True Fiction Philadelphia Photo Arts Center Philadelphia September 9-November 27, 2010 Featuring approximately 150 photographs by more than seventy photographers, the seminal exhibition "Pleasures and Terrors of Domestic Comfort" opened at the Museum of Modern Art (MoMA) in the fall of 1991 Where postmodernist photography had previously been neglected at MoMA, with this exhibition curator Peter Galassi attempted to bring photography's disparate and often warring factions--the modernists and the postmodernists--into dialogue The 1991 exhibition marked the first time MoMA showcased candid documentary photographs alongside conceptual and staged work Oalassi's survey had a profound impact on photography Many of the photographers exhibited have become critical players in photography's history, including James Casebere, Philip-Lorca diCorcia, Doug DuBois, Thomas Roma, Cindy Sherman, Laurie Simmons, Joel Sternfeld, and Carrie Mae Weems (1) The exhibition's legacy continues, as domesticity remains a prevalent theme in contemporary photography Inspired by "Pleasures and Terrors of Domestic Comfort," the recent exhibition "True Fiction" at Philadelphia Photo Arts Center (PPAC) revisited some of the original premises of the MoMA show Works from nine photographers examined the subject of domesticity, defining the term in the broadest sense The photographs explored the fine line between truth and fantasy Documentary work coexisted with staged tableaus Some works addressed the political while others examined personal identity Co-curator Christopher Gianunzio and Executive Director Sarah Stolfa were interested in the gray "in-between areas," such as the ways in which photographers challenge notions of authenticity by disrupting viewers' perceptions of reality "True Fiction" was intended as a "mini survey," presenting the diversity within contemporary imagemaking PPAC's gallery is small, limiting the number of works Is it possible to have a meaningful survey with only nine photographers? The theme of truth vs fiction was also puzzling While this issue is still an active debate in photography, the '90s produced a plethora of artists and exhibits focused on this theme What is its current applicability' To understand this, one must search for the space "in-between" truth and fiction where both can mutually coexist Johanna Drucker makes a case for this idea in her book Sweet Dreams: Contemporary Art and Complicity (2005) In the chapter entitled "Dubious Documents," Drucker states that the current era of digital technology has "softened our attachment to the concept of photographic truth  No connection to any external source is required to produce the most believable of photographic truths" (2) Photographic artifice is complicit in "reinforcing the myth of the real," (3) which results in a codependent relationship between truth and artifice as they continually redefine one another Transitioning from a binary to a mutually dependent relationship causes a paradigm shift "The photographic medium creates artifacts in its own codes that are themselves real" (4) The work in "True Fiction" deployed a variety of strategies to investigate this mutual co-production of truth and artifice within visual and symbolic practices Yasser Aggour's series "The Hunted" (2010) features large game animals moments before their death Culling trophy hunter images from the internet, Aggour seamlessly removes the key referent (the smiling trophy hunter) from the image, forcing the viewer to focus on the animal By eliminating the perpetrator of violence, the photograph becomes a portrait of the animal, robbing the hunter of his power Elaine Stocki's and Bradley Peters's photographs depict moments of tension Whether a cinematic moment, composed for the camera, or a "Bressonesque decisive moment," both artists' work suggest hidden narratives In Peters's large color photograph Untitled (Man on Ledge with Baby) (2009), a man dangles a baby over a stone ledge …

Truth or Fiction

Resena del libro:Le patrimoine en questions. Anthologie pour un combat Francoise Choay Editons du Seuil Collection «La Couleur des idees» Paris, 2009 224 paginas, 20,5 x 14 cm. ISBN : 978-2-02-100494-6

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Le patrimoine en questions. Anthologie pour un combat

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La fabrique du patrimoine: de la cathédrale à la petite cuillère

Daniel Jacobi et Bernard Schiele, sous la direction de (1988), Vulgariser la science. Le procès de l'ignorance

Dans ce travail de these, nous nous interessons au phenomene d'emergence du patrimoine europeen. Dans une demarche interdisciplinaire, il s'agit d'aborder les processus d'appropriation, de mediation et de transmission du patrimoine comme europeen dans le cadre particulier des Itineraires Culturels du Conseil de l'Europe et selon une posture interculturelle. Grâce a un ensemble d'analyses communicationnelles et organisationnelles du Programme des Itineraires Culturels du Conseil de l'Europe, mais aussi de trois cas d'Itineraires Culturels (Via Regia, Via Francigena et Saint Martin de Tours), il s'agit d'apprehender le processus de patrimonialisation a l'echelle europeenne en questionnant notamment les enjeux de sens, de visibilite et de lisibilite, de representation et de legitimation qu'une construction europeenne du patrimoine commun aux membres de reseaux transnationaux peut comprendre. Enfin, il s'agit de comprendre aussi comment, dans le cadre d'une labellisation de projets europeens, la publicisation du patrimoine peut etre le lieu de resistances vis-a-vis des institutions, qui peuvent alors influencer les discours sur les elements patrimonialises.

De la construction à la diffusion du patrimoine européen dans les réseaux transnationaux : processus d'appropriation, de médiation et de transmission dans les itinéraires culturels du Conseil de l'Europe

Notre recherche en didactique des sciences, explore la potentialite des objets scientifiques contemporains a devenir des objets de patrimoine a travers un cas d'etude : l'accelerateur de particules Cockcroft-Walton (CW). Nous faisons l'hypothese que la valorisation des objets scientifiques contemporains, etape importante du processus de patrimonialisation, est specifique et necessite une expertise particuliere. Notre travail a ete realise grâce au dispositif CIFRE, nous permettant de travailler aux cotes du musee des Confluences a Lyon, qui expose un accelerateur de particules CW dans Societes : le theâtre des hommes. L'Institut de Physique Nucleaire de Lyon (IPNL) possede egalement un appareil de ce type, qui est aujourd'hui au cœur d'un projet de valorisation. Notre analyse s'appuie sur une etude du contexte, historique, epistemologique et social, de « naissance » du premier accelerateur CW et d'une etude scientifique de l'objet. Nous avons egalement mene deux enquetes, la premiere visant a retracer la trajectoire de l'accelerateur CW a Lyon, la seconde a retrouver l'ensemble des accelerateurs CW dans le monde. En nous appuyant sur differents travaux qui ont souligne les etapes du processus de patrimonialisation, nous avons caracterise les specificites du patrimoine scientifique contemporain, et recherche les traces laissees par ces caracteristiques dans la mise en exposition de l'objet. Nos resultats mettent en evidence le manque d'informations permettant l'interpretation et l'appropriation de l'accelerateur CW par un public, et nous invitent a interroger le contenu representationnel de l'objet, vehicule a travers d'autres contextes d'utilisation, formel ou fictionnel

Séverine Derolez

Papers

La patrimonialisation des objets scientifiques contemporains et leurs contextes de valorisation : cas de l’accélérateur de particules Cockcroft-Walton