MARCELLA NICOLI SOUSA IMPARATO

The term "Iconoclash" was coined by Bruno Latour in a homonymous exhibition to explore the ambiguity of iconoclastic gestures that simultaneously destroy and create images. The exhibition aimed to compile an "anthology of a certain gesture of the hand" highlighting its relationship with the representation of the world and the production of objectivity. Philosophers and art historians debate "acheiropoietic" icons, those “not made by human hands”, such as the holy shrouds, and emphasize how photography redefines the reception of these images. Georges Didi-Huberman analyzed "acheiropoietic" images under the paradigm of printing in the exhibition L’Empreinte, discussing the technique of printing and the interpretation of images through an anthropological approach, challenging certain mimetic tradition. The project investigates the relationship between the exhibitions Iconoclash and L’Empreinte, which still lack academic studies, and proposes to reevaluate contemporary art images based on iconoclash and the paradigm of printing, problematizing the notion of representation and the aesthetic reception of these images.