A Escola de Düsseldorf : a fotografia entre memória, documento e arte

• Autor(a) principal: Bezerra Menezes, Renato
• Data de Publicação: 2019
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/40817
• topic: Becher, Bernd, 1931-2007; Becher, Hilla, 1935-2015; Gursky, Andreas, 1955-; Hütte, Axel, 1951-; Hofer, Candida, 1944-; Ruff, Thomas, 1958-; Struth, Thomas, 1954-; Escola de Düsseldorf; Memória; Documento; Arte; Fotografia; Domínio/Área Científica::Humanidades::Artes

This paper aims to discuss the relations between the documentary and artistic aspects of the Düsseldorf School, mediated by the memory mechanisms. The Düsseldorf School was founded in 1976 by photographers Bernd and Hilla Becher, and was responsible for training countless generations of photographers until the year 1997, when it ended its activities. With a specific orientation on concepts developed by the New Objectivity, aesthetic current emerged in Germany, during the Weimar Republic (1919-1933), the Düsseldorf School presents a documentary matrix associated with the work of masters Bernd and Hilla Becher; these photographers developed a typological and composite methodology, used for the photographic recording of decommissioned industrial structures in various European countries. The method developed by Becher in their work is defined as the capture of images framing, large focal length, few shadows, absence of people and almost always absence of horizon, among other characteristics. The Becher organize their work into two groups of images, which they called typologies and developments, where they group together, respectively, several typologically related structures, and several angles of the same structure. Their work, notably documentary, given its archival dimension, was recognized as art, receiving the sculpture prize at the 1990 Venice Biennale. The concepts of art and documents are articulated by links attributed to the mechanisms of memory, and presented in the work of five photographers, students of the first class of masters Bernd and Hilla Becher: Andreas Gursky, Axel Hütte, Candida Höfer, Thomas Ruff and Thomas Struth. The photographers presented reveal, in common, a methodological rigor present in the realization and organization of their work, with greater or lesser degree of relevance in the result of their work. Each of them developed their own photography, with striking individual characteristics, beyond the methodological rigor assimilated by the masters.