{"id":987513326,"date":"2026-05-21T23:04:53","date_gmt":"2026-05-21T21:04:53","guid":{"rendered":"https:\/\/antxonbenito.es\/re.life\/?page_id=987513326"},"modified":"2026-05-23T21:05:37","modified_gmt":"2026-05-23T19:05:37","slug":"vasili-kandinski-fotografia","status":"publish","type":"page","link":"https:\/\/antxonbenito.es\/re.life\/vasili-kandinski-fotografia\/","title":{"rendered":"Vasili Kandinski – Fotograf\u00eda"},"content":{"rendered":"

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Aleksandr R\u00f3dchenko<\/span><\/span>: Cambi\u00f3 el \u00e1ngulo. Cambi\u00f3 todo<\/strong><\/h1>\n<\/div>\n<\/div>\n
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Aleksander Mikhailovich Rodchenko naci\u00f3 el 5 de diciembre de 1891 en San Petersburgo, en el seno de una familia obrera que se traslad\u00f3 a Kaz\u00e1n cuando \u00e9l era ni\u00f1o. Estudi\u00f3 en la Escuela de Arte de Kaz\u00e1n entre 1910 y 1914, donde conoci\u00f3 a Varvara Stepanova, que ser\u00eda su compa\u00f1era y colaboradora de por vida. Cuando se instalaron en Mosc\u00fa, Rodchenko entr\u00f3 de lleno en el mundo de la vanguardia rusa: Malevich, Tatlin, y un clima intelectual convulso en el que el arte debat\u00eda su propia necesidad.<\/p>\n

Tras la Revoluci\u00f3n de 1917 trabaj\u00f3 para el Departamento de Bellas Artes del Comisariado del Pueblo, particip\u00f3 en la reorganizaci\u00f3n de los museos sovi\u00e9ticos y ense\u00f1\u00f3 en los Vkhutemas, los talleres t\u00e9cnicos superiores que fueron el equivalente ruso de la Bauhaus. En 1921 declar\u00f3 el fin de la pintura con tres telas monocromas \u2014rojo puro, amarillo puro, azul puro\u2014 y gir\u00f3 hacia el dise\u00f1o gr\u00e1fico, el cartel, la tipograf\u00eda y, desde 1924, la fotograf\u00eda. Su trabajo para la revista LEF<\/em> y para el poeta Maiakovsky \u2014con quien colabor\u00f3 estrechamente\u2014 defini\u00f3 la est\u00e9tica del constructivismo sovi\u00e9tico en sus a\u00f1os m\u00e1s creativos.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Su fotograf\u00eda de los a\u00f1os veinte y treinta es la m\u00e1s reconocible de su generaci\u00f3n: picados sobre figuras que se vuelven siluetas, contrapicados que monumentalizan lo cotidiano, diagonales que atraviesan el encuadre como fuerzas f\u00edsicas. Rodchenko no fotografiaba lo que ve\u00eda. Eleg\u00eda el \u00e1ngulo que convert\u00eda lo que ve\u00eda en algo que el ojo nunca hab\u00eda visto antes. Cuando el realismo socialista se convirti\u00f3 en doctrina de Estado bajo Stalin, su obra fue atacada por formalista y su margen de maniobra se redujo dr\u00e1sticamente. Sobrevivi\u00f3 profesionalmente fotografiando deportes y circo, g\u00e9neros donde el movimiento y el \u00e1ngulo extremo eran aceptables. Regres\u00f3 a la pintura abstracta en los a\u00f1os cuarenta, en privado, sin posibilidad de exponer. Muri\u00f3 en Mosc\u00fa el 3 de diciembre de 1956, dos d\u00edas antes de cumplir sesenta y cinco a\u00f1os.<\/p>\n<\/div>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1″ admin_label=\u00bbFotograf\u00edas\u00bb _builder_version=\u00bb4.27.5″ custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||0px||false|false\u00bb locked=\u00bboff\u00bb collapsed=\u00bboff\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_row column_structure=\u00bb3_5,2_5″ _builder_version=\u00bb4.27.5″ custom_margin=\u00bb0px||||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb3_5″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_image src=\u00bbhttps:\/\/antxonbenito.es\/re.life\/wp-content\/uploads\/2025\/09\/author-icon-01-4.png\u00bb _builder_version=\u00bb4.27.5″ always_center_on_mobile=\u00bboff\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.27.6″ header_font=\u00bb||||||||\u00bb header_2_font=\u00bbMontserrat|800||on|||||\u00bb header_2_text_color=\u00bb#000000″ header_2_font_size=\u00bb60px\u00bb header_2_line_height=\u00bb1.2em\u00bb module_alignment=\u00bbright\u00bb header_2_font_size_tablet=\u00bb40px\u00bb header_2_font_size_phone=\u00bb25px\u00bb header_2_font_size_last_edited=\u00bbon|desktop\u00bb locked=\u00bboff\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n

