Open Show Switzerland 2013<\/em>. Author: Marcol<\/p>\n\n\n\nBiographie en fran\u00e7ais<\/h1>\n\n\n\n
Tour \u00e0 tour architecte, photographe, infographe et enseignant, Marcol navigue entre po\u00e9sie et th\u00e9orie, dans le dialogue entre la pratique sensible des arts et le d\u00e9veloppement conceptuel de leurs rapports au monde. Depuis un quart de si\u00e8cle, Marcol arpente les chemins des photographies argentique, num\u00e9rique et de synth\u00e8se. Il explore la substance de l’image photographique entre le r\u00e9el et ce qui en est vu; entre la mati\u00e8re physique du monde et la fable que conte chaque image.<\/p>\n\n\n\n
Le rapport au r\u00e9el n’\u00e9tant que circonstanciel, pour Marcol l’image photographique est non seulement porteuse d’un imaginaire s’affranchissant du temps et du lieu de la prise de vue, mais elle acquiert elle-m\u00eame une mat\u00e9rialit\u00e9 qui participe \u00e0 son expression. L’image est ainsi augment\u00e9e par un travail sur la transparence et le reflet du support; le cadre comme contexte imm\u00e9diat; les qualit\u00e9s spatiales et lumineuses d’une exposition; les caract\u00e9ristiques physiques d’une publication; etc. Marcol inclut \u00e9galement dans son travail sur la mat\u00e9rialit\u00e9 photographique, le processus de la prise de vue, qui, par ses limites, marque et r\u00e9v\u00e8le la mat\u00e9rialit\u00e9 de l’image.<\/p>\n\n\n\n
Biography in english<\/h1>\n\n\n\n
Alternately architect, photographer, graphic designer and teacher, Marcol navigates between poetry and theory, in the dialogue between the sensitive practice of arts and the conceptual development of their relationships with the world. Since twenty-five years, Marcol walks the paths of analog, digital and synthesis photographies. He explores the essence of the photographic image between reality and what is seen from it, between the material world and the fable each image tales.<\/p>\n\n\n\n
The relationship to reality being only circumstantial, for Marcol the photographic image is not only a carrier of imaginary freeing from time and place of shooting, but possesses also a materiality contributing to its expression. Image is thus empowered by working on the transparency and the reflection of the base; the frame as the direct context; the spatial and lighting qualities of an exhibition; the physical characteristics of a publication; etc. Marcol also includes in his work on the matter of photography, the process of shooting, which with its limits, marks and reveals the matter of image.<\/p>\n\n\n\n
Pr\u00e9sentation en fran\u00e7ais<\/h1>\n\n\n\n
La photographie num\u00e9rique n\u2019est pas une chose virtuelle perdue dans le \u00abnuage\u00bb. Elle n\u00e9cessite une mati\u00e8re physique pour exister: l’appareil photographique avec, au minimum, un objectif pour faire converger les rayons lumineux et un capteur par prendre trace de ces rayons. Ce capteur n’est plus physico-chimique comme en photographie argentique, mais \u00e9lectro-computationnel. La photographie num\u00e9rique n\u00e9cessite donc un processus technologique mat\u00e9riel et logiciel qui s’inscrit dans le monde r\u00e9el. Ce qui implique, bon gr\u00e9 mal gr\u00e9, des limites technologiques, inh\u00e9rentes ou arbitraires. Quand le processus est pouss\u00e9 jusque dans ses limites, apparaissent alors des artefacts qui ne sont autres que les indices de ses limites. Et ces indices deviennent une mati\u00e8re po\u00e9tique photographique. La photographie argentique nous a habitu\u00e9 \u00e0 certains artefacts: vignettage, aberrations optiques, chromatiques, g\u00e9om\u00e9triques, flares, flou de focus, flou cin\u00e9tique, bokeh, etc. Artefacts propres \u00e0 quasi tout appareil photographique. Mais aussi \u00e0 d’autres: grain, griffures, r\u00e9ticulation, etc.; artefacts propres aux capteurs argentiques. La photographie num\u00e9rique apporte aussi son lot d’artefacts: pixels, d\u00e9rives chromatiques, compression non conservative, etc. Ces artefacts, ces indices, sont la mati\u00e8re num\u00e9rique dont sont faites les images de Marcol.<\/p>\n\n\n\n
L\u2019ensemble des images de la s\u00e9rie Mati\u00e8re Num\u00e9rique<\/em> forme donc un essai photographique sur le potentiel artistique des outils num\u00e9riques de la photographie contemporaine. Pour \u00eatre plus pr\u00e9cis, ce travail s\u2019inscrit dans la recherche sur le potentiel artistique du processus technologique du m\u00e9dium photographique. Entre la r\u00e9alit\u00e9 et ce que la photographie en donne \u00e0 voir, r\u00e9side la machinerie de la prise de vue: l\u2019appareil photographique constitu\u00e9 de mati\u00e8re physique et d\u2019algorithme num\u00e9rique. Le potentiel artistique, hors du sujet photographi\u00e9, se situe donc dans les limites des constituants de l\u2019appareil photographique.<\/p>\n\n\n\nD’une certaine mani\u00e8re ce projet interroge aussi la tentation hyperr\u00e9aliste de la photographie. Depuis l’invention de la photographie, une course \u00e0 la perfection technique a \u00e9t\u00e9 instaur\u00e9e pour s’abstraire de la pr\u00e9sence mat\u00e9rielle du processus: des temps de pose de plus en plus courts, des optiques de plus en plus claires, des grains de plus en plus fins, des couleurs de plus en plus vraies, des pixels de plus en plus nombreux. C’est vouloir rendre invisible l’appendice incontournable de la prise de vue pour ne conserver que des images aussi fid\u00e8les que possible \u00e0 ce que nous r\u00eavons d’avoir vu. M\u00eame si, une fois faite, l’image ne s’est toujours pas affranchie de la mati\u00e8re car elle n’existe pas sans son support mat\u00e9riel, m\u00eame si celui-ci est une projection de lumi\u00e8re. Cette volont\u00e9 conduit \u00e0 l’hyperr\u00e9alisme; un r\u00e9alisme semblant plus r\u00e9aliste que le r\u00e9el. Mais \u00e0 trop pousser \u00e0 l’hyperr\u00e9alisme, l’imagination se meurt.<\/p>\n\n\n\n
