Resisting the Image

Abstract

Based on historical data on the relationship between paintings and photographic images, this article proposes that the prevailing photographic model implies accepting the primacy of the discursive order, as the correct way of understanding and relating to the world, which favors the senses over the experience itself. It proposes that a possible resistance to the hegemony of this model, from the pictorial perspective, would tend to highlight or motivate that which lies beyond discourse and interpretation; that which is opaque, specific, and circumstantial.