ceci n'est pas une pipe

<p><strong>Resumen</strong></p><p>El texto propone una reflexi&oacute;n descriptiva de los procesos de descontextualizaci&oacute;n de los objetos propios de la cultura moderna, iniciando el recorrido en las im&aacute;genes del Museo Etnogr&aacute;fico del Tocadero de Par&iacute;s, fundado en 1878 y&nbsp; transformado en el Museo del Hombre en 1930. La tesis del art&iacute;culo es desvelar los mecanismos culturales y productivos de descontextualizaci&oacute;n y re‐contextualizacion propios del siglo XX, usando como soporte las im&aacute;genes originales del Museo Etnogr&aacute;fico, de los estudios de artistas como Braque, Breton o Picasso, y de espacios urbanos de la &eacute;poca (Pasajes y Galer&iacute;as).<br />Todas estas fotograf&iacute;as tienen algo en com&uacute;n: nos ofrecen espacios interiores e interiorizados, en los que los objetos se&nbsp; agrupan y flotan con sorprendente autonom&iacute;a. Son los&nbsp; fragmentos de otras culturas, de otros sistemas, que ahora se &lsquo;coleccionan&rsquo; unos junto a otros como fragmentos. Ajenos a su funci&oacute;n original, descontextualizados de su entorno original,&nbsp; ocupan el espacio obligados a participar en un sistema de&nbsp; relaciones que los objetualiza, los hace opacos, los separa de su origen y de su &lsquo;naturaleza&rsquo;. De una funci&oacute;n activa &ndash;cultural,&nbsp; semi&oacute;tica, social, etc.‐ han pasado a una funci&oacute;n pasiva. Han perdido el significado que les era propio, y ahora esperan que el observador les dote de uno nuevo fruto de la relaci&oacute;n construida entre ambos, los sit&uacute;e en un nuevo lugar.<br />Esta t&eacute;cnica del &lsquo;extra&ntilde;amiento y la fragmentaci&oacute;n&rsquo; provoca el&nbsp; desmembramiento que subyace en el "sistema de los objetos" propio de nuestro tiempo, en el que la coherencia de los&nbsp; sistemas de relaciones (propia de cada lugar) se ha sustituido por la exuberancia de la producci&oacute;n y la simulaci&oacute;n de la experiencia.</p><p><strong>Palabras clave</strong></p><p>descontextualizaci&oacute;n, im&aacute;genes, mecanismos, colecci&oacute;n, lugar</p><p><strong>Abstract</strong></p><p>This article proposes a descriptive reflection on the processes of decontextualization of objects pertaining to modern culture. It starts its journey with images of the Ethnographic Museum at the Trocadero in Paris, founded in 1878 and transformed into the&nbsp; Museum of Man in 1930. The thesis of the article is about&nbsp; uncovering the cultural and productive mechanisms of&nbsp; decontextualization and re‐contextualization characteristic of the 20th century, based on the original images of the Ethnographic Museum and of artists such as Braque, Breton or Picasso, along with images of urban spaces from that particular period of time&nbsp; (galleries and arcades).<br />All these photographs have something in common: they offer us interior and interiorized spaces in which objects are grouped together and float with a surprising degree of autonomy. They&nbsp; are fragments from other cultures, other systems, that are now &ldquo;collected&rdquo; together next to other fragments. Alien to their&nbsp; original function, decontextualized from their original&nbsp; environment, they now share a common space, forced to&nbsp; participate in a system of relations that turns them into objects, makes them opaque, and separates them from their origin and&nbsp; &ldquo;nature.&rdquo; From an active role (cultural, semiotic, social, etc.), they have gone to play a passive role. They have lost the meaning that belonged to them, and now they wait for the&nbsp; observer to endow them with the new fruit of the relationship created between them, which will take them to a new place.<br />This technique of 'strangeness and fragmentation' causes the dismemberment underlying "system objects" of our own time, in which coherence of relations systems (specific to each place) has been replaced by the exuberance of simulating production and&nbsp; experience.</p><p><strong>Key words</strong></p><p>decontextualization, images, mechanisms, collection, place</p>