{"id":34953,"date":"2013-10-07T05:13:51","date_gmt":"2013-10-07T05:13:51","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=34953"},"modified":"2022-02-14T22:16:42","modified_gmt":"2022-02-14T21:16:42","slug":"crimenes-y-replicas-pedro-hernandez","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/crimenes-y-replicas-pedro-hernandez\/","title":{"rendered":"[:es]Cr\u00edmenes y r\u00e9plicas | Pedro Hern\u00e1ndez[:gl]Crimes e r\u00e9plicas | Pedro Hern\u00e1ndez[:en]Crimes and replies | Pedro Hern\u00e1ndez[:]"},"content":{"rendered":"

[:es]

\"\"<\/a>
Foto propia de una foto de la exposici\u00f3n de Adela Goldbard en el Polyforum Siqueiros (Ciudad de M\u00e9xico)<\/span><\/figcaption><\/figure><\/p>\n

De un tiempo a esta parte dos obsesiones me persiguen. Dos obsesiones que podr\u00edan ser s\u00f3lo una. El crimen y su r\u00e9plica. Todo empieza de una frase de Bernard Tschumi: \u201cTo really appreciate architecture, you may even need to commit a murder\u201d. El crimen como forma de conocimiento espacial. Pero \u00bfcu\u00e1l podr\u00eda ser el asesinato al que nos alude Tschumi y c\u00f3mo podr\u00eda ayudarnos a (des)conocer el mundo?<\/p>\n

Replicar es definido como repetir lo que ya se ha hecho. La r\u00e9plica es copia. La vemos en los museos todos los d\u00edas. Muchas de las piezas que asistimos no son en realidad originales, sino dobles deliberados que se nos son ofrecidos como verdad a fin de proteger la pieza original. As\u00ed, nos fascinamos con creer como verdad objetos ficticios, en una ilusi\u00f3n que diluye las fronteras entre la realidad y la ficci\u00f3n. Lo sabemos, pero no nos importa, necesitamos creer que son piezas aut\u00e9nticas y nos encargamos de reproducirlos en nuestras c\u00e1maras una vez m\u00e1s. El mundo es de nuevo replicado, capturado en la imagen, replic\u00e1ndose y repiti\u00e9ndose al infinito. La vida, no ser\u00eda m\u00e1s que un simulacro revestido de realidad. Aludiendo a Jean Baudrillard estamos ante \u201cla historia de un crimen: del asesinato de la realidad. Y del exterminio de una ilusi\u00f3n: la ilusi\u00f3n vital, la ilusi\u00f3n radical del mundo\u201d. En\u00a0El crimen perfecto,<\/em>\u00a0Baudrillard nos expone como la idea de simulacro ha invadido la realidad hasta convertirse en la realidad misma. La r\u00e9plica para el autor franc\u00e9s es una forma de muerte y asesinato de la realidad. Pero la palabra r\u00e9plica tiene otra concepci\u00f3n en su definici\u00f3n. Replicar es responder un argumento. As\u00ed, podr\u00edamos pensar al mismo tiempo la r\u00e9plica como copia y respuesta a la realidad. Copiar para crear algo nuevo que conteste al \u201coriginal\u201d desde este mismo, en un infinito juego de referencias cruzadas.\u00a0\u00a0El que replica es asesino, creador y copista. Pero al mismo tiempo es forense de esa realidad asesinada. Porque replicar supone reproducirla y tambi\u00e9n conocerla para poder copiarla. Replicar es cometer el asesinato y al mismo tiempo desentra\u00f1arlo. Ese es el trabajo\u00a0\u00a0que llevan a\u00f1os realizando los media o la prensa. M\u00e1ximos responsables de la reproducci\u00f3n del mundo en papel.<\/p>\n

