Ciel Variable 39 - LAuthenticity 1
EDITORIAL - Authenticity
By Franck Michel
This issue of CVphoto is the first in a trilogy devoted to the overarching notion of authenticity. The growing use of digital technologies in the various fields of photography, and the upheavals this has caused, has made this debate particularly timely and essential. In this issue, we will explore more specifically the question of authenticity through the reversal of the objectivity/subjectivity paradigm.
POINT DE VUE - Valeur d’échange de l’authenticité
This article was originally published only in French. No translation is available.
Par Michaël LaChance
J’ai assez affirmé que l’authenticité n’existait pas, il faudrait que je tente de dire comment elle est possible.
PORTFOLIO - Arnaud Maggs, Notification
We live in a time when all communication happens under a cloud of erasure. We are conditioned instinctively to call into question vested interests and hidden, undisclosed motives. In this cloud of postmodern skepticism, words and representations are equivocal – until proven innocent. We negate before we can feel safe to affirm.
Convergence sans coïncidence
We live in a time when all communication happens under a cloud of erasure. We are conditioned instinctively to call into question vested interests and hidden, undisclosed motives.
PORTFOLIO - P.M. Hoblargan, Premier album et Dernier album
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.
P.M. Hoblargan, Premier album 1855-1885 et Dernier album 1885-1923
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.
PORTFOLIO - Alain Laframboise, Stilleven
Alain Laframboise’s photographic stillevens are imbued with the specific rhetoric of the hyper-codified genre that is still-life: the deliberate placement of inanimate and enigmatic objects; directional, dramatic, theatrical illumination (chiaroscuro);
The Disquieting Strangeness of Immobile object
For me, there is only one criterion for telling if a photograph is good: if it is unforgettable.
Brassaï
