This exploration of the works of various authors and artists will bring us to a philosophical contemplation of the portrait as a heterotopic space. On one hand, a portrait represents the faces of the self and others, embodying both individuality and collectivity. On the other hand, the space within the conventional frame of a portrait transforms from a mere representation of documented reality to a co-constructed and reified form of expression. The article is divided in three parts. The first part sinks into Lotman’s epistemic groundwork on culture, space, and especially art as a founding philosophical and analytical reference and will also outline the relationship and difference between the semiophere and the facesphere. The second part focuses on establishing a relationship between the facesphere and the heterotopic idea of space and portrait genre. Here the article explores Michael Foucault’s thought in relation to heterotopic space, later proposed in association with the space of the portrait. The third part is devoted to establishing relationships between the theoretical background and the analysis of case studies belonging to the portrait genre selected from photographic works in “Living Pictures: Photography in Southeast Asia,” an exhibition at the National Gallery in Singapore. I will conclude with some brief considerations to summarize the path taken.

中文翻译：

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异托邦和面孔：“活生生的图片：东南亚的摄影”

对不同作家和艺术家作品的探索将带我们对肖像作为异位空间进行哲学思考。一方面，肖像代表了自我和他人的面孔，体现了个性和集体。另一方面，肖像传统框架内的空间从单纯记录现实的再现转变为共同构建和具体化的表达形式。文章分为三个部分。第一部分深入探讨洛特曼关于文化、空间、尤其是艺术的认知基础，作为奠基性的哲学和分析参考，还将概述半球体和面球体之间的关系和区别。第二部分侧重于建立面部球体与空间和肖像类型的异位观念之间的关系。本文探讨了迈克尔·福柯关于异位空间的思想，后来提出与肖像空间相关的思想。第三部分致力于建立理论背景与案例研究之间的关系，这些案例研究选自新加坡国家美术馆“生动的图片：东南亚摄影”展览中的摄影作品，属于肖像类型。最后，我将通过一些简短的考虑来总结所采取的道路。