IM\u00c1GENES<\/h2>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb2_5″ _builder_version=\u00bb4.16″ custom_padding=\u00bb70px|||\u00bb custom_padding_tablet=\u00bb0px|||\u00bb custom_padding_phone=\u00bb0px|||\u00bb custom_padding_last_edited=\u00bbon|tablet\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_3,1_3,1_3″ _builder_version=\u00bb4.27.4″ global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb1_3″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_image src=\u00bbhttps:\/\/antxonbenito.es\/re.life\/wp-content\/uploads\/2026\/05\/Kandinski-Sesion1.jpg\u00bb alt=\u00bbVasili Kandinski al estilo fotogr\u00e1fico de Aleksander Rodchencko\u00bb title_text=\u00bbKandinski-Sesion1″ show_in_lightbox=\u00bbon\u00bb use_overlay=\u00bbon\u00bb overlay_icon_color=\u00bb#31d190″ _builder_version=\u00bb4.27.6″ border_width_all=\u00bb2px\u00bb border_color_all=\u00bbrgba(51,51,51,0.12)\u00bb box_shadow_style=\u00bbpreset1″ global_colors_info=\u00bb{}\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_3″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_image src=\u00bbhttps:\/\/antxonbenito.es\/re.life\/wp-content\/uploads\/2026\/05\/Kandinski-Sesion2.jpg\u00bb alt=\u00bbErik el rojo fotografiado al estilo de Frank Hurley \u00bb title_text=\u00bbKandinski-Sesion2″ show_in_lightbox=\u00bbon\u00bb use_overlay=\u00bbon\u00bb overlay_icon_color=\u00bb#31d190″ _builder_version=\u00bb4.27.6″ border_width_all=\u00bb2px\u00bb border_color_all=\u00bbrgba(51,51,51,0.12)\u00bb box_shadow_style=\u00bbpreset1″ global_colors_info=\u00bb{}\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_3″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_image src=\u00bbhttps:\/\/antxonbenito.es\/re.life\/wp-content\/uploads\/2026\/05\/Kandinski-Sesion3.jpg\u00bb alt=\u00bbVasili Kandinski al estilo fotogr\u00e1fico de Aleksander Rodchenko
\n \u00bb title_text=\u00bbKandinski-Sesion3″ show_in_lightbox=\u00bbon\u00bb use_overlay=\u00bbon\u00bb overlay_icon_color=\u00bb#31d190″ _builder_version=\u00bb4.27.6″ custom_padding=\u00bb0px|||||\u00bb border_width_all=\u00bb2px\u00bb border_color_all=\u00bbrgba(51,51,51,0.12)\u00bb box_shadow_style=\u00bbpreset1″ global_colors_info=\u00bb{}\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_3,1_3,1_3″ _builder_version=\u00bb4.27.4″ global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb1_3″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_image src=\u00bbhttps:\/\/antxonbenito.es\/re.life\/wp-content\/uploads\/2026\/05\/Kandinski-Sesion4.jpg\u00bb alt=\u00bbVasili Kandinski al estilo fotogr\u00e1fico de Aleksander Rodchenko\u00bb title_text=\u00bbKandinski-Sesion4″ show_in_lightbox=\u00bbon\u00bb use_overlay=\u00bbon\u00bb overlay_icon_color=\u00bb#31d190″ _builder_version=\u00bb4.27.6″ border_width_all=\u00bb2px\u00bb border_color_all=\u00bbrgba(51,51,51,0.12)\u00bb box_shadow_style=\u00bbpreset1″ global_colors_info=\u00bb{}\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_3″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_image src=\u00bbhttps:\/\/antxonbenito.es\/re.life\/wp-content\/uploads\/2026\/05\/Kandinski-Sesion5.jpg\u00bb alt=\u00bblas manos de La Malinche al estilo de la fot\u00f3grafa Mariana Yampolsky\u00bb title_text=\u00bbKandinski-Sesion5″ show_in_lightbox=\u00bbon\u00bb use_overlay=\u00bbon\u00bb overlay_icon_color=\u00bb#31d190″ _builder_version=\u00bb4.27.6″ border_width_all=\u00bb2px\u00bb border_color_all=\u00bbrgba(51,51,51,0.12)\u00bb box_shadow_style=\u00bbpreset1″ global_colors_info=\u00bb{}\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_3″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_image src=\u00bbhttps:\/\/antxonbenito.es\/re.life\/wp-content\/uploads\/2026\/05\/Kandinski-Sesion6.jpg\u00bb alt=\u00bbVasili Kandinski al estilo fotogr\u00e1fico de Aleksander Rodchenko\u00bb title_text=\u00bbKandinski-Sesion6″ show_in_lightbox=\u00bbon\u00bb use_overlay=\u00bbon\u00bb overlay_icon_color=\u00bb#31d190″ _builder_version=\u00bb4.27.6″ custom_padding=\u00bb0px|||||\u00bb border_width_all=\u00bb2px\u00bb border_color_all=\u00bbrgba(51,51,51,0.12)\u00bb box_shadow_style=\u00bbpreset1″ global_colors_info=\u00bb{}\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.27.4″ global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_image src=\u00bbhttps:\/\/antxonbenito.es\/re.life\/wp-content\/uploads\/2026\/05\/reLife-35-Vasili-Kandinski.jpg\u00bb alt=\u00bbre:life 35: Vasili Kandinski con imagen de Aleksandr R\u00f3dchenko\u00bb title_text=\u00bbreLife 35 Vasili Kandinski\u00bb show_in_lightbox=\u00bbon\u00bb use_overlay=\u00bbon\u00bb overlay_icon_color=\u00bb#31d190″ _builder_version=\u00bb4.27.6″ border_width_all=\u00bb2px\u00bb border_color_all=\u00bbrgba(51,51,51,0.12)\u00bb box_shadow_style=\u00bbpreset1″ global_colors_info=\u00bb{}\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_image src=\u00bbhttps:\/\/antxonbenito.es\/re.life\/wp-content\/uploads\/2026\/05\/Vasili-Kandinski-b-n.jpeg\u00bb alt=\u00bbVasili Kandinski al estilo fotogr\u00e1fico de Aleksander Rodchenko \u00bb title_text=\u00bbVasili-Kandinski-b-n\u00bb show_in_lightbox=\u00bbon\u00bb use_overlay=\u00bbon\u00bb overlay_icon_color=\u00bb#31d190″ _builder_version=\u00bb4.27.6″ hover_enabled=\u00bb0″ border_width_all=\u00bb2px\u00bb border_color_all=\u00bbrgba(51,51,51,0.12)\u00bb box_shadow_style=\u00bbpreset1″ global_colors_info=\u00bb{}\u00bb sticky_enabled=\u00bb0″][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_3,1_3,1_3″ _builder_version=\u00bb4.27.4″ global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb1_3″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_image src=\u00bbhttps:\/\/antxonbenito.es\/re.life\/wp-content\/uploads\/2026\/05\/Kandinski-Sesion1b.jpg\u00bb alt=\u00bbVasili Kandinski al estilo fotogr\u00e1fico de Aleksander Rodchenko \u00bb title_text=\u00bbKandinski-Sesion1b\u00bb show_in_lightbox=\u00bbon\u00bb use_overlay=\u00bbon\u00bb overlay_icon_color=\u00bb#31d190″ _builder_version=\u00bb4.27.6″ hover_enabled=\u00bb0″ border_width_all=\u00bb2px\u00bb border_color_all=\u00bbrgba(51,51,51,0.12)\u00bb box_shadow_style=\u00bbpreset1″ global_colors_info=\u00bb{}\u00bb sticky_enabled=\u00bb0″][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_3″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_image src=\u00bbhttps:\/\/antxonbenito.es\/re.life\/wp-content\/uploads\/2026\/05\/Kandinski-Sesion2b.jpg\u00bb alt=\u00bbVasili Kandinski al estilo fotogr\u00e1fico de Aleksander Rodchenko \u00bb