Tag: Image

Posted on

Photographe engagée

Marie-Laure de Decker is featured in the “Musée européenne de la photographie” (MEP) as a photographer committed to capture truth in situations of conflict. She started her career with documentary photos from the Vietnam war. Rather than searching for spectacular scenes, she succeeded in her attempt to capture the more emotional and, therefore, relatable moments for her various audiences. With a firm commitment to the human in her work, the photos by Marie-Laure de Decker reach a level of extraordinary sensitivity to what it means to stay human in violent situations and even military conflict. The portraits of politicians, workers, professions and famous actors applied the same approach. Rather than days or weeks Marie-Laure de Decker spent months or years in the regions of her documentary photo series ranging from Vietnam, South Africa throughout the apartheid regime, Pinochet years of dictatorship in Chile, the 2 parts of Yemen to a prolonged stay in Chad.

The exhibition in the MEP in Paris curated by Victoria Aresheva  raises awareness to the additional fact that photo journalism became an affordable profession only after specialized agencies were created that granted authorship rights to photographers, which ensured later use of their work in edited volumes as well as working for several newspapers or magazines. (Image: Marie-Laure de Decker, self-portraits, MEP Paris exhibits 2025-8). 

Posted on

Apocalypse Depicted

At the beginning of the 21st century we have a renewed interest in depictions of the Apocalypse. “L’Apocalisse di Giovanni” has been illustrated in various Christian monasteries and some traveled quite a bit. The version of the Apocalypse (Link) which was attributed to Cambrai is a copy of the older original version found in the City library of Trèves, which dates back to the year of about 825. A flemish version of the 16th century is to be found at the BNF in Paris. Throughout the centuries the “Apocalypsis”has been reworked. The version of Trèves has the “carolingish” depiction characteristized by a presentation of image on one page and text on another page. Nowadays we are used to futuristic images and have known even worse experiences of apocalyptic events (Nazi terror). Earth quakes or man-made climate change with heating of the planet, storms, draughts and floods testify for the renewed interest in the Apocalypse. Other man-made technological innovations like rockets. atomic bombs, chemical and biological weapons overshadow even the “natural” ones. The potential of AI to cause destruction is not fully assessed until today. Swarms of drones guided by AI might reach apocalyptic levels as well. We just remind ourselves of the bombing of walls of a water reservoir by Russia in Ukraine. The Apocalypse will remain the original example of a horror story and our strange fascination for such texts, images or movies is likely to stay. (Image: extract of anonymous 1st quarter of 9th century. Trier Stadtbibliothek, Schatzkammer. Wikipedia public domain).

Apocalypse
Screenshot
Posted on

Digital Visions

Urban planning has been digitalized for a long time. 3D modeling of places and buildings including their interiors are state of the art. As urbanization is also about investment, speculation and anticipation, digital imaging has entered the public spheres in form of cover up of building sites behind fences and in form of large digital prints for information, curiosity and advertising purposes. The inner cities are frequently an avantgarde and microcosm of societal developments. Some dream of full or total flexibility for office spaces (see image below), others experience the inner cities as the spotlight of inequality in society. The best paid executives are catered for by the worst paid delivery personnel. The photographers of the Landesarchiv Berlin, Grönboldt and Wunstorf, brought together a documentary exhibition entitled „Pixel aus Beton“, pixel made of concrete.

With a bird‘s eye view they reveal past, present and future details of how Berlin is experienced and envisioned by investors, architects and people living through the seemingly endless construction going on in the city. The keywords list as part of the exhibition creates a link to scientific literature and to the TU Center for Metropolitan Studies. Photography and even more so digital photography offers a social science perspective to the digital images exhibited. Cities are data spinning areas and a formidable place for digital visuals and visions.

Posted on

Text to Image

Long before everybody started to discuss Artificial Intelligence, which in many applications takes the form of transformation of a textual prompt into an Image, Photographers have had literature or quotations in their mind that shaped their images. This was a kind of poetic imagery not always easy to recognize. The exhibition in the „Institut de France“, Bibliothèques Mazarine (LINK), with photographs by Nicolas Fève (LINK) offfers a great insight into this way to conceive of an image and its realization through photography. Exposing the sources of inspiration as well as the photo is like adding textual citations to an image in a much more inspirational and transforming manner than AI is doing these days in 2025. 

Text to image is only one out of the many ways texts might guide imagination, but it is a powerful and gripping one. The history of literature is full of other forms like videos based on novels, comic strips to make classic texts in Latin more accessible. As we shall ask AI products like texts and images to cite their sources and honor authorship, photography as art and science might enhance the literary experience by adding citations to an image. This has the additional advantage that more people will follow up on the sources of inspiration.

Posted on

Artists Intergenerational

Generations influence each other. That’s a very simple general statement. Biographies, auto-biographies and life course research have all established sometimes more, sometimes less direct influences between the generations. The exhibition “A partir d’elle. Artists and their Mother“, curated by Julie Héraut, combines literature, photo and video that speak to the rather complex psychological or sociological issue. Visits in 2025 available at Stichting A, Brussels.
The starting point of the inquiry into the nature of photography by Roland Barth is chosen like an investigation into a crime. Sophie Létourneau had written an essay which proposes to read the original text by Barthes from this perspective. The artists in the exhibition seem to follow this process of asking themselves what their relationship to their mother is like and how to represent this in an artistic form.
A life course perspective, which takes images or videos with 10 or about 20 years difference, offers a kind of analytical as well as artificialized vision of the evolution of the artists’ relationships with their mother. Realistic images with a morphing backwards from old to young is presented next to images confronting young and old next to each other. “Words don’t come easy to me” could be the title of one of the videos where a young artist has a particularly hard time to talk to his/her mother.
Just after the celebrating Franz Kafka last year and his famous “Letter to my father”, the inquiry into artists and their mothers complements the analytical and artistic vision and interpretations of the child and parent intergenerational relationship.