La prensa construye narrativas e im\u00e1genes pero tambi\u00e9n arquitecturas, espacios y ficciones.\u00a0En sus p\u00e1ginas se construye, se destruye y se replica la realidad (y su doble). Reproducci\u00f3n (r\u00e9plica) que tiene algo de copia, algo de simulacro y algo de ficci\u00f3n. Algo que se desvela en el trabajo de la fot\u00f3grafa mexicana en su trabajo La isla de la fantas\u00eda<\/em> donde reproduce escenas de accidentes a\u00e9reos, cr\u00edmenes que se convierten en el caldo de cultivo de la prensa, que se alimenta de ellos y se estira y deforma. La realidad es a los ojos de muchos mexicanos solo papel. Ese mismo papel que la fot\u00f3grafa utiliza para realizar las piezas que luego retrata. Aviones y realidades construidas como pi\u00f1atas, que son trabajo artesanal y met\u00e1fora de la fragilidad del sistema, y que no es sino otra manera de aludir de nuevo a la concepci\u00f3n de replica de la realidad, que se presenta extra\u00f1a. As\u00ed, \u201cel crimen nunca es perfecto, pues el mundo se traiciona por las apariencias, que son las huellas de su inexistencia, las huellas de la continuidad de la nada, ya que la propia nada, la continuidad de la nada, deja huellas\u201d 1<\/sup><\/sup> .<\/p>\n

La realidad de Goldbard es construida pero se nos expone la conspiraci\u00f3n de su montaje. Nosotros, lectores de las im\u00e1genes, seremos entonces como el fot\u00f3grafo protagonista de la pel\u00edcula\u00a0Blow-up<\/em>. Consumimos im\u00e1genes que encierran alg\u00fan tipo de extra\u00f1eza. Las im\u00e1genes de Adela Goldbard nos sumergen en un mundo donde algo no encaja.\u00a0\u00a0C\u00f3mo con el protagonista del filme, nuestra sorpresa llegar\u00e1 posteriormente, cuando al observar con detenimiento la fotograf\u00eda creeremos haber capturado un asesinato (uno que puede ser real y el de la realidad misma). Tanto nosotros como nuestro protagonista \u2013 cuyo nombre bien pudiera ser Sergio Larra\u00edn, Julio Cortazar, Michelangelo Antonioni o Joan Fontcuberta2<\/sup> \u2013 asustados con el descubrimiento, acudiremos a la fuente. En efecto,\u00a0\u00a0la exposici\u00f3n de Goldmand ofrece esa oportunidad visitando noticias de prensa que nos hablan de los sucesos. Un \u201carchivo muerto\u201d, en palabras de Goldman. Necesitamos comprobar que existe un cuerpo-victima. Medirlo y reconocerlo. Pero el crimen hacia la realidad ya es irreversible. Ya nunca podremos estar seguros de \u201csi existe distinci\u00f3n alguna entre imagen, ilusi\u00f3n y la experiencia de lo real\u201d (3<\/sup><\/sup> y 4<\/sup><\/sup> ).<\/p>\n

Pedro Hern\u00e1ndez \u00b7 arquitecto
\nciudad de m\u00e9xico. julio 2013<\/p>\n

Notas:
\n1<\/sup><\/sup> Baudrillard, Jean. El crimen perfecto<\/em>. Anagrama, Barcelona, 1996, pp. 205, Tit.Orig: Le crime parfait<\/em>. Editions Galil\u00e9e, Paris, 1995.
\n2<\/sup><\/sup> Este personaje m\u00faltiple es Sergio Larra\u00edn, fot\u00f3grafo chileno en el que se inspirara Julio Cortazar para escribir Las babas del diablo<\/em> (texto publicado en 1959 como parte de las armas secretas). A su vez, este cuento servir\u00e1 de referencia a Michelangelo Antonioni en su pel\u00edcula Blow up<\/em> que retomar\u00e1 el fot\u00f3grafo Joan Fontcuberta en su pieza Blow up, Blow up<\/em>. Creando un juego de referencias m\u00faltiples que no hacen sino ampliar y reformular la historia bajo distintos formatos y visiones. Realidad reproducida desde la ficci\u00f3n.
\n3<\/sup><\/sup> Foncuberta, Joan. Blow up Blow up<\/em>. C\u00e1ceres: Editorial Perif\u00e9rica, 2010.
\n4<\/sup><\/sup> Esto es especialmente destacable, ya que yo, como extranjero, desconozco casi todos los casos que se exponen en la prensa. De esa manera, al enfrentarse a la documentaci\u00f3n tras las fotograf\u00edas de Goldbard, uno no puede si no dudar si el archivo constituye parte de un montaje m\u00e1s amplio.<\/p>\n

