 This article was originally published only in French. No translation is available. Voir aussi l'article reliéLa pratique de Bill Vazan est généralement associée au land art et aux montages photographiques. Vers la fin des années 1960, il a aussi réalisé des œuvres conceptuelles sous la forme d'itinéraires à pied et en voiture, de tours en autobus ou de circuits en métro. Cette entreprise de nature performative prend la forme de séquences photographiques, de cartes retraçant le parcours accompli et de notations.  The title was as brief and streamlined as the piece itself, called simply Worldline. With this unearthly 1971 project, based on the ultimate invisibility of pure line and on its infinite conceptual reach, Montreal artist Bill Vazan truly launched his career.  This article was originally published only in French. No translation is available. -Read the summary
En août 1969, William « Bill » Vazan construit un croissant de pierres sur une plage de l’île du Prince-Édouard pendant qu’un co-conspirateur, Ian Wallace, fait de même sur une plage de la Colombie-Britannique1.  This article was originally published only in French. No translation is available. - Read summary
Plusieurs pratiques photographiques des dernières années ont opté pour une vie numérique instable et une présence fugitive sur écran en s’associant à l’univers mouvant du Web. This article was originally published only in French. No translation is available. Voir aussi l'article reliéLes tableaux photographiques d’Annie Baillargeon sont structurés en fonction de motifs géométriques, emblématiques ou funéraires produits par la démultiplication de sa propre image. This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi l'article reliéTu te rappelles c’est par l’intermédiaire d’un agencement organisé que tout a commencé. Cela m’embarrasse un peu de te le montrer car cette prouesse orchestrée a pris une ampleur fabulée dans notre imaginaire.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéManon De Pauw explore et détourne les contraintes fonctionnelles associées à un lieu ou à un système de communication. Le corps constitue le principal vecteur de cette exploration, avec quelques éléments récurrents, comme le rectangle blanc ou le cercle,  This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artisteLe temps encadre notre réalité et lui impose les limites de ses lois. Dans tous ses attributs, extensible, lent, extrêmement rapide, soudain, prévisible, déconcertant, fou, trop docile, éternel, fuyant, il demeure invariablement impassible.  This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artisteDans un ouvrage de 1913 qui portait sur le photodynamisme, Anton Giulio Bragaglia, artiste futuriste italien, affirmait pouvoir contribuer aux études sur le mouvement qui florissaient à cette époque.
 Jason Salavon employs computers and code to transform material appropriated from popular culture. His work ranges from digital video installations to Web-based interactive works and works on computers to create paintings that blur the line between manmade and machine aesthetic.  Chicago-based contemporary artist Jason Salavon (b. 1970) employs computers and code to transform material appropriated from popular culture and imbues those sources with nostalgia.  Frame-by-frame analysis confirms that beneath the apparent non-movement of the plant world, the most awful and violent things are brewing: heart-rending torsions, horrible intertwinings, endless growth . . . such is Man. By Cheryl Simon The photo-based installation projects featured in this special issue of Ciel variable exhibit a paradoxical sense of temporality. Although all are presented as time-based installations, hence moving imagery, the prevailing temporal logic characterizing this body of work is that of stillness. For this reason, the temporal sensibility here is more akin to that generally attributed to photography.
Also see the linked essay
On the very threshold of immobility, Adad Hannah’s works are initially interpreted by our eyes as being static images – only to eventually reveal subtle movements that betray their nature as works of video rather than of still photography.
Also see the artist's portfolio
Adad Hannah’s Stills are described on the artist’s Web site as “real time video projected tableaux vivants.”1 The three couplets within that description each evoke distinct histories and complexes of artistic concerns.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéEn compilant des images du début du cinéma qui présentent des corps étrangement figés devant l’objectif, Fiona Tan investit une zone grise entre le film et la photographie.
 This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artisteDans la monobande Facing Forward (1998-1999) ou l’installation Thin Cities (1999-2000), Fiona Tan compile des segments de films tournés dans les années 1910 et 1920 par les colonisateurs néerlandais montrant des sujets immobilisés devant le cinématographe comme s’ils posaient pour un photographe.
Also see the linked essay
Each the product of a very particular combination of media generated imagery, Tetsuomi Anzai’s mixed media installation works offer unique perspectives on a world increasingly apprehended through pictures.
 No one image can replace the intuition of duration, but many diverse images, borrowed from very diverse orders of things, may, by the convergence of their action, direct consciousness to the point where there is a certain intuition to be seized. Henri Bergson1  Using long, continuous video takes and the static camera position of the still photographer to capture what at first appears to be inert subject matter–geological formations, deserted highways and other abandoned sites—Stan Denniston’s ‘fixed focus’ movies invoke an uncanny temporal sensibility. |
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