Bülent Irkkan
Gülçin Tellioğlu
Leyla Yücel

Yayın Kurulu

Meryem Akköse
Yağmur Dolkun
Elif İnan
Suderin Murat
Doğanay Sevindik
Elif Vargı

Fotografya Yayın Kurulu
adına İmtiyaz Sahibi
Ş. Uğur Okçu

E-Mail Fotografya

Yayınlanmasını İstediğiniz
Fotoğraf Haberleri İçin


ADANET Fotoğraf Editörü

Ş. Uğur OKÇU
[1] Subsequent references are given in the text; translations are mine unless otherwise stated.

[2] Exhibitions of Nebreda's work include those at the galerie Renos Xippas (1999) and the galerie Renn (2000). The publication of Autoportraits was closely followed by a volume of essays (Curnier and Surya).

[3] Of the latter group, important examples include Gina Pane, active in Paris in the 1970s, Marina Abramovi, whose Rhythm O (1974) authorised the audience to abuse her at will for six hours, and Rudolf Schwartzkogler, whose self-mutilation in the creation of "artistic nudes -- similar to wreckage' (in his own description) reputedly led to his death in 1969. See Goldberg, 165.

[4] "Les fils de la mère' puns, in the French edition, on "le fil' (wire) and "le fils' (son).

[5] Only in live transmission, of course, can the time of experience, the time of representation and the time of reception be the same; only the time of experience and of representation are conflated in Autoportraits.

[6] The field of "psychobiography' is defined by William McKinley Runyan as "the explicit use of formal or systematic psychology in biography' (203). Despite its rigorous consideration of social sciences methodology, Runyan's book, of which much is devoted to the study of writers and artists, does not consider the negative implications of "psychobiography' for the analysis of those writers' and artists' works.

[7] On the paranoid-schizoid phase, also Segal, especially chapter 9, "The Paranoid-Schizoid Position".

[8] While Nebreda's project clearly does not have the feminist agenda of those of Spence, Duffy or Wilke, its constant positioning of the subject of the gaze as male itself disturbs the conventional gendering of viewing relations. See Laura Mulvey's famous theorisation of the objectifying male gaze (typically taking as its object woman) as "fetishistic scopophilia", "Visual Pleasure and Narrative Cinema".

[9] "We consider cultural prohibition to be a form of cultural excess which finds reparation only in personal prohibitions; and, between personal accusations and personal prohibitions, we opt for the second. We establish a line of conduct [. . .] Recourse to culturally occluded or prohibited elements is not an end in itself [. . .] these are concepts, substances with a very strong symbolic and historical charge'. (Nebreda 184).


Barındırma: AdaNET - İlk Tasarım: G-Tasarım -



Fotoğrafya'da yayınlanan yazıların, fotoğrafların ve kısa filmlerin sorumluluğu
yazarlarına/fotoğrafçılarına/sanatçılarına/film yönetmenlerine aittir.

AdaNET Ana Sayfa