title_text=\u00bbKandinski-Sesion2b\u00bb show_in_lightbox=\u00bbon\u00bb use_overlay=\u00bbon\u00bb overlay_icon_color=\u00bb#31d190″ _builder_version=\u00bb4.27.6″ hover_enabled=\u00bb0″ border_width_all=\u00bb2px\u00bb border_color_all=\u00bbrgba(51,51,51,0.12)\u00bb box_shadow_style=\u00bbpreset1″ global_colors_info=\u00bb{}\u00bb sticky_enabled=\u00bb0″][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_3″ _builder_version=\u00bb4.27.4″ 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src=\u00bbhttps:\/\/antxonbenito.es\/re.life\/wp-content\/uploads\/2026\/05\/Kandinski-Sesion4b.jpg\u00bb alt=\u00bbVasili Kandinski al estilo fotogr\u00e1fico de Aleksander Rodchenko \u00bb title_text=\u00bbKandinski-Sesion4b\u00bb show_in_lightbox=\u00bbon\u00bb use_overlay=\u00bbon\u00bb overlay_icon_color=\u00bb#31d190″ _builder_version=\u00bb4.27.6″ hover_enabled=\u00bb0″ border_width_all=\u00bb2px\u00bb border_color_all=\u00bbrgba(51,51,51,0.12)\u00bb box_shadow_style=\u00bbpreset1″ global_colors_info=\u00bb{}\u00bb sticky_enabled=\u00bb0″][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_3″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_image src=\u00bbhttps:\/\/antxonbenito.es\/re.life\/wp-content\/uploads\/2026\/05\/Kandinski-Sesion5b.jpg\u00bb alt=\u00bbVasili Kandinski al estilo fotogr\u00e1fico de Aleksander Rodchenko \u00bb title_text=\u00bbKandinski-Sesion5b\u00bb show_in_lightbox=\u00bbon\u00bb use_overlay=\u00bbon\u00bb overlay_icon_color=\u00bb#31d190″ _builder_version=\u00bb4.27.6″ hover_enabled=\u00bb0″ border_width_all=\u00bb2px\u00bb border_color_all=\u00bbrgba(51,51,51,0.12)\u00bb box_shadow_style=\u00bbpreset1″ global_colors_info=\u00bb{}\u00bb sticky_enabled=\u00bb0″][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_3″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_image src=\u00bbhttps:\/\/antxonbenito.es\/re.life\/wp-content\/uploads\/2026\/05\/Kandinski-Sesion6b.jpg\u00bb alt=\u00bbVasili Kandinski al estilo fotogr\u00e1fico de Aleksander Rodchenko \u00bb title_text=\u00bbKandinski-Sesion6b\u00bb show_in_lightbox=\u00bbon\u00bb use_overlay=\u00bbon\u00bb overlay_icon_color=\u00bb#31d190″ _builder_version=\u00bb4.27.6″ custom_padding=\u00bb0px|||||\u00bb hover_enabled=\u00bb0″ border_width_all=\u00bb2px\u00bb border_color_all=\u00bbrgba(51,51,51,0.12)\u00bb box_shadow_style=\u00bbpreset1″ global_colors_info=\u00bb{}\u00bb sticky_enabled=\u00bb0″][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_4,1_4,1_4,1_4″ _builder_version=\u00bb4.27.4″ global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb1_4″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_image src=\u00bbhttps:\/\/antxonbenito.es\/re.life\/wp-content\/uploads\/2026\/05\/Kandinski.jpg\u00bb alt=\u00bbVasili Kandinski al estilo fotogr\u00e1fico de Aleksander Rodchenko \u00bb title_text=\u00bbKandinski\u00bb show_in_lightbox=\u00bbon\u00bb use_overlay=\u00bbon\u00bb overlay_icon_color=\u00bb#31d190″ _builder_version=\u00bb4.27.6″ hover_enabled=\u00bb0″ border_width_all=\u00bb2px\u00bb border_color_all=\u00bbrgba(51,51,51,0.12)\u00bb box_shadow_style=\u00bbpreset1″ global_colors_info=\u00bb{}\u00bb sticky_enabled=\u00bb0″][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_4″ 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Aleksandr R\u00f3dchenko,<\/span>
