Matthias Pfaller

The National Paradigm as Provocation to the Historiography of Photography
Chile as a Case Study

The genre of the history of photography has depended on a nation based framework from the beginning on. The medium has either been hailed as a national invention, an expression of national aesthetics, or studied in a clearly delineated socio-political and geographic context. Pertinent monographs from the past fifteen years have continued this constellation of photography, history, and the nation in parallel to the questioning of these concepts. From decolonialism and global history to the deployment of photographies, each term of the triangle has experienced wholesome criticism. Taking these tensions within the genre as a point of departure, my dissertation seeks to deconstruct and reconstruct its narratives and purposes based on a case study of Chilean photography. Both history and the nation as essentially European concepts are a constant provocation to photography on a global level, but through their combination yield significant insights into their concrete application in a given country.

Projektbezogene Publikationen
Interviewreihe mit Künstlern, Kuratoren, und Historikern zur chilenischen Fotografie-Geschichte: (2016–2019) ● Übersetzungen: Mario Fonseca Velasco: On Photography in Chile. In: Art in Translation 10 (2018), S. 391–403. Mario Fonseca Velasco: Chile Survives. In: Art in Translation 10 (2018), S. 404–413. Ronald Kay: The Reproduction of the New World. In: Art in Translation 10 (2018), S. 414–421 ● Rezensionen zu: José Pablo Concha Lagos: Delitos Fotográficos. In: History of Photography 41 (2017), S. 208–209. Fundación Sud fotográfica: Una revisión al fotolibro chileno. In: History of Photography (im Erscheinen).


Prof. Dr. Andrés Mario Zervigón (Rutgers University, New Brunswick)

Gefördert mit einem Jahresstipendium des Deutschen Akademischen Austauschdiensts (DAAD). Eine Forschungsreise nach London wird bezuschusst von der Association for Art History.