[Fall 2006]
SYN–, Hypothèses d’insertions, Hull/Gatineau, 2002 / LES VISITEURS DES ESPACES INTERSTITIELS, installation in situ. © SYN
Arni Haraldsson, Sans titre, de la série Follow the Blue Hats, 1997-2000 / L’ADEPTE DU DÉTOURNEMENT, épreuve couleur. © Arni Haraldsson
Mark Ruwedel, Devil’s Gate #4, épreuve argentique, 1997 / L’OBSERVATEUR DU PAYSAGE PERNICIEUX, avec l’autorisation de l’artiste et de la Presentation House Gallery. © Mark Ruwedel
Pavel Pavlov, Humber College, Toronto (détail), de la série Parking Lots / LE CONQUÉRANT DE LA NOUVELLE FRONTIÈRE, épreuve couleur, 2002. © Pavel Pavlov
Abstract
Since the nineteenth century, the rule for collecting photographic “landscapes” has allowed a certain “tyranny of the landscape” to endure and proliferate, making it so that the capturing of places and territories of the world could no longer be admitted without the mediation of photography. With a few observations on current art-photography practices, offering a short inventory of current landscape and geography themes, the author proposes that artists need to take a critical look at this phenomenon.