Leila Danziger's compulsive photographs: reflections on the encounter between poetry and photography in “Robert Smithson”

Authors

DOI:

https://doi.org/10.14195/2182-8830_9-1_10

Keywords:

Leila Danziger, Robert Smithson, poetry, photography, visual arts

Abstract

This study aims to analyse the poem “Robert Smithson” from the book Três ensaios de fala (2012), by Leila Danziger. In the poem, we identified reflections on photographic making and the cultural and artistic uses of photography, based on references to the North American artist, which intertwine themselves with references about Leila's own artistic process. The purpose of this paper is, therefore, to reflect on the poem as a meeting place between different artistic practices, as well as a link between Danziger’s poetic-visual productions and Smithson's photographs and installations, evidenced by the poem itself. For this, we will trace a trajectory from Danziger’s artistic-photographic productions to her poetry, which will also lead us to reflections on the visual art of Robert Smithson himself.

Downloads

Download data is not yet available.

Author Biography

Mariane Pereira Rocha, Federal Institute Sul-rio-grandense (IFSul)

Professora de Literatura e Língua Portuguesa no Instituto Federal Sul-rio-grandense (IFSul),
doutoranda em Letras pela Universidade Federal de Pelotas (UFPel). 

References

BRIZUELA, Natalia (2014). Depois da fotografia: uma literatura fora de si. Trad. Carlos Nougué. Rio de Janeiro: Rocco.

COSTA, Luiz Claudio (2012). “A melancolia na arte: um artefato da vida pública”. Leila Danziger: Todos os nomes da melancolia. VV.AA. Rio de Janeiro: Apicuri.

DANZIGER, Leila [et al.] (2012). Leila Danziger: Todos os nomes da melancolia. Rio de Janeiro: Apicuri.

DANZIGER, Leila (2012.). Três ensaios de fala. Rio de Janeiro: 7 letras.

DANZIGER, Leila (2013). Diários públicos: sobre a memória e mídia. Rio de Janeiro: Contracapa; FAPERJ.

GARRAMUÑO, Florencia (2014). Frutos estranhos: sobre a inespecificidade na estética contemporânea. Rio de Janeiro: Rocco.

LIMA, Pedro (2019). “Acervos como navios, frágeis não são apenas os migrantes.” MODOS — Revista de História da Arte, Campinas, 3.2: 297-304.

MACHADO, Arlindo (2015). A ilusão especular: uma teoria da fotografia. São Paulo: Gustavo Gili.

NAVAS, Adolfo (2017). Fotografia & poesia (afinidades eletivas). São Paulo: Ubu Editora.

ROUILLÉ, André (2009). A fotografia: entre documento e a arte contemporânea. Trad. Constância Egrejas. São Paulo: Editora Senac.

SMITHSON, Robert (2008). “Um passeio pelos monumentos de Passaic, Nova Jersey.” [1967]. Trad. Pedro Sussekind. Arte & Ensaios 17, PPGAV-EBA-UFRJ, 2008: 162-167. https://www.ppgav.eba.ufrj.br/wp-content/uploads/2012/01/ae22_-Robert_Smithson.pdf> . [17 setembro 2020].

SONTAG, Susan (2004). Sobre fotografia. Trad. Rubens Figueiredo. São Paulo: Companhia das Letras.

SHAW, Debora, and Charles H. Davis (1983). “The Concept of Entropy in the Arts and Humanities.” Journal of Library and Information Science 9, (October 1983): 135-148.

TIETZ, Anelise (2019). “Percursos para achar-se: os deslocamentos de Robert Smithson.” Concinnitas 20.35: 53-77.

Downloads

Published

2021-11-17

How to Cite

Rocha, Mariane Pereira, and Aulus Mandagará Martins. 2021. “Leila Danziger’s Compulsive Photographs: Reflections on the Encounter Between Poetry and Photography in ‘Robert Smithson’”. MATLIT: Materialities of Literature 9 (1):167-83. https://doi.org/10.14195/2182-8830_9-1_10.

Issue

Vol. 9 No. 1 (2021): Literary Photobooks: Theory and History

Section

Secção Temática | Thematic Section

License

Copyright (c) 2021 Mariane Pereira Rocha, Aulus Mandagará Martins

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

MATLIT embraces full open access to all issues. Authors who publish with this journal agree to the following terms:

  1. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution- 4.0 International (CC BY 4.0) that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
  2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
  3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
  4. A CC licensing information in a machine-readable format is embedded in all articles published by MATLIT.
  1. Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
  2. No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.

Notices:

  1. You do not have to comply with the license for elements of the material in the public domain or where your use is permitted by an applicable exception or limitation.
  2. No warranties are given. The license may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material.