↤ Bernd & Hilla Becher. Winding Towers. 1966-1997 https://www.moma.org/collection/ works/136060 ↘ Idris Khan
(i) Every... Bernd and Hilla Becher Prison Type Gasholders (ii) Every... Bernd and Hilla Becher Spherical Type Gasholders (iii) Every... Bernd and Hilla Becher Gable Side Houses. 2004 https://www.christies.com/en/lot/lot- 5652293
Siempre lo mismo, pero nunca igual
Always the same, but never the same
Perhaps one of the works that best reflects the nature of industrial pre-existence, such as those that remain in Lota, is that of German photographers Bernd and Hilla Becher. Their taxonomic series, in which they isolate singular fea- tures to detect typological patterns, clearly express the fit between function and form that is characteristic of these structures, which explains why they are all different and at the same time always the same. There is no original form that defines a certain model but they are all part of that model because they respond to the same problem. These sequences are synthesized by the British artist Idris Khan, who uses the Bechers´ work and creates over- laps of all these postcards until he achieves ideal images. The result yields archetypical forms of blurred boundaries, like extracts from shared memory, brought abruptly to the present to establish an imaginary, which refers to all the industrial structures.
Quizás uno de los trabajos que mejor refleja la naturaleza de las preexistencias industriales, como las que permanecen en Lota, sea el de los fotógrafos alemanes Bernd y Hilla Becher. Sus series taxonómicas, en las que aíslan elementos singulares para detectar patrones tipológicos, expresan con claridad ese calce entre función y forma propio de dichas estructuras, lo que explica que siendo todas distintas sean a la vez siempre la misma. No hay una forma original que fije un cierto canon, sino que todas son parte de ese canon porque responden a un mismo problema. Estas secuencias son sintetizadas por el artista britá- nico Idris Khan, quien tomando el trabajo de los Becher genera superposiciones de todas esas postales hasta lograr imágenes ideales. El resultado arroja formas arquetípicas de perímetro borroso, como extractos de una memoria compartida, traídas de golpe al presente para sentar un imaginario al que remiten todas las estructuras industriales.
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AOA / n°44
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