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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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