La maladie comme métaphore
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Dans ces deux essais complémentaires, à partir de métaphores suscitées par la tuberculose, le cancer ou le sida, Susan Sontag propose une réflexion sur la propension qu’a l’homme à s’emparer d’une maladie pour y greffer les métaphores les moins innocentes. Nourrie de culture historique, littéraire, philosophique, cette analyse embrasse sources médicales ou psychiatriques(...)
La maladie comme métaphore
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Dans ces deux essais complémentaires, à partir de métaphores suscitées par la tuberculose, le cancer ou le sida, Susan Sontag propose une réflexion sur la propension qu’a l’homme à s’emparer d’une maladie pour y greffer les métaphores les moins innocentes. Nourrie de culture historique, littéraire, philosophique, cette analyse embrasse sources médicales ou psychiatriques et textes littéraires, de l’Antiquité aux temps modernes. Sontag démystifie les fantasmes idéologiques qui démonisent certaines maladies et souligne à quel point le sida a réactivé le spectre de l’épidémie dont le monde moderne se croyait débarrassé. Certains en font la « peste » de notre temps, le châtiment infligé par Dieu aux groupes « déviants ». En dénonçant ce catastrophisme, Susan Sontag propose une réflexion extraordinaire d’intelligence. En creux, c’est l’Histoire de nos sociétés qui est donnée à lire.
Théorie de la photographie
Devant la douleur des autres
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Dans cet essai rédigé au lendemain des attentats du 11 Septembre, Susan Sontag pose un regard neuf sur les emplois de la photographie devant les souffrances de la guerre. Près de quatre décennies après Sur la photographie, elle dessille une fois de plus les yeux de ses contemporains en s’interrogeant sur nos façons de voir et de représenter le monde. Les images « chocs »,(...)
Devant la douleur des autres
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Dans cet essai rédigé au lendemain des attentats du 11 Septembre, Susan Sontag pose un regard neuf sur les emplois de la photographie devant les souffrances de la guerre. Près de quatre décennies après Sur la photographie, elle dessille une fois de plus les yeux de ses contemporains en s’interrogeant sur nos façons de voir et de représenter le monde. Les images « chocs », omniprésentes, nous rapprochent-elles ou nous éloignent-elles de la réalité ? Nous aident-elles à comprendre les souffrances d’autrui, ou érigent-elles au contraire, entre notre oeil et ce qu’il voit, un mur d’indifférence ? Susan Sontag retrace l’évolution de la sensibilité collective face aux visions d’horreur auxquelles l’humanité ne cesse de se confronter, des tableaux de Goya aux charniers du Rwanda ou de Sarajevo en passant par les photographies de la guerre de Sécession, des tranchées de Verdun et des camps de la mort.
Théorie de la photographie
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This book deals with objects of migration on the central Mediterranean route. Traces of this phenomenon include objects left more or less voluntarily by migrant people along their journey, particularly upon arrival on the shores of Lampedusa and Sicily. Since 2013, hundreds of these objects have been retrieved by Massimo Ricciardo with his colleague Thomas Kilpper, and(...)
Encounters in an archive: Objects of migration / photo-objects of art history
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This book deals with objects of migration on the central Mediterranean route. Traces of this phenomenon include objects left more or less voluntarily by migrant people along their journey, particularly upon arrival on the shores of Lampedusa and Sicily. Since 2013, hundreds of these objects have been retrieved by Massimo Ricciardo with his colleague Thomas Kilpper, and are now part of the “Objects of Escape – Inventories of Migration’’ archive. These objects are functional to the journey, such as biscuit tins and water bottles, passports and nautical charts, but they also relate to identity and memory, such as family photographs, diaries, or a handful of earth from their homeland. In the installation “Objects of Migration, Photo-Objects of Art History: Encounters in an Archive,” Ricciardo creates a dialogue between selected objects from this archive and structures from the KHI Photothek on the other. The installation, which led to this book, raises a series of highly relevant questions about these ‘talking’ objects: who do they belong to? Are they part of the cultural heritage? What would be the appropriate artistic and curatorial approach if one decided to collect, archive, exhibit, transform them?
Théorie de la photographie
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Many of the images that have came to sum up the twentieth century, the most turbulent in human history, belong to the realist tradition of photography. At once objective and polemical, disengaged and yet concerned, the documentary photograph has not merely recorded, but also shaped the way we see our world. Over 200 photographs are reproduced in this(...)
Cruel and tender : the real in the twentieth-century photography
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Many of the images that have came to sum up the twentieth century, the most turbulent in human history, belong to the realist tradition of photography. At once objective and polemical, disengaged and yet concerned, the documentary photograph has not merely recorded, but also shaped the way we see our world. Over 200 photographs are reproduced in this book,together with essays and biographies of the photographers featured.
Théorie de la photographie
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Bruce Bernard was the leading picture editor of his generation, celebrated for his visual taste, knowledge and judgement of photography. In the 1990s, he was commissioned by a private client to assemble a photographic collection and set about acquiring a selection of images that represented, to his unique eye, the best work in the medium from the whole history of(...)
