Article
French
ID: <
10670/1.phtmek>
Abstract
The impact of non-European arts on 20th century photographic creation was not only the result of fascination by objects. Their images, as they appeared in publications, also had a profound impact on creation. In the second half of the 1920s Hannah Höch, Berlinoise Dadaic artist, undertook a series of photomontages combining photographic fragments of non-Western masks and sculptures with stereotypical features of power, women’s status or socio-political events that marked the painted press of the time. Seventy years later, French artist Orlan started the Self-Hybridations-Refigurations series, merging with new digital technologies the image of preColombian and African sculptures with his own face. This intervention will put in perspective two works extracted from these sets. With regard to the original photographic sources, the operations by which their meaning has been shifted to identity questions will be considered.