Reproduction aims at inner division, every act is conceived and carried out in order to mirror itself in itself 'to the point of its own annihilation'.
Amelunxen, Hubertus von.
For what is meant by freedom but that the rendering of the sense is no longer to be regarded as all-important?
Amelunxen, Hubertus von.
For the picture to be identical would mean that the object had no significance beyond itself. Identicalness, Topffer said, is the indirect and therefore verifiable product of the daguerreotype process, whereas resemblance is the freely expressive sign of something other than the image. Truthfulness, then, is to be found not in the identical picture but in the picture which gives a resemblance. This traditional distinction shows the dilemma of photography, which was not permitted to depict what it could depict, but was unable to depict what people demanded of it.
Amelunxen, Hubertus von.
In the face of epoch-making technological changes, photography's artistic translation and its social utilisation require that both the medium and the concept be re-considered. The whole thinking behind and the practice of photography ask for other possibilities of translation.
Amelunxen, Hubertus von. "Photography After Photography,The Terror of the Body in Digital Space." in: HyperArt.
The artificial is at the centre of reality. Reality is "a schizophrenic intoxication of serial signs which know no imitation, no sublimation, which are locked up in their repetition - who could say where the reality of that which they simulate is?"
Amelunxen, Hubertus von. "Photography After Photography,The Terror of the Body in Digital Space." in: HyperArt.
In Baudrillard's "schizophrenic intoxication" the artist becomes a psychotic who tries to compensate for his loss by making a fetish of the Other. Baudrillard's simulation theory means the obliteration of the difference between the copy (German: Nachbild) and the original model (German: Vorbild), between a trace preceding the representation, and the referential restoration of the reproduction to a world outside the image.
Amelunxen, Hubertus von. "Photography After Photography,The Terror of the Body in Digital Space." in: HyperArt.
We continue to make a link between the image and the real, the actual 'has been there' of the body in front of the camera. But a doubt, a concern, a fear has crept into our understanding of these images. And this fear intrudes on our self-evident notion of representation and recollectionÉ Therein lies the fascination of the photographic medium, that which is so captivating about it, which distinguishes it from all other reproduction media. The suspicion that 'perhaps it was not there'.
Amelunxen, Hubertus von. "Photography After Photography,The Terror of the Body in Digital Space." in: HyperArt.
Must photography now sacrifice its allegorical - Hegel would say "frosty" - contour to the desire for a new symbolic unity in the realm of data?
Amelunxen, Hubertus von. "Photography After Photography,The Terror of the Body in Digital Space." in: HyperArt.
Photography is the image of our history. It has been regarded by some as a source of historical records, by others as the ruin of a historical continuum. It took the progressive digitisation of the pictorial and lexical worlds, both grounded in analogy, to show us just how far we had evolved down the road towards becoming 'homo photographicus'.
Amelunxen, Hubertus von. "Photography After Photography,The Terror of the Body in Digital Space." in: HyperArt.
It is in this very difference that the simulacrum finds its shape. The "similarity effect " - not to be confused with Barthes' "effet du rŽel" - is based on stereotype givens against which the simulacrum stands out, while at the same time citing them. The simulacrum as a phantasm cannot be traced back to something original or to a referential contained within it. Thus it represents nothing which could substantiate a temporal after.
Amelunxen, Hubertus von. "Photography After Photography,The Terror of the Body in Digital Space." in: HyperArt.
Alain Paiement, your photographic works and installations are closely linked to architecture. They are rigorous constructions of an optical migration of architecture. You do not show architecture - indeed how could one? - but rather implement synchronic and diachronic cross sections through architectural structures.
Paiement, Alain. Tangente. Canadian Centre for Architecture (Editor). June 10 2003. Hardcover, 65 pages, Language English and French, ISBN: CCA (Lars Muller Publishers) 3-03776-010-X.
Places have become points in time, topographies have become chronographies, and each vision creates a new order in this architectural legacy.
Paiement, Alain. Tangente. Canadian Centre for Architecture (Editor). June 10 2003. Hardcover, 65 pages, Language English and French, ISBN: CCA (Lars Muller Publishers) 3-03776-010-X.
As far as I am concerned, I conceive of a photograph as a delimitation of space and of the built object,as opposed to a conception that would tend to fix a photograph in relation to referents.
Amelunxen, Hubertus von. Tangente I – Alain Paiement. CCA Canadian Centre for Architecture, Montreal. March-July 2003.
Callahan may well have adopted Moholy-Nagy’s opinion that photography must essentially be an experiment, the epitome of avant-garde visualisation, and that it is not meant to represent the past but rather to posit, to render the present, just as Mies van der Rohe’s architecture does not seek to match visual givens but rather to forge new forms of visual perception.
Amelunxen, Hubertus von. "Skyscrapers in Abstraction: 860-880 Lake Shore Drive." in: CCA Canadian Centre for Architecture. Originally published in Casabella, June 2001.
The Lake Shore Drive Apartments are known primarily as an architecture of structure rather than form with the phases of construction moving from outside to inside and the core of the high-rise buildings anthropomorphically compared to a spinal column.
Amelunxen, Hubertus von. Skyscrapers in Abstraction: 860-880 Lake Shore Drive. CCA Canadian Centre for Architecture, Montreal (Originally published in Casabella, June 2001).
Source: European Graduate School (EGS)
