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SANDER - tłumacz z hiszpanskiego Babelfish

In English
August Sander or the face like social knowledge Is logical to think that Sander, that it
tried to lay the foundations an exhaustive cadastre of the face German, would reduce to
the minimum his interventions in the context in which he photographed: one species of
transparent neutrality folded to the landscape of the bodies and faces of his time; a
pristine crystal, friendly but rigorous, moved indifferently between towns of Germany
and the scientific necessity of the moment. Indeed, it has been totally documented that the
photography in its beginnings was very tie to requirements of the positive reason. The
perfect means are the photography to register, to order, and to inventory the world. In this
affirmation it is the thesis of André Bazin, that it will declare that in the photographic
taking human intervention does not mediate and that its nature mechanics makes vehicle
inexhaustible of the naturalistic pulsión. Scientific rigor. intention of Sander is not
another one: their photographies want to transform themselves into impartial sources and
extensive of a certain culture without the intervention of the expresividad or morality of
the photographer. Sander does not look for ³ falla´ some; it does not persecute obsessions
you fold in them of others. It is not concentrated in dark reasons to brings back to
consciousness modern since Diane does Arbus 30 years later. Their takings breathe
prudence; the photographer has invited to model a to put with the naturalness of always,
in confidence, without forcing it, and from a distance that he suitably informs on the
social condition and the context of the subject. The operator of camera acts since it would
do a taxidermista recognized. Classifying to its parroquianos. For this it has subdivided to
the society in groupings by classes of intellectuals, liberal workers, craftsmen,
professionals, farmers, ecclesiastics and the military. Sander has been sensible also to the
generational division etaria and of these groups. In short, historical study has caused a
species of ³ that tries to reveal and to synthesize the origins and the conditions of the
socioeconomic development in Germany for more than forty años.´ In agreement with
this we would be in front of a work that would enjoy a great one homogeneity since it
leaves from a social and cultural ordering of the space and the time. In this sense, the
figures of Sander show totality of constituent elements of the faith, the profession, policy,
the well-being, intelligence, etc. Are a visual call a to recognize the evident of the typical
thing and stereotyped sphere. What is visible it must appear as positive characteristic of
the individual and must to inform about the social origin and into the task of the man: it
must to reveal that one society that it has trasformado (the same face, our face) in mask of
its time. But, according to Lacan, it is not the evanescent face of objects? If, but it is the
photography the one that can transform it into mask. In symbol. When shaking itself of
the time, which the photography it is doing, among other things, is to take to the face to
the land of the comparative study. project of Sander has at its time common elements
with that one science that studies the characteristics of the nature: the fisiognómica. The
fisiognómica always has persecuted to isolate the essential elements of a face of that one
to happen of subjective and natural inferences, in other words, of the incertezas that graze
in the fields in all free interpretation of a face. (Practical this one of the love, pelambre,
envy, etc.) the fisiognómica, like phrenology, pseudoscience of century principles, looked
for to establish univocal equivalences, laws, signs. In this search the esencialista and
Aristotelian character of the company is demonstrated: a face must be able to provide
stable characteristics on which the social knowledge is organized of lasting form. Insujeto
to the whims of the passions, to burns of the dionisiaca fugacidad, this face must ³
contener´ the cultural world that presents/displays like continent. Each face is
transformed into the carrier of a social message it extends that it. (Many of the models
photographed by Sander do not take name nor last name. The unique information this
referred the occupation, to the year and the physical place of the taking.) Thus each head,
each body, each pose altogether articulates with other layers a map of identities that
glimpse. Because Sander has left from the immediate observation: it has not constructed
an a priori identity: of there its problem with the Nazis. The agents cultural of the Third
Reich they found his systematic impartiality disquieting. His faces cleared temperings
and are the faces of a development that looks for but that no it totalizes. But, a face it can
speak of his time? And if it is possible, how it does? We review some of its
photographies. Most famous: of the notary. The photographer has been very precise, has
fitted elements of this scene so that they speak in case single; its camera, sufficiently
moved away not to disturb that professional had with certain dignity. We observe with
great detail entrance outer of its home, beautiful perrons and perhaps surrounded of small
antejardín. Dog accompanies it to a race with obedience. The notary does not watch to us,
but he does not do it with disdain or superficiality. Its glance settles outside the field of
view. We can to intuit that it has not gone too much far. Certainly it has chosen better
possible form so that the information about its situation social it reveals his public stamp.
The notarial exercise is had with certain ethics and social probity. (Also of certain
economic dimension.) It is the visibility of professional dedicated to the legal document
certification of private use and I publish. Here, effectively the landscape has been fused
with the body and the face, and this it is the success of so famous photography: the
seriousness of the pose of this notary is synchronous to the simple solidity of its home.
This is everything? Doubtlessly so that a face is meant like map social it has to be certain
distance. To a height and axis of the glance that does not dislocate the centralized vision
of an historical observer, impartial. And it is evident: in this photography like in that they
form the book ³ People of century XX´ we will not be able to face ambiguity of the face
to face. An aspect that has been defined in the last 40 years by philosopher Emanuel
Levinas as the encounter with ³ meaning without contexto´. difference between this face
of Levinas, without history, that bursts in into my life demanding a relation with another
different one from my, (a face, by the way, of postwar period, that it does not have origin,
neither race, nor origin, nor age) and the contextualised face, ³ historizable´ of Sander
gives a field of interesting discussion to rethink in the type of image that we demand with
regard to the identities. The last exhibition of Peace Errázuriz (Room Telephone
Foundation, 2004) and the texts have accompanied that it they are clear examples in
certain photographic position: in resistance with the scientific, impartial glance of Sander,
these registries obey to subjective demands, intimate concentrations in pitch variations on
a same subject. Since there is this Claudia Donoso, these photographies of boxeriles and
circus poverties, of sexual and mental minorities specify the search of a mask, ³ propia´.
At the same time, these personal marks project a displacement, expensive sliding to the
history of the photography: in many cases, that have decided on the solitary persistence to
set out the marginality indicates the heading of a deviation of class. That is to say, and
this is not nothing new, Peace Errázuriz, in the same sense that Diane Arbus, although not
with the same satisfaction, assumes ³ to alleviate carga´ of its existence of middle-class
projecting on the alquímicos territories of the photographic image a face that it needs, a
deficiency, a pain that quickly arrives with each ³ cautious that devuelve´. The glance of
Sander, on the contrary, does not look for exorcisms. Demand of us that one mental
function that privileges the order, the mental pleasure that we obtain when we are precise
and exact with the matter of the time and the space: ³ the work of Sander is more than a
book of Photographies: it is an Atlas that ejercita´. (W. Benjamin).