La mirada del adversario<\/strong><\/h2>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.27.5″ locked=\u00bboff\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_text _builder_version=\u00bb4.27.6″ text_font=\u00bb||||||||\u00bb text_font_size=\u00bb16px\u00bb text_line_height=\u00bb2em\u00bb text_orientation=\u00bbjustified\u00bb text_font_size_tablet=\u00bb15px\u00bb text_font_size_phone=\u00bb14px\u00bb text_font_size_last_edited=\u00bbon|phone\u00bb text_text_align=\u00bbjustify\u00bb global_colors_info=\u00bb{}\u00bb header_2_2_font_size_tablet=\u00bb42px\u00bb header_3_2_font_size_tablet=\u00bb42px\u00bb header_4_2_font_size_tablet=\u00bb42px\u00bb header_5_2_font_size_tablet=\u00bb42px\u00bb header_6_2_font_size_tablet=\u00bb42px\u00bb header_2_2_font_size_phone=\u00bb34px\u00bb header_3_2_font_size_phone=\u00bb34px\u00bb header_4_2_font_size_phone=\u00bb34px\u00bb header_5_2_font_size_phone=\u00bb34px\u00bb header_6_2_font_size_phone=\u00bb34px\u00bb header_2_2_font_size_last_edited=\u00bbon|tablet\u00bb header_3_2_font_size_last_edited=\u00bbon|tablet\u00bb header_4_2_font_size_last_edited=\u00bbon|tablet\u00bb header_5_2_font_size_last_edited=\u00bbon|tablet\u00bb header_6_2_font_size_last_edited=\u00bbon|tablet\u00bb header_2_3_font_size_tablet=\u00bb34px\u00bb header_3_3_font_size_tablet=\u00bb34px\u00bb header_4_3_font_size_tablet=\u00bb34px\u00bb header_5_3_font_size_tablet=\u00bb34px\u00bb header_6_3_font_size_tablet=\u00bb34px\u00bb header_2_3_font_size_phone=\u00bb28px\u00bb header_3_3_font_size_phone=\u00bb28px\u00bb header_4_3_font_size_phone=\u00bb28px\u00bb header_5_3_font_size_phone=\u00bb28px\u00bb header_6_3_font_size_phone=\u00bb28px\u00bb header_2_3_font_size_last_edited=\u00bbon|phone\u00bb header_3_3_font_size_last_edited=\u00bbon|phone\u00bb header_4_3_font_size_last_edited=\u00bbon|phone\u00bb header_5_3_font_size_last_edited=\u00bbon|phone\u00bb header_6_3_font_size_last_edited=\u00bbon|phone\u00bb header_2_4_font_size_tablet=\u00bb22px\u00bb header_3_4_font_size_tablet=\u00bb22px\u00bb header_4_4_font_size_tablet=\u00bb22px\u00bb header_5_4_font_size_tablet=\u00bb22px\u00bb header_6_4_font_size_tablet=\u00bb22px\u00bb header_2_4_font_size_phone=\u00bb18px\u00bb header_3_4_font_size_phone=\u00bb18px\u00bb header_4_4_font_size_phone=\u00bb18px\u00bb header_5_4_font_size_phone=\u00bb18px\u00bb header_6_4_font_size_phone=\u00bb18px\u00bb header_2_4_font_size_last_edited=\u00bbon|phone\u00bb header_3_4_font_size_last_edited=\u00bbon|phone\u00bb header_4_4_font_size_last_edited=\u00bbon|phone\u00bb header_5_4_font_size_last_edited=\u00bbon|phone\u00bb header_6_4_font_size_last_edited=\u00bbon|phone\u00bb header_2_5_font_size_phone=\u00bb16px\u00bb header_3_5_font_size_phone=\u00bb16px\u00bb header_4_5_font_size_phone=\u00bb16px\u00bb header_5_5_font_size_phone=\u00bb16px\u00bb header_6_5_font_size_phone=\u00bb16px\u00bb header_2_5_font_size_last_edited=\u00bbon|tablet\u00bb header_3_5_font_size_last_edited=\u00bbon|tablet\u00bb header_4_5_font_size_last_edited=\u00bbon|tablet\u00bb header_5_5_font_size_last_edited=\u00bbon|tablet\u00bb header_6_5_font_size_last_edited=\u00bbon|tablet\u00bb]<\/p>\n

