44

Cedric Bregnard María j osé Ramo s

BERLl N- PO TSDAMER PLATZ 1939 - 1994

56

Martí Llorens Laura Gon zá lez

CARÁTULAS

60

Alfons o M o rales

HIROSHIMA, 8: 1 S

70

Hiromi Tsuchida

LA IETÉE O LA TRAMPA DEL TIEMPO

86

Chris Maker jorge Gar cía Azao la

ROMPER, COLGAR, OLVIDAR

92

María Jos é Gorozo

LA FUGA

96

Mónica Flores Lobato

UTILERíA 1983-1991

98

Paul McCarthy Ana El ena Mall et

GUNKANj IMA, 1974 - 199 4

100

Yuji Saiga

EL TIEMPO DENTRO DEL TIE MPO

11 8

Nina Subin Alb ert o Ru y Sánch ez

LA MEDIDA DE TODAS LAS COSAS

124

Francis Alys Ern st jLing er

APOLO ANTE EL ESPEJO

130

Charles Conrad Jo sué Ram írez

COMI NG SOON ...

132

Itala Schm elz

UN TE SS ERAC T

148

Erick Beltr án / Erwin Neumaier

PRÉ T-Á-PO RTE R

152

Carl os Al o ns o

CONSEJO NACIONAL PARA LA CULTURA Y LAS ARTES PRESIDENTE : Ral.l.1 Tovar y de Tere,.l CENTRO DE LA IMAGEN DIRECTORA: P.ltri"a ~"'ndoz.l LUNA CÓ RNEA DIRECCiÓN: Patricia Gola EDICiÓN: AIIon,a ~túr.lle, ASISTENTE EDITORIAL : Jo,u,; Roln",,,z DISENO: Cldudia Rodriguez Borl" PRODUCClON : f:delia C"tel.m y Lourde, Frallc o REPRODUCCION FOTOGRAFlri\: Lui, Aguilar, Magd.l Rivera y LuIS Gonz.lIez. CUIDADO DE PRODUCCION: Fehpe Ullo.l COMERCIALlZAC IO'J: ~laric.1rnlen rvt.lrtll,celli. e-m."I: venta,cl@conilculta.golJ.mx CONSE JO EDITORIAL: ,,"·1 anuel AlviHPl Br(1\'o, Gracit>la Iturbid('. Patricia /'vlendoza, Vlclor Flores 01('<1, Pedro I\rh'yE'r, M.-Hian,l Y<lll1polsky, Rogelio R.H1gC'l . OlivlC'r DelHolse. Roberto Tt.~ lada. Gilbert o (hell, Jose A. RodrlglJE'Z, Alei¡lflch o CJstellJllos, Ger.1fdo Suler, Francisc o t\'I.Ha y Alberto Ruy Sanchez. C'O NSEJO DE COLABORADORES DE ESTE NUMERO: Ana EI(·n.l M.lllet, Carmen R.lnlllez, Estela Treviño, Poa Elilondo, EV,l (illderen y t\l~lr1il lo\é Rdmos . ASESORIA ESPECIAL: Ital.! Schmelz OFI CINAS: CENTRO DE LA IMAGEN Plaza de la Ciud.ldel.l 2, (entro Hi,tonco, t>,léxoco D. F. 06040. Tel : 7095974. fax: 70959 14

e-mail: Icornea@conaculta.gob.mx LUNA CORNEA es un¿1 publicc1cíon c Utltrimestr,ll, edil.ld" por el Centro de 1.1 IlllalJl'll . eNeA. EDITOR RESPONSABLE: Pdtricia Cald.

LIC ITUD DE TITULO: 6766, LIC ITUD DE CONTENIDO: 7277. NUM ERO DE RESERVA AL TITULO DE DERECHOS DE AUTOR. 1306/93.

Seleccion de color: ReproSCtlnner S.A. de C.V. Impreso en México por Lt lo·Olfsel Estilo S.A. de C.V. ISSN: 0188-8005. Tirilje: 6000 ejemplilr es.

Los tlabalOs i1'lui public.,dos SOI1 respol1'hlbi hdad de los ilutores. La revista se reSNvd (>1 derC'cho de J1lodificilr 105 tltulos de los artlcul05.

LUNA CÓRNEA enera·abril 2000

Colette Álvarez Urbajtel. Recado manuscrito de Manuel Álvarez Bravo, colocado en su cuarto oscuro. M éxico, 2000.

Portada: Charles Duke. Fotografía. de la familia de Charles Duke sobre la superficie lunar.

Apolo 16, 16-27 de abril, 1972. Cortesía de Michael Light.

Revelador apli ca do por zonas sobre papel fotográfico.

Fotog rafías: Vicente Guij osa. Morelia, Michoacán, 2000.

An贸nimo. Frente y contraluz de un a vista estereosc贸pica de la ciudad de Hamburgo, ca. 1890.

TIEMPO 9

Nicéphore Niépce. Vista desde una ventana de Gros, Sa int-Lo up-de-Vare nn es (ca. 18 26), es la m ás anti g ua foto grafía de qu e se ti e ne reg istro y se conseg ui ó tras nu eve años de ardu a labor. To m ada desd e el estudi o de Ni é pce, esta imag en d eja ve r, a la izqui e rd a, un palo m ar y un pe ral, al ce ntro, e l tec ho inclinado de un pajar, y a la derec ha, la otra a la d e casa.

TI EMPO 12

11

Andreas M üller-Pohle. M arcadores digita les. Descripción alfanuméri ca de la fotog rafía Vista desde una ven tana de Gras de Niépce. Estos marcadores co nsta n de ocho pá neles (de 66x66 cm .), cuyas codifi cac iones y tipografías son descri pciones diferentes de la mism a imagen, y fu eron rea liza das en 1995.

