The Discreet Language in Mariana Yampolsky Photographic Archive

Abstract

From the conceptual archival and critical theory, this work proposes a reading of Mariana Yampolsky's archive. Beyond being something that is identified with the curatorships that are usually made of Yampolsky's, based on values artistic, aesthetic, and anthropological documentary, this work read the archive as something that has a discreet language , own and differentiated with respect to the evident curatorial discourses that are assembled taking this archive as a starting point, and that, therefore, the archive is the repository of a series of different values that push other types of interpretations of the work. Faced with the beauty, the finished, the organic, the perfection of the evident language, the discreet language of the archive, emphasizing the importance of the mediation of the photographic technique, she proposes fragmentariness, the scopic, the sinister. Faced with a subjective experience based on the identity, of a temporal continuum, of melancholy that tries to recover the lost totality of tradition, the modern subjective experience could be interpreted, from this archive, based on the mediation of technique, as something fragmentary, deployed towards temporal and spatial singularity, as something not identifiable with saturated matrices of meaning and significance, such as that of the national and that of certain ideologies.