AUTO-RUINS. Thinks about automobile into the contemporary landscape

The article analyses the evolution of the representation of the automobile inserted in the natural and urban environment in the Contemporary Art, from the appearance of the first cars in the beginning of the 20th century until the present day. The text compares the diverse attitudes and analysis of some representative artists who have used the image of the machine in general and the car in particular in their aesthetic discourse, using as a conductive thread the metaphor of the life cycle (birth, growth, feeding, reproduction and death). It deals with the discovery, the development and the coexistence between human and the automobile and its interpretation as a basic element of the artistic work. The text connects the image of the automobile located in the contemporary industrial landscape utilizing the artist references who have integrated the car in their work inside the natural or artificial environment characteristic of each moment. At the same time, the article goes deeply into the relationship of romantic ruin and natural landscape and the evolution of the industrial and architectural modern environment, through the work of the artists who has used the car as an inhabitant of the landscape.

The photography and the motion landscape in the urban expressway

A new kind of photographic representation, called movement-image is proposed and discussed to record the visual experience of the journey through urban highways. It consists of performing long exposure photographic shots while the track is traversed, thus registering a time-panorama which includes landscape signs and inner spaces of the ways involved. This proposal is linked to the limitations of representing these expressways, if they are understood as structures of instrumental origin, where the resulting experience comes from moving at high speed through the territory. In al almost all cases the aesthetic approach or urban integration with the city and landscape are excluded. In this sense, although such structures may be an opportunity to collect, build and colonize the urban landscape, the lack of adequate representation of the phenomenon causes a difficulty in its understanding and transformation. The options for representation using photography is assumed, knowing its own particular tradition in the use of long exposures, for the expression of the mobile, and the multiple visual attention, divided or weakened.