Until May 30 exhibition stands Controversies the BNF Richelieu in Paris. It offers a journey through 80 photographs that have marked the history and spirit of 1840 to 2007. From a simple portrait, the picture of war, through the image of fashion or contemporary design, we discover the reasons that his trials are the source of many debates and lawsuits. A brief explanation accompanies each of his images and discusses the contexts that gave rise to great controversy.
Christian Pirker, a lawyer in Geneva and Daniel Girardin, curator at the Musée de l'Elysée in Lausanne, both the curators have opted for a neutral circuit and chronologically. Some images are drawn in a larger format than others, but the strength of these pictures puts almost all the same levels. The goal here is to examine the role, status and limitations of the photographic image. How far can it photojournalist go without being accused of voyeurism or non-assistance to persons in danger? Who owns the copyright? A performance artist and immortalized or contact the photographer? How to photograph the nude body of a child without seeing a turn pedophile? The photographs exhibited challenge our sensibilities and our relationship to a real or fictitious image that are closely related to the evolution of our society.
Since its inception until today, we question the notion of ethics in photography. If it still hurts, is undoubtedly due to the realism of the image worked or taken from life. A Unlike paint, it is more difficult to remove when a pictorial composition is known to exist before being set to negative. Should we witness a tragedy if the popular image may offend public opinion? Was it disrespectful to the little Omayra Sanchez as the picture taken knowing his death is imminent or more a duty to remember?
Besides the ethical question, the photographic process triggered much discussion. A photographic image can it still claim the title of a work of art? What makes a photograph an original creation rather than purely technical reproduction of a moment accurate? In 1882, Napoleon Sarony a portrait of Oscar Wilde. For copyright will explain in court how the staging, the choice of lights and costumes make this an original photograph.
In 1999, the publication of the book The Other , which includes the series of portraits of "stolen" in the Paris metro by photojournalist Luc Delahaye, relaunch the debate over image rights. A man who recognizes one of the photographs on a complaint for using his image for commercial purposes. The court ruled in favor of the artist who carries in his "testimony sociological particular artistic and human behavior. " This very contemporary concept of image rights poses new problems for artists who need to be extra careful in their work to avoid any form of trial.
It's a gamble for the show succeeds controversies which have no excess of images that have shocked and upset several generations. It was feared a staged too provocative and voyeuristic but the bottom is shaped. The speech is not preachy or hypocritical, it is merely designed to show how the image is viewed and approved by a changing society. Without not pretend to be exhaustive, the curators of the exhibition opened debate on the status of the image, its representation and its interpretation. Here is perhaps the weakest point of this exhibition, in trying to address too many different themes, an amalgam of highly sensitive photographs such as the little girl dying of hunger taken by Kevin Carter and other more anecdotal as sodomized by barbie kitchen mixer Tom Forsythe.
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