Foto apa recida en Creative Camera, núm . 352, junio-julio, 1998 .

TIEMPO 13

CINCO HORAS DOCUMENTADAS FOTOGRÁFICAMENTE lñaki Bonillas

El artista fotografió un reloj durante 5 horas, cada 3 minutos, y exhibió después el resultado, añadiendo las variaciones técnicas.

Pieza presentada en el espacio de Regina 51 , 3" piso. Expoarte Guadalajara. Septiembre de 1998.

TIEMPO 14

_

_

_ 1 1 ••

1111 _~

Sebastián Rodríguez. De la serie: Huellas circulares. Carretera México-Veracruz, 1997.

TIEMPO 18

TIEMPO 19

Martin liebscher. Lugar de trabaja, 1995 .

TIEMPO 26

TIEMPO 27

Alberto Baraya . Ashley y Ariana devoradas por Cranos.

Fotomontaj e. Soporte cibachrome, 1998.

TIEMPO 32

Henri Cartier-Bresson . Alicante, Espa単a, '932.

TIEMPO 36

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Pedro Valtierra . Terremoto en la ci udad de M ĂŠxico, 19 de septiembre de 1985.

TI EM PO 65

Juli o Candelaria. Toma del Pa lacio Municipal de Ciudad Altam irano, Chi apas, al inicio de la rebeli贸n za patista. Enero de 1994.

TIEMPO 66

TIEMPO 67

P铆a Elizondo. La Habana, Cuba, 1993.

An贸nimo. Relojes donados por los norteamericanos en Seattle, Washington, a los aliados rusos.

Foto publicada en la revista L/FE. 29 de marzo, 1943 .

Yuji Saiga . De la serie : Tsuki no michi-Frontera, Jap贸n, 199 1.

TIEMPO 106

estenopeic cameras which he

confrontation between East and

of holding back time. By utilizing

adapts to his own formal

West, as a limit between two

techniques and methodologies

requirements. Though he

antagonistic worlds, as a

tradition has cast aside as too

generally uses paper negatives

possibility for the reconstruction

slow and imperfect, Llorens

for these formats, he also uses

of a nation).

film negatives when he works

moves in the opposite direction

In the second place, when

from the development of photographic technology.

with special panoramic formats

we perceive an image, we do

and cameras . The mounting

not see the camera, the lenses

Insofar as this technology is

techniques he employs are

and the mounting process (the

constantly evolving towards

unusual: image 4 of Berlin-

syntax of the image); rather, we

perfection and immediacy,

Potsdamer Platz, lor example, is

see through these things. If for

Llorens' innovations stem from a

printed on an emulsified fabriCo

some ontological reason all

completely opposing logic.

The extremely angled vantage point in these photos,

photography might be related to the theme of time, in Llorens'

These photographs are doubly perverse: not only do

impossible to achieve with the

photos this temporal thematic is

they refuse to deny the human

naked eye and quite uncommon

exacerbated by an intentional

gestures of which they are the

in the technologies 01

use of certain techniques.

result, but they actually

commercial photography, allow

Llorens does not merely use

exaggerate these, retaining their

the spectator to take in the

unconventional techniques to

documentary function. Now that

nearly limitless expanse 01

make his images; he also

Potsdamer Platz has beco me a

wasteland which until recently

employs a methodology that

blank space -

was Potsdamer Platz, the

makes reference to the

and urban planning letish for the

an architectonic

wounded seam separating the

beginnings of photography. He

most renowned architects -

two laces 01 post-war Berlin. This

uses, for example, extremely

series Berl铆n-Potsdamer Platz is a

the

rdnge 01 vision, produced by the

long exposure times which print

true document. No one would now recognize the vacant lot in

use 01 unique cameras and

a sensation of duration directly

lenses, achieves a symbolic

onto the image: in his photos,

Llorens' series in the current city-

displacement 01 spatial distance

we have the feeling that the

planning projects of Renzo Piano

onto temporal distance. Under

trees are moving, that the dust is

and Christoph Kohlbecker, nor

the inlluence 01 the artist's

being raised, that the wind is

that small house in the now

technical maneuvers, spatial

visible. Objects become infected

enormous buildings of Isozaki,

distance is converted into a

with people's temporal mobility:

Kollhoff, Lauber, W贸hr, Moneo

temporal lapse. As a

it seems as if Llorens' recurring

and Rogers. Potsdamer Platz is

consequence, the spectator's

goal were to create ever more

now the Kaimler-Chrysler zone.

perception of the work is one 01

accurate representations of the

contained time: what separates

flow of Heraclitus' river.

the viewer Irom the abandoned buildings 01 Potsdamer Platz is

While in earlier works like

HIROSHIMA,8:15 Hiromi Tsuchida

the series Poble Nou, Barcelona,

not an expanse of land, but

from 1989, lengthy double and

The atomic bomb the North

rather a long stretch of time,

triple exposures allow Llorens to

Americans dropped on August 6,

understood as a series of

illustrate the simultaneous

1945 at 8:15 in the morning left

historical events which result in a

existence / non-existence 01 a

its indelible print on the objects

topos with a strong symbolic

building in demolition, in the

captured by the lapanese

content (Potsdamer Platz as a

photos of Berlin-Potsdamer Platz

photographer Hiromi Tsuchida.

memory of past triumphs and

these resources are used to

failures, as an axis of the

create an extremely subtle effect

TIME 171

On a first viewing, these objects -

collected along with

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