Enfim, tudo isso para dizer que ontem chegou aqui em casa a Aperture e na capa já falava sobre o que postei há uma semanas atrás (eu só agarrei uma humilde ondinha que já estava rolando). E foi genial como Claudia Angelmaier interpretou e criou sobre o ensaio de Walter Benjamin.
Transcrevo as palavras de Brian Dillon:
“How to write about the photographs of Claudia Angelmaier and not mention that essay? One might as well get the reference to Walter Benjamin out of the way early and admit that, in the history of art since “The Work of Art in the Age of Mechanical Reproduction” (1936), the stakes of that text have rarely been so precisely, elegantly, and even seductively stated as in these pallid, neutral images. Angelmaiers’s studies of book illustrations, slides and postcards seem to recompose in their quiet and mysterious way a central discovery of Benjamin’s essay: the historical refraction of the aura of the work of art in innumerable reproductions. And yet the German artist’s work actually frames a phenomenon that Benjamin (otherwise a connoisseur of the artifacts of the recent past) apparently could not foresee: the way that the most technologically advanced reproductions of works of art are themselves subject to aging, decay, and oddly anachronous intersections with the flux of art history that they affect to fix.”
Brian Dillon, Aperture Fall 2008, pag 56
