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Also see the artist's portfolio
I heard a story a few years ago about a nineteenth-century photographer. His entire body of work consisted of hundreds of glass-plate negatives that no one wanted when he died. Eventually, someone took the glass plates to make walls for a greenhouse. This article was originally published only in French. No translation is available. – Read the Summary Voir aussi le portfolio de l'artisteDepuis près de quinze ans, Georges Rousse investit des sites urbains désaffectés, voués à une démolition imminente, dans lesquels il réalise des anamorphoses en vue de leur dénouement photographique.  Thanks to the growing popularity of digital cameras, with their direct connectivity to computers, the number of images sent by e-mail and of photographs published on the network has been growing exponentially. By Francine Dagenais Authenticity as it relates to representation has always been associated with the concept of essence circumscribed, at least in part, by its opposite, non-essence. We have established, quite logically, marked differentiations between essence, purity, truth, and uniqueness, on the one hand, and fusion, hybridity, compromise, and multiplicity, on the other.
Also see the linked essay
The true, the false, the original, the copy, the authentic, the forgery; to distinguish them, evaluate them, then universalize the values – a problem that is almost insoluble, calling for responses that are multiple, mobile, and sometimes contradictory, depending on the civilization whose choices and rejections they govern.
Also see the artist's portfolio
The true, the false, the original, the copy, the authentic, the forgery; to distinguish them, evaluate them, then universalize the values – a problem that is almost insoluble, calling for responses that are multiple, mobile, and sometimes contradictory, depending on the civilization whose choices and rejections they govern.
Also see the linked essay
On m'a raconté, il y a quelques années, l'histoire d'un photographe du XIXe siècle. À sa mort, personne ne voulut de son fonds. L'ensemble de son travail était constitué de négatifs sur plaques de verre. Finalement, quelqu'un récupéra ses caisses de négatifs pour s'en faire une serre. Avec le temps, exposées au soleil, les images négatives inscrites sur ces plaques se sont effacées.
This article was originally published only in French. No translation is available.
Par Marc Olivier Rainville J'avais 17 ans lorsque j'ai lu pour la première fois Menaud maître draveur. J'ai écrit à l'auteur, porté par l'enthousiasme de l'adolescence, et il m'a fait l'honneur d'une réponse que je m'empresse de vous transmettre, 20 ans plus tard, avec l'espoir que ceux qui se prétendent nos chefs en prennent connaissance.  This article was originally published only in French. No translation is available.
Par Sophie Voillot Ça y est, le travail est commencé. J'ai appelé la sage-femme, j'ai appelé ma sœur, puis je n'ai plus eu personne à appeler... Toutes tes cinq minutes, un bourreau me frappe un grand coup de poing dans le dos de toutes ses forces. This article was originally published only in French. No translation is available.
Par Michel Julien Barrette Il ne faut pas chercher dans l'humour un quelconque effet comique, mais bien un état d'esprit permettant d'interpréter la réalité autrement, comme une sorte de jeu. - Maurice Girard, pataphysicien de Drummonville.
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