[:en]

\"\"<\/a>
Own photo of a photo of Adela Goldbard’s exhibition in the Polyforum Siqueiros (Mexico City)<\/span><\/figcaption><\/figure><\/p>\n

Of a time to this part two obsess they chase me. Two obsessions that might be only one. The crime and his reply. Everything begins of Bernard Tschumi’s phrase: \u201cTo really appreciate architecture, you may even need to commit a murder\u201d. The crime like form of spatial knowledge. But which might be the murder to which us Tschumi alludes and how might it help us to (des) to know the world?<\/p>\n

To answer is defined like to repeat what already has been done. The reply is a copy. We see her in the museums every day. Many of the pieces that we represent are not actually original, but deliberate doubles that us are offered as truth in order to protect the original piece. This way, we fascinate ourselves in spite of believing as truth fictitious objects, in an illusion that dilutes the borders between the reality and the fiction. We know it, but it does not matter for us, we need to believe that they are authentic pieces and take charge reproducing them in our chambers once again. The world is answered again, captured in the image, they answering and repeating itself to the infinite. The life, it would not be any more than a sham redressed than reality. Alluding to Jean Baudrillard we are before \u201cthe history of a crime: of the murder of the reality. And of the extermination of an illusion: the vital illusion, the radical illusion of the world\u201d. In The perfect crime,<\/em> Baudrillard exposes us as the idea of sham has invaded the reality up to turning into the reality itself. The reply for the French author is a form of death and murder of the reality. But the word reply has another conception in his definition. Answering is to answer an argument. This way, we might think at the same time the reply as copy and response to the reality. To copy to create something new that answers to the \u201coriginal one\u201d from this one itself, in an infinite game of cross-references. The one that answers is killer, creator and copyist. But at the same time it is forensic of this murdered reality. Because to answer supposes reproducing and also knowing her to be able to copy it her. Answering is to commit the murder and at the same time to uncover it. This it is the work that they take years realizing the media or the press. Maximums responsible for the reproduction of the world in paper.<\/p>\n

The press constructs narratives and images but also architectures, spaces and fictions. In his pages it is constructed, is destroyed and one answers the reality (and his double). Reproduction (reply) that has something of copy, something of sham and something of fiction. Something that stays awake in the work of the Mexican photographer in his work The island of the fantasy<\/em> where it reproduces scenes of plane crashes, crimes that turn into the favorable environment of the press, which is fed on them and stretches and deforms. The reality is to the eyes of many Mexicans alone paper. The same paper that the photographer uses to realize the pieces that then it portrays. Planes and realities constructed like pi\u00f1atas, that are handcrafted work and metaphor of the fragility of the system, and that is not but another way of alluding again to the conception of reply of the reality, which one presents surprises. This way \u201cthe crime is never perfect, since the world is betrayed by the appearances, which are the fingerprints of his nonexistence, the fingerprints of the continuity of nothing, since the own one anything, the continuity of anything, leaves fingerprints\u201d 1<\/sup><\/sup> .<\/p>\n

