Carte Blanche | Joan Fontcuberta


Nowadays, we feel dragged along by an irresistible flow of images. If eschatology is allowed, we suffer from iconic diarrhoea. Internet is a faucet at our disposal from which images come gushing out. That excessive abundance produces both stunning and critical reaction. It stimulates, for example, the emergence of experimental audiovisual creations based on pure sequences of still images. The formula was not unknown in the history of cinema. The novelty now is that the story is relegated by the sensation of an explosion. The transition from one frame to another is no longer intended to generate movement but rather dizzying contrasts. It is the ecstasy of the post-photographic culture that has implanted the poetics of access and excess. 

The programming of this Carte Blanche is surprise.


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