The magic lantern was a device to project images created in the seventeenth century. It was a precedent of the cinematograph and this was used for scientific recreations, popular entertainment and it was one of the emerging mass media. Magic lantern sessions created an imaginary that built the western visual culture and with it the way we relate to the world.
This work is an archeology of photographic support used in the latest magic lanterns: 10x9 cm. glass slides dated between 1890 and 1930, usually they were hand painted, like the plates used in this project. The slides used in this project are landscapes of the Holy Lands in the Old and New Testament, where the ethnographic value of the photographs overlaps with biblical imaginary.
In Magic Lantern, the picture layer of this plates is digitally extracted, watercolor is isolated from the photography, showing and enlarging the tiny brushstrokes. In this way we are placed between the layer of the manual gesture and the mechanical photographic layer, it showing how the western eye builds his imaginary on the false objectivity photographic. Because the landscapes don't arise from the direct experience of nature, they arise from the experience of previous landscapes.
We don't know who precedes whom, the photographic image to the pictorial or viceversa; finally our image of the world is a copy of a copy, an overlap layers where there isn`t referent.
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