CIEL VARIABLE 57 - Constructed Landscape
EDITORIAL - A Constructed Landscape
By Jacques Doyon
In spite of the diversity of their modalities and subjects, the works brought together here are notable for their common interest in the sutures and marks in the landscape, the zones where significant transformations and their underlying issues are revealed surreptitiously or, on the contrary, concealed. These fault lines, or “cracks,” to use Suzanne Paquette’s very good term in an article in this issue, are found as much in the landscapes themselves as in the portrayals of them.
PORTFOLIO - Ivan Binet, Répertoire d’horizons
This article was originally published only in French. No translation is available.
Comme des soldats, morts ou vivants, ils sont tournés vers des lieux prescrits pour le regard. Ces « vues » consacrées au repos et à la contemplation du paysage sont éloquentes. Elles métaphorisent l’éternité.
Nulle part chez nous
This article was originally published only in French. No translation is available. – Read the Abstract
« Dans les photographies, aussi diverses qu’elles soient, il reste toujours quelque chose d’une croyance au monde. » –Régis Durand
PORTFOLIO - Manuel Piña, On Monuments
Unstable identities emerge in Manuel Piña’s mapping of place and historical past: memory assumes the form of the landscape itself. On Monuments comments on the rewriting of history, ideologies, and the obliteration of the past.
The photographs of Manuel piña
The idea of mapping the historical landscape depends on the construction of perspective, a view from the present, around which the panoramas of history are made to resolve.1
PORTFOLIO - Isabelle Hayeur, Paysages incertains
This article was originally published only in French. No translation is available.
Les travaux d’Isabelle Hayeur s’attachent aussi bien à l’idée du « réalisme » en photographie qu’à celle de l’authenticité du (des) paysage(s). Questions liées puisque le paysage est vraisemblablement le dernier bastion de l’invisibilité de la photographie.
Quelques fêlures
This article was originally published only in French. No translation is available. – Read the Abstract
Lorsqu’on demande à Isabelle Hayeur « pourquoi la couleur ? », elle répond que pour elle cela correspond
