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637.More information
Do the new urban territories that sprang up under the postmodern glance really exist or are they simply the result of some kind of geographical imagination? What if our multiple identities pushed us to seek new territories to discharge our overflow of identities? In short, do we have too many identities for the territories that the postmodern eye allowed us to see? And, above all, has the way we look at our cities really change or is it still link to a modern perspective?
Keywords: cities, territories, identities, modernity, postmodernity, villes, territoires, identités, modernité, postmodernité
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638.More information
AbstractIn the installation Countenance (2001), Fiona Tan uses film to quote the archiving and photographing methods behind August Sander's photographic recension project Menschen des 20. Jahrhunderts (Men of the twentieth century). Like Sander, Tan compiles an impressive sample of portraits corresponding to various rubrics in a typology of professions and trades performed by Germans.Along with the recording of time passing, the change from one medium to another neutralizes any attempt to identify the typology as predominant over the phenomeno-logical experience of the image. At loose ends in front of the camera, the subjects are freed, even if momentarily, of the need to be socially accepted through their work. Although it does not erase singularities, this inactivity also constitutes a measurement of commonality between individuals.
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639.More information
SummaryAsselin recalls the various modern figures of the walker and the modalities of their aesthetic contemplation. The photographer bears a resemblance to the Baudelairean figure of the flâneur, torn between aestheticization of his marginality and the incontrovertible realities of the world of the marketplace. He is forced, a little like a ragpicker, to recycle the aesthetic values of his images for that marketplace.