[Fall 2023] These are images that disrupt, catch our attention, and thus intensify our gaze. What they show us is clear and precise, and yet there is something we can’t place, sometimes almost imperceptible, that encourages us to look more closely and ask more questions about the context of image production. So, what we are […]
[Summer 2023] The intimate is where we first experiment and affirm our own identity – an existential issue that plays out essentially between self and self. At the same time, such identification can occur only in interrelation with people with whom one has strong affinities. Identity is also a relationship with the other: what we […]
Walking in the city, travelling down country roads, discovering the country, exploring foreign capitals – in short, getting moving – we confront different perspectives, contextualize or a rm our values, and take the measure of the world we live in. Such mobility, such constant travels, are the basis for the works brought together here, which are rooted in the desire to show the underside of America, to invert the icons of planetary tourism, or to take stock of the hypertrophy of major urban centres.
Indigenous culture has long been oppressed in this country, but strong proud voices are now speaking out in public and are increasingly being heard. Here, we present three of these voices: they stand out for their use of photography as a central vehicle of their approach. Together, they offer a renewed vision of Indigenous identity, drawing on both tradition and contemporary realities and stamping a presence everywhere in the territory.
The title Against Nature might seem paradoxical, as the artists brought together for this issue’s thematic section are all defenders and lovers of nature and spend a good deal of time in it. But what their works reveal is a “naturality” thoroughly permeated by human activity and entirely shaped by it, implying that its fate is entirely in our hands.
The thematic section in this issue presents three exhibitions that show how photography can contribute to shaping a critical vision of the world. The first sets out to offer an overall sense of the changes affecting global civilization. The second contrasts traditional photography with its mutant, digital, and interactive form. The third is the career of a photography critic whose vision is fed by the act of collecting.
This issue features three artists, with three aesthetic positionings, who share an ironic distancing. One, more scholarly, builds on strata of cultural history; the second, more narrative, fashions, with small strokes, a self-fiction with existential echoes; the last, more direct, affirms the subjectivity of a framing, a gaze. What is it exactly about the visible and the invisible? What wisdom do we need to live better? And what do all these little things that are derailed say about the state of the world?
What do the most distant, wild, silent landscapes tell us? How do landscapes of our childhood, those that awoke us to the world, shape us? What reflections of our own future do we find in the chaos of urban sites? Landscapes are like mirrors, utterly shaped by human presence. The city is a direct extension of the social body and, similarly, all of nature is a construction of culture that becomes meaningful only through the human gaze.
The works in this special section address dimensions of human activity that have considerable significance in today’s globalized society in view of the role of technology, the use of energy resources, and respect for human rights. These complex works combine multiple voices to reflect ethical issues and their impacts on individuals and communities.
In this issue’s thematic section, we look at collective action in society. Against a background of social conflict and war, the artists evoke the impact of collective actions on the common good by re-examining and recontextualizing images plucked from the mass of media images that form our relationship with the world.