Goldbard’s reality is constructed but us there is exposed the conspiracy of his assembly. We, readers of the images, will be at the time as the photographer protagonist of the\u00a0Blow-up<\/em> movie. We consume images that enclose some type of strangeness. Adela Goldbard’s images immerse us in a world where something does not fit. How with the protagonist of the movie, our surprise will come later, when on having observed thoroughly the photography we will be thinking about having captured a murder (one that can be royal and that of the reality itself).\u00a0So much we as our protagonist – whose name well could be Sergio Larra\u00edn, Julio Cortazar, Michelangelo Antonioni or Joan Fontcuberta2<\/sup> \u2013 scared with the discovery, will come to the source. In effect, Goldmand’s exhibition offers this opportunity visiting news of press that they speak to us about the events. A \u201cdead file\u201d,\u00a0 in Goldman’s words. We need to verify that a body – victim exists. To measure it and to recognize it. But the crime towards the reality already is irreversible. Already we be never be able to be sure of \u201cif any distinction exists between image, illusion and the experience of the royal thing\u201d (3<\/sup><\/sup> y 4<\/sup><\/sup> ).<\/p>\n

Pedro Hern\u00e1ndez \u00b7 architect<\/p>\n

ciudad de m\u00e9xico. july 2013<\/p>\n

Notes:<\/p>\n

1<\/sup><\/sup> Baudrillard, Jean. El crimen perfecto<\/em>. Anagrama, Barcelona, 1996, pp. 205, Tit.Orig: Le crime parfait<\/em>. Editions Galil\u00e9e, Paris, 1995.<\/p>\n

2<\/sup><\/sup>\u00a0This multiple personage is Sergio Larra\u00edn, chilean photographer by whom Julio Cortazar was inspiring to write Las babas del diablo<\/em> (text is published in 1959 like part of the secret weapon). In turn, this story will use as reference to Michelangelo Antonioni in his movie Blow up<\/em> that there will take again the photographer Joan Fontcuberta in his piece Blow up, Blow up<\/em>. Creating a game of multiple references that they do not do but to extend and to re-formulate the history under different formats and visions. Reality reproduced from the fiction.<\/p>\n

3<\/sup><\/sup> Foncuberta, Joan. Blow up Blow up<\/em>. C\u00e1ceres: Editorial Perif\u00e9rica, 2010.<\/p>\n

4<\/sup><\/sup> This is specially prominent, since I, as foreigner, do not know almost all the cases that are exposed in the press. That way, on having faced the documentation after Goldbard’s photographies, one cannot if not to doubt if the file constitutes a part of a more wide assembly.<\/p>\n

[:gl]

\"\"<\/a>
Foto propia dunha foto da exposici\u00f3n de Adela Goldbard no Polyforum Siqueiros (Cidade de M\u00e9xico)<\/span><\/figcaption><\/figure><\/p>\n

Dun tempo a esta parte dous obsesi\u00f3ns pers\u00e9guenme. D\u00faas obsesi\u00f3ns que poder\u00edan ser s\u00f3 unha. O crime e a s\u00faa r\u00e9plica. Todo empeza dunha frase de Bernard Tschumi:\u00a0\u201cTo really appreciate architecture, you may even need to commit a murder\u201d. O crime como forma de co\u00f1ecemento espacial. Pero \u00bfcal poder\u00eda ser o asasinato ao que nos alude Tschumi e como poder\u00eda axudarnos a (des)co\u00f1ecer o mundo?<\/p>\n

