Special dossier: Stealing the image<\/em><\/strong><\/p>\n
How to define the ownership of an image at a time when the media themselves are in a state of constant flux; when they have become the objects of a profound reorganization in the economy of visual exchange, distribution, and consumption across cultures?<\/p>\n
How to pinpoint the moment in such a context when a visual citation becomes an ironic appropriation?<\/p>\n
Or when an image is actually being stolen<\/em>? And more bluntly, how to simply conceive of an image that has the ability to remain private in the early 21st century?<\/p>\n
This special dossier on \u201cStealing the image\u201d is Imaginations<\/em>\u2019 first contribution to these questions. Much has been said in the past decade on the alleged downfall of the music industry caused by a new stage in its mechanical (or rather digital) reproduction. But things remain unclear when it comes to images and their relationship to the same upheaval regarding the notions of property, representation, and circulation in the brave new world of today. Arguably, they are also more complex.<\/p>\n
With this issue, we are also proud to present an exclusive multimedia portfolio of works by Anglo-German artist Tanya Ury. Through a dazzling variety of forms ranging from visual poetry to video, from immersive sound experiments to field photography, and from re-contextualized visual archives to intimate performance, Ury offers crucial questionings on the state of the cultural as well as the personal self in a world where national identities are being challenged by the shifting boundaries between media, between public and private, or even between the senses themselves.<\/div>\n
Dossier Sp\u00e9cial: Subtiliser l\u2019image<\/em><\/strong><\/p>\n
Comment d\u00e9finir la propri\u00e9t\u00e9 d\u2019une image \u00e0 une \u00e9poque o\u00f9 les supports m\u00e9diatiques sont saisis dans un flux constant; \u00e0 une \u00e9poque o\u00f9 eux-m\u00eames sont devenus les objets d\u2019une r\u00e9organisation profonde dans l\u2019\u00e9conomie des \u00e9changes, de la distribution, et de la consommation culturelle du visuel? Comment, dans un tel contexte, identifier le moment o\u00f9 une citation visuelle bascule du c\u00f4t\u00e9 de l\u2019appropriation d\u00e9cal\u00e9e? O\u00f9 alors le moment o\u00f9 une image devient l\u2019objet d\u2019un vol pur et simple? Plus express\u00e9ment encore, comment concevoir qu\u2019une image puisse simplement demeurer de l\u2019ordre du priv\u00e9 \u00e0 l\u2019aube du XXIe si\u00e8cle? On a dit beaucoup de choses durant la derni\u00e8re d\u00e9cennie sur ce qui est per\u00e7u comme l\u2019effondrement de l\u2019industrie de la distribution musicale, r\u00e9sultat d\u2019un nouveau stade dans l\u2019\u00e9volution de sa reproductibilit\u00e9 technique (ou maintenant digitale). Toutefois l\u2019affaire demeure beaucoup moins claire en ce qui a trait aux images en tant qu\u2019elles sont d\u00e9sormais l\u2019objet d\u2019un bouleversement similaire dans leur rapport \u00e0 la propri\u00e9t\u00e9, dans leur circulation, et dans leur repr\u00e9sentation. \u00c0 tout prendre, on peut supposer que les choses prennent alors une tournure beaucoup plus complexe. Ce dossier sp\u00e9cial intitul\u00e9 \u00ab\u00a0Subtiliser l\u2019image\u00a0\u00bb entend constituer une premi\u00e8re contribution de Imaginations<\/em> au champ dessin\u00e9 par ces questionnements.<\/p>\n
Dans ce num\u00e9ro, nous sommes \u00e9galement fiers d\u2019accueillir un portfolio exclusif des \u0153uvres de l\u2019artiste anglo-germanique Tanya Ury. \u00c0 travers une vari\u00e9t\u00e9 \u00e9tonnante de formes qui vont de la po\u00e9sie visuelle \u00e0 la vid\u00e9o, de l\u2019exp\u00e9rimentation sonore immersive \u00e0 la photographie de terrain, et de l\u2019archive photographique recontextualis\u00e9e \u00e0 la performance intime, Ury sugg\u00e8re des questions cruciales quant au statut des identit\u00e9s personnelle et culturelle dans un monde o\u00f9 l\u2019id\u00e9e d\u2019une appartenance nationale nette se voit remise en question par les fronti\u00e8res d\u00e9sormais mouvantes entre les technologies m\u00e9diatiques, quand ce n\u2019est entre les sens m\u00eames dont nous disposons tous afin de circonscrire notre place au monde<\/div>
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