Por qu\u00e9 Aleksandr R\u00f3dchenko es el fot\u00f3grafo ideal para representar a Vasili Kandinski<\/h2>\n

Hay una iron\u00eda hist\u00f3rica en elegir a R\u00f3dchenko para fotografiar a Kandinsky: fueron rivales. No en el sentido cort\u00e9s en que dos artistas del mismo per\u00edodo pueden tener visiones distintas. Fueron rivales en el sentido literal y documentado: compartieron instituci\u00f3n, debatieron en las mismas salas del INKhUK de Mosc\u00fa y en 1921 R\u00f3dchenko encabez\u00f3 el grupo que vot\u00f3 a Kandinsky fuera del instituto que \u00e9l mismo hab\u00eda fundado. El argumento de R\u00f3dchenko era que el arte espiritual de Kandinsky era un lujo de clase incompatible con las necesidades de la Revoluci\u00f3n. Kandinsky cogi\u00f3 sus cosas y se fue a la Bauhaus. Los dos siguieron trabajando. Nunca se reconciliaron p\u00fablicamente.<\/p>\n

Esa tensi\u00f3n es exactamente la raz\u00f3n por la que R\u00f3dchenko es el fot\u00f3grafo ideal para este n\u00famero.<\/p>\n

Porque fotografiar a alguien con quien se ha tenido un desacuerdo intelectual real no produce condescendencia ni hagiograf\u00eda. Produce atenci\u00f3n. R\u00f3dchenko sab\u00eda exactamente qu\u00e9 estaba mirando cuando miraba a Kandinsky: un hombre que hab\u00eda dado una respuesta distinta a la misma pregunta que \u00e9l se hab\u00eda hecho. Eso genera un tipo de mirada que no tiene equivalente en la fotograf\u00eda de encargo ni en la fotograf\u00eda de admiraci\u00f3n. Es la mirada de quien conoce el territorio desde dentro y ha llegado a conclusiones opuestas.<\/p>\n

Formalmente, la afinidad entre los dos es tan profunda como la distancia ideol\u00f3gica. R\u00f3dchenko y Kandinsky trabajaron con los mismos elementos: la diagonal como fuerza, el contraste entre formas como generador de tensi\u00f3n, la superficie bidimensional como espacio aut\u00f3nomo que no debe nada al mundo que representa. Kandinsky lleg\u00f3 a ese territorio disolviendo la representaci\u00f3n desde dentro, dejando que el color se desprendiera del objeto hasta que el objeto desaparec\u00eda. R\u00f3dchenko lleg\u00f3 al mismo territorio por el camino inverso: forzando la representaci\u00f3n hasta el l\u00edmite en que el \u00e1ngulo extremo, el contrapicado radical, la diagonal imposible convert\u00edan cualquier objeto reconocible \u2014una escalera, un edificio, un rostro\u2014 en una composici\u00f3n abstracta. El resultado visual es a veces indistinguible. La intenci\u00f3n era radicalmente distinta. Y esa diferencia, visible en cada imagen, es el comentario m\u00e1s preciso que puede hacerse sobre lo que separaba a los dos hombres.<\/p>\n

Hay adem\u00e1s una dimensi\u00f3n biogr\u00e1fica que ning\u00fan otro fot\u00f3grafo de la lista pod\u00eda ofrecer. R\u00f3dchenko estuvo en Mosc\u00fa en los a\u00f1os en que Kandinsky intent\u00f3 convencer a la Revoluci\u00f3n de que el alma importaba. Lo vio perder. Lo conoc\u00eda en su momento de mayor vulnerabilidad intelectual, cuando el proyecto del INKhUK se derrumbaba y la partida hacia Alemania se volv\u00eda inevitable. Una fotograf\u00eda de R\u00f3dchenko sobre Kandinsky no es una fotograf\u00eda de un artista famoso tomada por un fot\u00f3grafo famoso. Es el registro de una conversaci\u00f3n interrumpida que nunca se termin\u00f3 de tener.<\/p>\n

Por todo eso, las im\u00e1genes de este n\u00famero no ilustran a Kandinsky. Lo interrogan. Con el mismo rigor formal con que \u00e9l interrog\u00f3 al mundo visible y con la misma distancia cr\u00edtica con que R\u00f3dchenko interrog\u00f3 a todo aquello en lo que no cre\u00eda. El resultado es una mirada que ninguno de los dos habr\u00eda elegido voluntariamente para s\u00ed mismo, y que por esa raz\u00f3n es la m\u00e1s honesta de las posibles.<\/p>\n

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Elementos que definen el lenguaje fotogr\u00e1fico de Aleksandr R\u00f3dchenko:
El \u00e1ngulo lo es todo<\/strong><\/h2>\n