Replicar \u00e9 definido como repetir o que xa se fixo. A r\u00e9plica \u00e9 copia. V\u00e9mola nos museos todos os d\u00edas. Moitas das pezas que asistimos non son en realidade orixinais, sen\u00f3n dobres deliberados que nos \u00e9 ofrecido como verdade co fin de protexer a peza orixinal. As\u00ed, fascin\u00e1monos con crer como verdade obxectos ficticios, nunha ilusi\u00f3n que dil\u00fae as fronteiras entre a realidade e a ficci\u00f3n. Sab\u00e9molo, pero non nos importa, necesitamos crer que son pezas aut\u00e9nticas e encarg\u00e1monos de reproducilos nas nosas c\u00e1maras unha vez m\u00e1is. O mundo \u00e9 de novo replicado, capturado na imaxe, replic\u00e1ndose e repet\u00edndose ao infinito. A vida, non ser\u00eda m\u00e1is que un simulacro revestido de realidade. Aludindo a Jean Baudrillard estamos ante \u201ca historia dun crime: do asasinato da realidade. E do exterminio dunha ilusi\u00f3n: a ilusi\u00f3n vital, a ilusi\u00f3n radical do mundo\u201d. En O crime perfecto<\/em>, Baudrillard exponnos como a idea de simulacro invadiu a realidade ata converterse na realidade mesma. A r\u00e9plica para o autor franc\u00e9s \u00e9 unha forma de morte e asasinato da realidade. Pero a palabra r\u00e9plica ten outra concepci\u00f3n na s\u00faa definici\u00f3n. Replicar \u00e9 responder un argumento. As\u00ed, poderiamos pensar ao mesmo tempo a r\u00e9plica como copia e resposta \u00e1 realidade. Copiar para crear algo novo que conteste ao \u201corixinal\u201d dende este mesmo, nun infinito xogo de referencias cruzadas. O que replica \u00e9 asasino, creador e copista. Pero ao mesmo tempo \u00e9 forense desa realidade asasinada. Porque replicar sup\u00f3n reproducila e tam\u00e9n a co\u00f1ecer para poder copiala. Replicar \u00e9 cometer o asasinato e ao mesmo tempo desentra\u00f1alo. Ese \u00e9 o traballo que levan realizando anos os media ou a prensa. M\u00e1ximos responsables da reproduci\u00f3n do mundo en papel.<\/p>\n

A prensa constr\u00fae narrativas e imaxes pero tam\u00e9n arquitecturas, espazos e ficci\u00f3ns. Nas s\u00faas p\u00e1xinas constr\u00faese, destr\u00faese e repl\u00edcase a realidade (e o seu dobre). Reproduci\u00f3n (r\u00e9plica) que ten algo de copia, algo de simulacro e algo de ficci\u00f3n. Algo que se desvela no traballo da fot\u00f3grafa mexicana no seu traballo A illa da fantas\u00eda<\/em> onde reproduce escenas de accidentes a\u00e9reos, crimes que se converten no caldo de cultivo da prensa, que se alimenta deles e se estira e deforma. A realidade \u00e9 aos ollos de moitos mexicanos s\u00f3 papel. Ese mesmo papel que a fot\u00f3grafa utiliza para realizar as pezas que logo retrata. Avi\u00f3ns e realidades constru\u00eddas como pi\u00f1atas, que son traballo artesanal e met\u00e1fora da fraxilidade do sistema, e que non \u00e9 sen\u00f3n outro xeito de aludir de novo \u00e1 concepci\u00f3n de replica da realidade, que se presenta estra\u00f1a. As\u00ed, \u201co crime nunca \u00e9 perfecto, pois o mundo se traizoa polas aparencias, que son as pegadas da s\u00faa inexistencia, as pegadas da continuidade da nada, xa que a propia nada, a continuidade da nada, deixa pegadas\u201d 1<\/sup><\/sup> .<\/p>\n