Posted on

Spectacularization

Guy Debord (1967) has outlined in “In the society of spectacle” the importance to analyze societies from the perspective of “le temps spectaculaire”. Today we might frame this as “eventism” or the running of society through events. The regular spectacle of religious festivities, new year’s celebrations, Olympic games or even elections and election campaigns have been transformed into ceremonies of enthronization, where the reach to ever larger crowds is the prime goal. The critique of mass media of the 1960s can be deployed to the criticism of the facebook, Instagram and tiktok media campaigns of today. If you are not present on these platforms, you do not seem to exist in the view of the many. Debord highlights under his concept of separation the increasing isolation of persons and thereby a domination of people through technology (Debord para 24,27). Put in today’s terminology form of psycholinguistics we speak of loneliness of the old and young who, through the use of social media technologies, are prosumers even or especially in their free time. They serve the accumulation of massive benefits to the platforms of the spectacle more than their own fulfilment or socializing experiences. The consequence is the isolation of persons, with the paradox to be potentially the winner in the lottery of the algorithms to suddenly reach millions of people. The ephemeral popularity is a curse more than a blessing for most persons. The result is the “singularization” of crowds and within society.
Spectacularization is a process that is accompanied by singularization. Both terms have the merit to stress the process of evolution of societies. Comparing societies turns into an empirical exercise to measure amounts of spectacular events, degrees of spectacularization of individuals and the singularization of individuals within society. The antidote of solidarity and sharing is on the rise as well, which is reason to believe that not all is lost.
(Image: Debord’s annotation on extract of image by Gozzoli, BNF Manuscrit, Paris)

Posted on

Masculinity Photos

After the turn of the millennium we keep questioning us about basic principles of humanity, previously called mankind as well. The Zeitenwende has occurred through Putin and other male warriors and warmongers 2 years ago. This is reason enough to keep asking us what is behind the male visions of life and living together. Any hints from social sciences, biology and media studies are helpful to broaden and deepen our understanding of what constitutes masculinity and how it evolves over the life course and within or between societies. The collection of photographs from Jérôme Prochiantz currently exposed at the BNF enlightened the issue. Ever since Max Frisch wrote „Homo faber“ we are aware of the technological transmission process a man might be subjected to. Capturing single moments or arrangements with a lot of care for details shows maybe otherwise hidden male predilections and leaning towards abstraction. An idea or undefined vision, maybe an illusion are depicted in this revelation of masculinity at the turn of the century. Creative and destructive forces are jointly presented in this continuous questioning of masculinity. (Image: BNF, exhibition 2024-11 Jérôme Prochiantz)

Posted on

Of or about

There exists a fundamental difference between taking a picture of something or someone as opposed to taking a picture about someone or something. With the term about we denote or refer to a more abstract category of trees, animals or human beings. The use of of, however, refers to a specific realization within a specific category. Painters or photographers have applied this distinction for a long time. It is similar to social scientists who consider persons or relationships as belonging to more general categories. Gender is such a category which has preoccupied us for years before concluding that just 2 gender categories are not enough to come up with reasonable descriptions and predictions of behavior. The realizations of gender are manifold and not necessarily or only binary in nature as well appearances. Eventually social categories are enlarged to fit empirical patterns in more adequate ways. The image of someone/something therefore is something very different from an image about someone/something. (Image of: Children’s corner at Musée Rodin Paris. Image about: Pedagogic approaches to art, here sculptures « Le penseur », Rodin 19th century)

Posted on

Painter Sociologist

In going to a gallery and exhibition of paintings from the 17th century (Gemäldegalerie Berlin) you do not really expect to attend a class of sociology. However, this is exactly what the Flemish painter Frans Hals does with his paintings of various genres of society of his time. His sociological categories are for example unmarried young persons, married couples or pensioners living in a shared home. Other social categories of interest to him are a caregiver or, more common for the time, persons from noble or wealthy families. His painting „The Regents of the old men’s Almshouse” (ca 1660), the male pensioners home is one of his last paintings when he himself was already about 80 years old. Similar to a College of students the elderly home was run by a house father and house mother who took care of the daily living. The paintings of Frans Hals covered the entire life course with a cross-section perspective of society at his time. From few of his supporters he painted even several images moving towards a kind of longitudinal perspective on a person’s life course. Certainly, with “Oude-mannenhuis” (image below) he was interested not only in individual life courses, but of the conditions, forms or images of aging at his time. He probably was one of the first to challenge the negative stereotypes of aging.

Posted on

Dietrich Gabin

In French cinema Jean Gabin is a much adored person. Equally, Marlene Dietrich had, probably an even more far reaching international career. Both were accomplished and successful actors long before the 2nd world war broke out. In the U.S both fell in love and had a long lasting romance together. Their war time activities and “engagement” in fighting Nazi-Germany were extraordinary. It meant that both took active roles to use their charisma to mobilize people and soldiers to fight for freedom.
Shortly after the war then, both made a last attempt to work together in a movie production, but it could not unite the couple again. The “Deutsche Kinemathek” displays currently a page from the Diary of the “Diva” to underscore to what extent “Dietrich” was depressed about the break-up of their longer lasting love affair. Some say Gabin was the only person who quit her, all (most?) other relationships were terminated by the Diva. The junctions of biographies are hard to predict. The circumstances of the 2nd world war and internalized civic obligations to fight for freedom and democracy were wholeheartedly shared by both, but eventually they grew apart nevertheless. Tough experiences even for the much adored persons on the forefront of the stages worldwide. There seem to be many instances of repetition of the same story not only in movies, but also in real life.
Image: Deutsche Kinemathek Museum 2024-5