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Also see the linked essay
In 2009, the Three Gorges Dam will have flooded hundreds of square kilometres in central China. Chinese artist Yang Yi will see his hometown, Kaixian, being submerged during the last phase of the project.  Have you heard of Kaixian? It’s a charming tourist site if ever there was one! But to visit, you’ll have to replay it, since the town is now under the waters of the Yangzi. By Jacques Doyon In this issue, we bring together images testifying to the impacts of accelerated modernization in today’s China. The photographers who made them have varying degrees of professional experience linked to commissions for the media, corporations, or advertising.  George Legrady’s recent Cell Tango project consists of a dynamically growing archive of cell-phone images, associated with indexical terms. When exhibited as a wall projection, the artwork unfolds a galaxy of images and the textual structure of their interaction.  Since he began his photographic practice, George Legrady has been interested in the fate of images and their detachment from the “real,” first through strictly photographic methods, then, starting in the mid-1980s, through digital techniques.  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.  My father, like many in his generation,1 was a big fan of family photographs. Anything and everything was an excuse to take “slides,” as he called them. We were living in Quebec City, and, aside from the pictures taken at Christmas and on summer trips to Maine,  This article was originally published only in French. No translation is available. VOX, centre de l'image, Montréal 26 janvier – 15 mars, 2007
 Cicero Galerie for Political Photography, Berlin, Germany November 20, 2007 – January 18, 2008
 Produced in 2005–06, Waiting For High Water is the latest instalment of Jana Sterbak’s video projects with Stanley as camera-dog. Through a canine view of Venice, this work suggests a completely new perspective on this pre-eminent tourist destination.  The videograms reproduced here are excerpted from Waiting for High Water. Let’s start with a clear, succinct description of the piece by Catherine Bédard, curator of the exhibition:  This article was originally published only in French. No translation is available. Voir aussi l'article reliéLes œuvres les plus récentes de Joan Fontcuberta constituent un corpus intitulé Datascapes qui comprend deux séries distinctes : les Orogenèses et les Googlegrammes. Ces séries proposent une analyse approfondie des systèmes de production et de circulation des images numériques.  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 le portfolio de l'artisteMontagnes arides ou aux sommets couverts de glace et de neige. Promontoires rocheux à peine perceptibles dans leur halo gazeux et leurs brumes montantes. Hauteurs au sein desquelles des glaciers ou rivières ou chutes éphémères forcent leur chemin. Paysages crevassés ou à la végétation rampante et timide.  German photographer Claudia Fährenkemper’s powerful black and white photomicrographs are a contemporary expression of the centuries-old human need to know what lies beneath the surface of things.  An interest in the aesthetic and decorative potential of the photomicrograph was expressed as early as 1858, when an observer noted, “Any one who will look at a set of illustrations of the Diatomaceae or Desmidiaceae will at once perceive the suitableness of many of their forms for decorative purposes.”1
 Cheryl Sourkes has been surfing and capturing webcam images for several years, and her work serves to articulate for viewers some of the ponderous questions that emerge in seeing the world differently through this particular technology.  Perusing webcams online is perhaps, at least superficially, far less interesting than one might imagine. Tracking down streaming images from all over the world is a rather mechanical task, and the images and locations that are found with varying degrees of ease seem to blur together at some point, breeding a kind of armchair-tourism ennui.  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. |
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