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Carl de Keyzer

Trinity

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  • 151 stron
  • 6 godzin czytania

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Trinty is a milestone in the work of Magnum photographer Carl De Keyzer. It is a triptych on the theme of he omnipresence of power and violence. The title itself refers not only to the traditional image of the Supreme Power in classical painting, but also, for example, to the code name of the ominous project with which Oppenheimer lead a team of atomic physicists to produce the first atom bomb. Based on three probing themes, De Keyzer grabs contemporary power, its images: Tableaux d' Histoire, Tableaux de Guerre; Tableaux Politiques. The first tableaux cast a surprising light on the theatrical that has characterized power since time immemorial and without which it could not exist. The second perspective shows us violence as a timeless, placeless phenomenon. War appears in an aesthetic of the sublime, although subdued and painful, as glorification, heroism and justitication are absent. The third part takes us behind the scenes of political power, which should, when all is said and done, actually be the power of the people; the facade, the lobbying, the backrooms, the haggling.

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Carl de Keyzer, Carl de Keyzer

Język
Rok wydania
2008
Oprawa
(twarda)
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Tytuł
Carl de Keyzer
Podtytuł
Trinity
Język
niemiecki
Wydawca
Benteli
Rok wydania
2008
Oprawa
twarda
Liczba stron
151
ISBN10
3716515337
ISBN13
9783716515334
Seria
Ocena
3 z 5
Opis
Trinty is a milestone in the work of Magnum photographer Carl De Keyzer. It is a triptych on the theme of he omnipresence of power and violence. The title itself refers not only to the traditional image of the Supreme Power in classical painting, but also, for example, to the code name of the ominous project with which Oppenheimer lead a team of atomic physicists to produce the first atom bomb. Based on three probing themes, De Keyzer grabs contemporary power, its images: Tableaux d' Histoire, Tableaux de Guerre; Tableaux Politiques. The first tableaux cast a surprising light on the theatrical that has characterized power since time immemorial and without which it could not exist. The second perspective shows us violence as a timeless, placeless phenomenon. War appears in an aesthetic of the sublime, although subdued and painful, as glorification, heroism and justitication are absent. The third part takes us behind the scenes of political power, which should, when all is said and done, actually be the power of the people; the facade, the lobbying, the backrooms, the haggling.