CIEL VARIABLE 52 - Everyday Objects
EDITORIAL - Everyday Objects
By Jacques Doyon
The way we glance at objects in a familiar environment could be the connection between the photographic works assembled for this issue. Whether these objects are contained within the household, a workplace, or a small business, they inhabit and condition our spaces and ways of life.
POINT DE VUE - Reading Photographs: Playing the Visual Literacy Game
A knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be ignorant of the use of camera and pen alike.
–Laszlo Moholy-Nagy, 1923
De la peinture par téléphone
This article was originally published only in French. No translation is available. – Read the Summary
Par Emmanuel Galland
SI LA TENDANCE SE MAINTIENT…
Au début des années 90, Nicolas Baier s’acoquinait avec la tendance majeure de la photographie dite plasticienne dans son défilé de caissons lumineux et autres installations stigmatisées par un médium qui décide de sortir de sa surface et de prendre de l’expansion extra-bidimensionnelle.
PORTFOLIO - Rudd van Empel
This article was originally published only in French. No translation is available.
Il semblerait que, saturés comme nous le sommes d’informations de toutes sortes, nous en soyons arrivés à un point où nous ne sommes plus capables de faire la distinction entre la vérité et le mensonge, entre le réel et l’irréel.
The Office
This article was originally published only in French. No translation is available. – Read the Summary
Il semblerait que, saturés comme nous le sommes d’informations de toutes sortes, nous en soyons arrivés à un point où nous ne sommes plus capables de faire la distinction entre la vérité et le mensonge, entre le réel et l’irréel.
PORTFOLIO - Howard Ursuliak
For the past fifteen years, I have been interested in the material agency of both documentary photography and the visual display aesthetics of public advertising, and in how these two forms come together in configurations of urban space to mediate a dialectic of appearances between public and private realms of experience.
Store | Market : A Sadness without the Object
By Howard Ursuliak
For the past fifteen years, I have been interested in the material agency of both documentary photography and the visual display aesthetics of public advertising, and in how these two forms come together in configurations of urban space to mediate a dialectic of appearances between public and private realms of experience.
