Photographic inscriptions: the traces of history on the walls
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Abstract
Working on the relationship between images and history, Didi-Huberman asks about those surfaces that have been witnesses and survivors of atrocities, considering them as the crusts of history. Taking up the idea of the image as surface and crust, as something that has been and is the visible layer of something lived, this article analyses two photographic series that use their own photographic surfaces - and the tensions at play on those surfaces - to think about recent history. These are the book Bruma (2017) by Santiago Porter and the serie Naturalezas by María Eugenia Cerutti. Just as the remnants of history on the walls allow us to explore the past to know it, the unfolding of their materiality expresses the memories of a witnessed history.
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References
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