{"id":18706,"date":"2019-08-01T08:44:38","date_gmt":"2019-08-01T06:44:38","guid":{"rendered":"https:\/\/www.spazioartecontemporanea.com\/evento\/dalloggettivo-al-soggettivo-storia-di-una-costruzione\/"},"modified":"2024-11-08T10:03:52","modified_gmt":"2024-11-08T09:03:52","slug":"from-objective-to-subjective-history-of-a-construction","status":"publish","type":"tribe_events","link":"https:\/\/www.spazioartecontemporanea.com\/en\/evento\/from-objective-to-subjective-history-of-a-construction\/","title":{"rendered":"From objective to subjective. History of a construction"},"content":{"rendered":"

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Architectural photography existed since photography itself existed. It initially pursued the aim of offering images as collections of monuments memory and building documentation for scientific and educational purposes. During the nineteenth century the documentation of the construction and restoration phases of buildings became a fundamental photographers assignment. This is the age of objective reality, of photography reflecting the truth while maintaining its own authorship.<\/p>\n

But then does authorship not refer to a subjectivity? \u201cEveryone will be compelled to see that which is optically true, is explicable in its own terms, is objective, before he can arrive at any possible subjective position\u201d (Moholy \u2013 Nagy, 1925).<\/p>\n

Here is the interpretation of the object, the building, that unfolds in this exhibition itinerary. From a conservative and documentation photography we reach a photography that analyses reality critically. The ability of reinterpreting spaces through unusual points of view becomes the subject .<\/p>\n

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