A realidade de Goldbard \u00e9 constru\u00edda pero exp\u00f3nsenos a conspiraci\u00f3n da s\u00faa montaxe. N\u00f3s, lectores das imaxes, seremos ent\u00f3n como o fot\u00f3grafo protagonista da pel\u00edcula Blow-up. Consumimos imaxes que encerran alg\u00fan tipo de estra\u00f1eza. As imaxes de Adela Goldbard som\u00e9rxennos nun mundo onde algo non encaixa. Como co protagonista do filme, a nosa sorpresa chegar\u00e1 posteriormente, cando ao observar con detemento a fotograf\u00eda creremos ter capturado un asasinato (un que pode ser real e o da realidade mesma). Tanto n\u00f3s coma o noso protagonista – cuxo nome ben puidera ser Sergio Larra\u00edn, Julio Cortazar, Michelangelo Antonioni ou Joan Fontcuberta2 – asustados co descubrimento, acudiremos \u00e1 fonte. En efecto, a exposici\u00f3n de Goldmand ofrece esa oportunidade visitando noticias de prensa que nos falan dos sucesos. Un \u201carquivo morto\u201d, en palabras de Goldman. Necesitamos comprobar que existe un corpo-victima. Medilo e reco\u00f1ecelo. Pero o crime cara \u00e1 realidade xa \u00e9 irreversible. Xa nunca poderemos estar seguros de \u201cse existe distinci\u00f3n ningunha entre imaxe, ilusi\u00f3n e a experiencia do real\u201d (3<\/sup><\/sup> y 4<\/sup><\/sup> ).<\/p>\n

Pedro Hern\u00e1ndez \u00b7 arquitecto<\/p>\n

cidade de m\u00e9xico. xullo 2013<\/p>\n

Notas:<\/p>\n

1<\/sup><\/sup> Baudrillard, Jean. El crimen perfecto<\/em>. Anagrama, Barcelona, 1996, pp. 205, Tit.Orig: Le crime parfait<\/em>. Editions Galil\u00e9e, Paris, 1995.<\/p>\n

2<\/sup><\/sup> Este personaxe m\u00faltiple \u00e9 Sergio Larra\u00edn, fot\u00f3grafo chileno no que se inspirase Julio Cortazar para escribir\u00a0Las babas del diablo<\/em> (texto publicado en 1959 como parte das armas secretas). \u00c1 s\u00faa vez, este conto servir\u00e1 de referencia a Michelangelo Antonioni na s\u00faa pel\u00edcula Blow up<\/em> que retomar\u00e1 o fot\u00f3grafo Joan Fontcuberta na s\u00faa peza Blow up, Blow up<\/em>. Creando un xogo de referencias m\u00faltiples que non fan sen\u00f3n ampliar e reformular a historia baixo distintos formatos e visi\u00f3ns. Realidade reproducida dende a ficci\u00f3n..<\/p>\n

3<\/sup><\/sup> Foncuberta, Joan. Blow up Blow up<\/em>. C\u00e1ceres: Editorial Perif\u00e9rica, 2010.<\/p>\n

4<\/sup><\/sup> Isto \u00e9 especialmente destacable, xa que eu, como estranxeiro, desco\u00f1ezo case todos os casos que se expo\u00f1en na prensa. Dese xeito, ao enfrontarse \u00e1 documentaci\u00f3n tras as fotograf\u00edas de Goldbard, un non pode se non dubidar se o arquivo constit\u00fae parte dunha montaxe m\u00e1is ampla.<\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] De un tiempo a esta parte dos obsesiones me persiguen. Dos obsesiones que podr\u00edan ser s\u00f3lo una. El crimen y su r\u00e9plica. Todo empieza de una frase de Bernard Tschumi: \u201cTo really appreciate architecture, you may even need to commit a murder\u201d. El crimen como forma de conocimiento espacial. Pero \u00bfcu\u00e1l podr\u00eda ser el […]<\/p>\n","protected":false},"author":36,"featured_media":34954,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[8964,12449,6474,3651,309,12471,2268,12460,8962,8961,5625,4505,859,8963,2611,8965],"class_list":["post-34953","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-adela-goldbard","tag-arte","tag-articulo","tag-bernard-schumi","tag-chile","tag-cine","tag-copiar","tag-fotografia","tag-jean-baudrillard","tag-joan-fontcuberta","tag-julio-cortazar","tag-landa-hernandez","tag-mexico","tag-michelangelo-antonioni","tag-replica","tag-reproducir"],"yoast_head":"\nCr\u00edmenes y r\u00e9plicas | Pedro Hern\u00e1ndez<\/title>\n<meta name=\"description\" content=\"Cr\u00edmenes y r\u00e9plicas\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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