R\u00f3dchenko<\/strong> no fotografiaba el mundo. Lo reorganizaba. Cuando otros fot\u00f3grafos de su \u00e9poca buscaban el encuadre correcto \u2014el que reproduc\u00eda con fidelidad lo que el ojo humano ve\u00eda en condiciones normales\u2014, R\u00f3dchenko buscaba el encuadre imposible: el que el ojo nunca elegir\u00eda por s\u00ed solo porque requer\u00eda ponerse en un lugar donde nadie se pone. En el suelo. En el tejado. En el \u00e1ngulo de cuarenta y cinco grados que convierte una escalera en una diagonal pura y un rostro en una forma geom\u00e9trica. Su premisa era simple y radical: el punto de vista no es una elecci\u00f3n est\u00e9tica. Es una declaraci\u00f3n ideol\u00f3gica. Cambiar el \u00e1ngulo no es cambiar la perspectiva. Es cambiar el objeto.<\/p>\n

Su vocabulario formal es reconocible en cualquiera de sus im\u00e1genes y extraordinariamente coherente a lo largo de toda su carrera. La diagonal es su elemento estructural dominante: no como recurso decorativo sino como fuerza f\u00edsica, como tensi\u00f3n entre dos puntos que el encuadre no puede resolver. Donde otros fot\u00f3grafos constru\u00edan composiciones estables \u2014horizonte horizontal, figura centrada, equilibrio visual\u2014, R\u00f3dchenko constru\u00eda composiciones en estado de desequilibrio permanente. Sus im\u00e1genes no reposan. Empujan. El ojo entra en ellas y no encuentra d\u00f3nde detenerse porque la diagonal lo lleva siempre hacia el borde del encuadre, hacia el espacio que est\u00e1 fuera de la imagen.<\/p>\n

El contraste es su segundo elemento fundamental. R\u00f3dchenko trabajaba en blanco y negro con una radicalidad que iba m\u00e1s all\u00e1 de la limitaci\u00f3n t\u00e9cnica de su \u00e9poca: incluso cuando el color era posible, el blanco y negro le interesaba porque eliminaba la informaci\u00f3n accesoria y dejaba solo la estructura. Sus blancos son blancos absolutos. Sus negros son negros sin matiz. Entre los dos, una escala de grises usada con la misma econom\u00eda con que un arquitecto usa el espacio vac\u00edo: no como relleno sino como elemento activo que define la forma por contraste. La sombra en R\u00f3dchenko no es la ausencia de luz. Es una forma con la misma entidad que el objeto que la proyecta.<\/p>\n

El contrapicado y el picado extremos son su firma m\u00e1s reconocible y la m\u00e1s malentendida. No los usaba para hacer las cosas parecer m\u00e1s grandes o m\u00e1s peque\u00f1as, m\u00e1s monumentales o m\u00e1s insignificantes, aunque ese efecto existe. Los usaba porque desde esos \u00e1ngulos el objeto pierde su contexto habitual y se ve obligado a existir como pura forma en el espacio. Una chimenea fotografiada desde abajo deja de ser una chimenea y se convierte en un cilindro oscuro contra un cielo blanco. Un patio fotografiado desde arriba deja de ser un patio y se convierte en una composici\u00f3n de rect\u00e1ngulos y sombras. R\u00f3dchenko no destru\u00eda el referente: lo suspend\u00eda. Lo pon\u00eda entre par\u00e9ntesis el tiempo suficiente para que el ojo viera la forma antes de volver a ver el objeto.<\/p>\n

La geometr\u00eda subyace a todo su trabajo como principio de orden en un mundo que la Revoluci\u00f3n hab\u00eda declarado en construcci\u00f3n permanente. Tri\u00e1ngulos, c\u00edrculos, l\u00edneas paralelas, \u00e1ngulos rectos: R\u00f3dchenko los encontraba en todas partes porque los buscaba activamente, porque cre\u00eda que la estructura geom\u00e9trica del mundo visible era la verdad m\u00e1s profunda que la fotograf\u00eda pod\u00eda revelar. En ese sentido su trabajo es parad\u00f3jico: un arte que declara la muerte de la subjetividad individual y que sin embargo es completamente inconfundible, completamente personal, completamente suyo. Nadie m\u00e1s ve\u00eda el mundo desde ese \u00e1ngulo. Nadie m\u00e1s lo habr\u00eda pensado.<\/p>\n<\/div>\n<\/div>\n

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\n\t\t\t\t\tEntrevista<\/a>\n\t\t\t\t<\/div>\n\t\t\t<\/div>
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