One hundred photographs : a collection by Bruce Bernard
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Bruce Bernard was the leading picture editor of his generation, celebrated for his visual taste, knowledge and judgement of photography. In the 1990s, he was commissioned by a private client to assemble a photographic collection and set about acquiring a selection of images that represented, to his unique eye, the best work in the medium from the whole history of photography, ranging from nineteenth-century pioneers like Muybridge and Fox Talbot to giants of the twentieth century like André Kertész, Man Ray, Brassai and Robert Frank. These one hundred photographs are the result: he does not attempt to cover every period or every notable artist, but rather includes only images that ‘truly stimulated and satisfied … and seemed could permanently continue to do so’. In other words what he considered to be classics.
Théorie de la photographie
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In "Killing ground", John Huddleston embarks on a photographic odyssey through the modern-day landscape of the Civil War. He pairs historical images of the conflict from sixty-two battle sites across the nation -battle-field scenes, soldiers living and dead, prisoners of war, civilians, and slaves - with his own color photographs of the same locations a century and a half(...)
Théorie de la photographie
avril 2002, Baltimore / London
Killing ground : photographs of the Civil War and the changing American landscape
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In "Killing ground", John Huddleston embarks on a photographic odyssey through the modern-day landscape of the Civil War. He pairs historical images of the conflict from sixty-two battle sites across the nation -battle-field scenes, soldiers living and dead, prisoners of war, civilians, and slaves - with his own color photographs of the same locations a century and a half later, always taken at the same time of year, often at the same hour of the day. Sometimes Huddleston's lens reveals a department store or fast-food restaurant carelessly built on hallowed ground; other images depict overgrown fields or well-manicured parks. When constrasted with their mid-nineteenth-century counterparts, these indelible images challenge the meaning of place in American culture and the evolving legacy of the Civil War in our national memory.
Théorie de la photographie
livres
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Photographs made in Egypt by the American photographers Linda Connor, Lynn Davis, Tom van Eynde, and Richard Misrach.
The angle of repose : four American photographers in Egypt
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Photographs made in Egypt by the American photographers Linda Connor, Lynn Davis, Tom van Eynde, and Richard Misrach.
livres
janvier 1900, Chicago
Théorie de la photographie
livres
Remake Berlin
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Eight international artists and six international writers were invited to work on the theme of Berlin for the project "Remake Berlin". They have approached the city cautiosly, laconically capturing the violent changes, and commenting on some of the Berliners' characteristics and peculiarities with a touch of irony. Together, all these subjective views of the city and its(...)
Remake Berlin
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Eight international artists and six international writers were invited to work on the theme of Berlin for the project "Remake Berlin". They have approached the city cautiosly, laconically capturing the violent changes, and commenting on some of the Berliners' characteristics and peculiarities with a touch of irony. Together, all these subjective views of the city and its phenomena combine to draft "one" version of a portrait of Berlin.
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mars 2002, Zurich
Théorie de la photographie
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The advent of photography opened up new worlds to 19th century viewers, who were able to visualize themselves and the world beyond in unprecedented detail. But the emphasis on the photography's objectivity masked the subjectivity inherent in deciding what to record, from what angle and when. This text examines this inherent subjectivity. Drawing on photographs that come(...)
Théorie de la photographie
février 2002, London / New York
Picturing place : photography and the geographical imagination
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The advent of photography opened up new worlds to 19th century viewers, who were able to visualize themselves and the world beyond in unprecedented detail. But the emphasis on the photography's objectivity masked the subjectivity inherent in deciding what to record, from what angle and when. This text examines this inherent subjectivity. Drawing on photographs that come from personal albums, corporate archives, commercial photographers, government reports and which were produced as art, as record, as data, the work shows how the photography shaped and was shaped by geographical concerns.
Théorie de la photographie
livres
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"Blink" provides an up-to-the-minute, global overview of contemporary photography. "Blink" contains breadth of ideas, forms and approaches influencing photography today. It covers all types of work, from art to photojournalism, fashion to digital photography. A landmark event in the photography world, "Blink" presents the work of 100 photographers. They have been(...)
Blink : 100 photographers, 010 curators, 010 writers
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"Blink" provides an up-to-the-minute, global overview of contemporary photography. "Blink" contains breadth of ideas, forms and approaches influencing photography today. It covers all types of work, from art to photojournalism, fashion to digital photography. A landmark event in the photography world, "Blink" presents the work of 100 photographers. They have been selected by 10 world class curators, each proposing 10 photographers who they consider to have emerged and broken new ground in the last five years. Each of the photographers (arranged A–Z) is featured over two double-page spreads, which show numerous examples of their work alongside an explanatory text by the selecting curator and biographical information about the photographer. The curators have also chosen texts by 10 writers, ranging from fiction to journalism, which they feel illustrate the cultural context surrounding the photography.
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avril 2002, London
Théorie de la photographie