Lunar (2011)
Real or fake ? Possible or impossible ? The moon landing has always inspired unconscious feelings of incredulity. It’s hard to deny that our certainty has been shaken more than once by our stubborn, archaic attachment to a sceptical stance. The conspiracy theories that have grown up around the moon landing only prove to what extent the role of photography as the objective representation of reality – Roland Barthes’ “ça a été” (that has been) – has been challenged.
The great variety of processes at the photographer’s disposal for constructing an image, in fact, actually nullifies any guarantee of authenticity and compromises the medium’s access to reality. The observer’s glance becomes precarious; the photographer has the ability to falsify reality with a realistic image that appears to be genuine, but by hiding the truth behind unrealistic images he clouds the viewer’s perception. Lunar plays on the vibrations induced by the images beheld by the observer and probes the ambiguity and relativism of the border between reality and its representation
The great variety of processes at the photographer’s disposal for constructing an image, in fact, actually nullifies any guarantee of authenticity and compromises the medium’s access to reality. The observer’s glance becomes precarious; the photographer has the ability to falsify reality with a realistic image that appears to be genuine, but by hiding the truth behind unrealistic images he clouds the viewer’s perception. Lunar plays on the vibrations induced by the images beheld by the observer and probes the ambiguity and relativism of the border between reality and its representation
