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With the emergence of digital technology, photography has become a primary means of relating to ourselves and the reality that we inhabit. It is standard practice now to catalogue each and every experience in an infinite series of photographic images, without however considering the consequences of this practice and the fragility of our perception. Given the nature of photography and its expanded technological possibilities, it has become increasingly difficult to distinguish between reality and fiction. Plagued by uncertainty before lived experience, the subject is overcome with a sense of the uncanny and is forced to confront his darkest secrets and his deepest fears. Drawing on Freud’s definition of the uncanny, my talk explores the mechanisms through which photography presents itself today as a privileged site for the expression of this unsettling eeriness, illustrated most pointedly in Sally Mann’s series Immediate Family (1984-1994) and Moira Ricci’s 20.12.53-10.08.04 (2004-2014). Exploiting the medium’s capabilities, including its ability to evoke a troubling response to an apparent comforting and familiar scene, these representations of both family and childhood betray a disquieting side in their expression of the uncanny.

Navegando en dualidad. La fotografía como el lugar de lo siniestro