What are the possibilities for photography, driven by its documentary character since its birth? What do images point out about history? Where does their critical power lie? The pooling of photographic artifacts produced in recent years in Argentina reveals a historicized, transversal, multiple, politically inclined photography. In the midst of the becoming document that characterizes much of contemporary art, Natalia Fortuny explores the singular displays of these images, their details and visual strategies, and the ways in which photography relates to the world, recent history, politics, violence.
As Ernesto Semán states, Arder con lo real combines Fortuny's precise reading of landscapes, surfaces and artifacts with a kind of flow of consciousness, an association of memories triggered by cultural productions that remember and do not stop remembering.
Arder con lo real
Ediciones ArtexArte. 2021