L’int\u00e9r\u00eat de l’impr\u00e9cision photographique est de laisser l’imaginaire faire une partie du chemin vers l’image mentale et po\u00e9tique que permet l’art photographique. Le grain, la rayure, le d\u00e9calage des couleurs, les dispersions optiques, etc. rendent non seulement perceptible la mati\u00e8re de l\u2019appendice mais ouvrent \u00e0 l’imaginaire car tout n’est pas montr\u00e9, certains pans sont \u00e0 recomposer par le processus du regard. Le travail po\u00e9tique sur les indices de cette mati\u00e8re permet une photographie o\u00f9 m\u00eame le r\u00e9el perd de son importance. La photographie diverge de sa fonction documentaire pour devenir un art abstrait du r\u00e9el.<\/p>\n\n\n\n
En photographie num\u00e9rique, il est tentant de reproduire ces effets \u00abpittoresques\u00bb de la photographie analogique, afin de conserver une certaine distance entre le r\u00e9el et l’imaginaire. Les images de la s\u00e9rie Mati\u00e8re Num\u00e9rique<\/em> s’inscrivent dans une d\u00e9marche exp\u00e9rimentale. De ce fait, les effets de post-traitement s’amenuisent dans l’\u00e9volution de la s\u00e9rie pour laisser le plus de place possible aux indices des sp\u00e9cificit\u00e9s technologiques de la photographie num\u00e9rique. Pour essayer de proposer une po\u00e9tique de l’image par l’unique fa\u00e7onnage de la mati\u00e8re num\u00e9rique de la photographie.<\/p>\n\n\n\nPresentation in english<\/h1>\n\n\n\n
Digital photography is not a virtual thing lost in the \u201ccloud\u201d. It requires physical matter to exist: the camera with at least one objective lens for converging light rays and a sensor to keep trace of these rays. This sensor is not physico-chemical as in conventional photography, but electro-computational. Digital photography therefore requires a hardware and software technological process that is part of the real world. This implies, willy-nilly, inherent or arbitrary technological limits. When the process is pushed into its limits, then appear artifacts that are none other than the index of its limits. And these indices become a poetic photographic matter.<\/p>\n\n\n\n
Analog photography has accustomed us some artifacts: vignetting; optical, chromatic, geometric aberrations; flares; defocus; kinetic blur; bokeh; etc. these artifacts are inherent to almost any photographic apparatus. We are also accustomed to other artifacts like grain, scratches, cross-linking, etc., which are specific analog sensor artifacts. Digital photography also brings a lot of artifacts: pixels, chromatic aberrations, not conservative compression and so on. These artifacts, these indices are the digital matter that makes up Marcol’s images.<\/p>\n\n\n\n
The set of images of the series Digital Matter<\/em> is a photographic essay on the artistic potential of digital tools of contemporary photography. To be more precise, this work is part of the research on the artistic potential of the technological process of the medium as photography. Between reality and its representation by the photography lies the machinery of the shooting: the camera made of physical matter and digital algorithm. Consequently, the artistic potential beside the photographed subject lies in the limits of the components of the camera.<\/p>\n\n\n\nSomehow this project also questions the hyperrealism temptation of photography. Since the invention of photography, a race to the technical perfection was introduced to abstract the physical presence of the process: exposure times are made shorter and shorter, optical lenses are made clearer and clearer, grains always finer, the colors become truer, there are more and more pixels, etc. These attempts are to make invisible the unavoidable appendix of the shooting to keep only as faithful as possible to what we dream of having seen. Although once made, the image is still not free from the material because it does not exist without its material base, even when it is a projection of light. This will lead to hyper-realism, a more realistic than the real pretend realism. But push too much towards hyperrealism, imagination dies.<\/p>\n\n\n\n
The interest of the photographic inaccuracy is to leave imagination part of the way towards the mental and poetic image that photography enables. Grain, stripe, color shift, optical dispersion, etc. not only allow the material matter in the appendix to be visible but they also open the door to imagination. It’s because everything is not shown, some parts are to be reconstructed by the process of viewing. the poetic work on the indices of this matter makes a photograph possible where even the real loses its importance. Photography derives from its documentary function to become an abstract art of reality.<\/p>\n\n\n\n
In digital photography, it is tempting to reproduce the \u00ab\u00a0picturesque\u00a0\u00bb effects of analog photography to maintain a certain distance between the real and the imaginary. The images of the series Digital Matter<\/em> are part of an experimental approach. As a result, the effects of post-treatment are dwindling in the evolution of the series to leave as much space as possible the indices of technological characteristics of digital photography. In an attempt to offer a poetic image of the unique shaping of the digital matter of photography.<\/p>\n\n\n\n
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