Unpresentness and anachronism in the contemporary photography

Abstract This paper discusses the individuation conditions of the so-called contemporary photography by examining the notion of anachronism in different artworks and authors as Jeff Wall and Cindy Sherman. The construction of visual discursivity in art as a matter of communication comes from the idea that it would exist, in nowadays particular images, an unpresentness perceivable through persistent pictorial traces and issues of other times, particularly in art history. The relevance of thinking on the experience of photography in art points to its contributions for discussing communicative aspects of photography, mostly the representation that order the visible, as well as their operations that mediate our relationship with the world through the image.摘要：本文通过剖析不同艺术作品与艺术家（诸如杰夫·沃尔（Jeff Wall）、辛迪·舍曼（Cindy Sherman））创作中的时代错位（anachronism）概念，探讨了所谓当代摄影的个体化界定条件。将艺术中的视觉话语性视为传播议题的建构逻辑，源自这样一种认知：在当下的特定影像中，可通过持续留存的图像痕迹，以及艺术史范畴内遗留的其他时代议题，感知到一种不可呈现性。对艺术中摄影体验的思考所具备的研究价值，彰显了其在探讨摄影传播维度层面的贡献——主要包括对可见领域进行规整的再现实践，以及通过影像调节我们与世界之间关系的运作机制。