Thus, media images became part and parcel of artistic practices engaged in a renewal of the representation of contemporary history. By means of these images the art sphere has attempted to rehabilitate the historical genre, which was once suppressed by the avant-gardes, as part of a process of the genre\u2019s critical reassessment. The canonical images of photojournalism\u2014snapshots made iconic through the process of mass mediatization\u2014are revisited. Photojournalism has since become the \u00adtesting ground for contemporary art\u2019s historiographical ambitions. Consider, for instance, the work of Dutch artist Anno Dijkstra, who \u00adcreates sculptural reconstructions of figures taken from famous news and media images. Such photos\u2014i.e., the image taken by Nick Ut in Vietnam in 1972 and the one taken by Kevin Carter in Sudan in 1993\u2014have both earned international awards for photojournalism and become monuments of the genre. Photography becomes monumental when it dominates public space (read: media space) by means of a variety of reproductions and transpositions\u2014posters, CD-roms, exhibition prints, postcards, the Web, etc.\u2014thereby endowing the snapshot with a staggering ubiquity. This \u00admonumentality of the image is quite peculiar in that it stems from an absence of any designated site. The media image thus becomes a \u00admonument without a pedestal, without a place.<\/p>\n\n\n\n
Doubtless, it is this unmooring of the image, which Walter Benjamin had already noted in the 1930s, that is here foiled by its \u00admaterialization in a specific place. For the sculptural reconstitution of a photograph \u00adnecessarily implies a physical space, be it a public square or an exhibition venue. In the former case, reconstruction submits to the contingency of urban perambulations, while in the latter it proffers itself to the \u00advisitor\u2019s reasoning gaze. In either case, the relation between work and place is \u00adsubject to reformulation, either by erecting the same monument at \u00addifferent places\u2014which restores a form of mobility to the image\u2014or by redistributing elements of the work according to various configurations.1<\/sup><\/a><\/span> 1 <\/a> - By dissociating parts of Proposal 14<\/em> and arranging them in various patterns, Dijkstra plays on the narrative potentialities of the media images to which his work refers. On the vulture\u2019s presence as a narrative catalyst in the ethical reception of Kevin Carter\u2019s image, see David D. Perlmutter, Photojournalism and Foreign Policy: Icons of Outrage in International Crisis<\/em> (Westport, Connecticut: Praeger Publishers, 1998), 23\u201329.<\/span><\/p>\n\n\n\n The volumetric transposition of such images is based on a kind of reconstitution that orients analysis towards considerations of \u00adintermediality, that is, toward the entangled relationships between the different media involved.2<\/sup><\/a><\/span> 2 <\/a> - See Irina O. Rajewsky, \u201cIntermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality,\u201d Interm\u00e9dialit\u00e9s<\/em> 6 (Fall 2005): 43\u201364.<\/span> It may also be considered in light of procedures used for the reconstruction of events. Reconstruction is intrinsic to the historical genre in film. As Priska Morrissey states, its principal function is to \u201cenrol the spectator\u2019s \u00adadherence to the simulacra.\u201d3<\/sup><\/a><\/span> 3 <\/a> - Priska Morrissey, Historiens et cin\u00e9astes. Rencontre de deux \u00e9critures<\/em> (Paris: L\u2019Harmattan, 2004), 111. <\/span> But if history consultants are usually called upon to ensure the credibility of specific scenes\u2014Jacques le Goff for Jean\u2011Jacques Annaud\u2019s The Name of the Rose<\/em>, or Arlette Farge for Ren\u00e9 Allio\u2019s Un m\u00e9decin des Lumi\u00e8res<\/em>\u2014such a process has less to do with a search for historical truth than with the reconstruction\u2019s compliance with a fantasized past. If the reconstruction is subordinated to the imperative of realism, the reference model is not so much the real per se as all its combined literary, artistic and documentary representations. Such has been the case since the beginning of cinema. In L\u2019historien et le film<\/em>, Christian Delage and Vincent Guigueno recall that reconstruction, understood in this sense, is a process specific to the cinematic writing of reality. This holds as much for \u201cdocumentary\u201d films or cin\u00e9ma v\u00e9rit\u00e9<\/em> as for so-called fiction films\u2014a distinction Delage and Guigueno in fact reject in as much as all cinematic writing proceeds from a rearrangement of reality. They \u00addeliberately focus, then, on the first cinematic \u00adrecordings of a documentary nature, on the most exemplary instances of that \u201cinaugural urge,\u201d among film pioneers, \u201cto reconstruct both the present and the past.\u201d4<\/sup><\/a><\/span> 4 <\/a> - Christian Delage and Vincent Guigueno, L\u2019historien et le film<\/em> (Paris: Gallimard, 2004), 14.<\/span><\/p>\n\n\n\n Whether technical, logistic or temporal, the constraints with which cameramen have to deal with have inspired \u00adreconstructive strategies.5<\/sup><\/a><\/span> 5 <\/a> - Thus, during the confrontation between the United States and Cuba in 1898, \u201cthe cameramen, turned away by American military commanders, were obliged to \u00admanage their battle scenes in the outskirts of New York, recreating them with painted canvas, basins of water, and boat models.\u201d Ibid., 17.<\/span> A more relevant example for our purposes\u2014one that is not mentioned by Delage and Guigueno, though it supports the very tenets of their thesis\u2014is D. W. Griffith\u2019s controversial historical drama The Birth of a Nation<\/em> (1915). As several commentators have observed, Griffith reconstructed the main events of the American Civil War\u2014Lee\u2019s surrender at Appotomax, the signing of the Emancipation Proclamation, Sherman\u2019s march toward the sea\u2014from photographs of the conflict taken by Matthew Brady and his assistants. From the very beginning of the twentieth century then, event photography has served as a matrix for historical reconstruction.<\/p>\n\n\n\n In archaeology the reconstruction of the past essentially relies on the existence of remains. For anastylosis\u2014a technical term referring to the reconstitution of columns\u2014ruins are itemized with the aim to restore their vertical structure and thus to provide at least an image, be it \u00adpartial, of the vanished temple. Thus, found or even wholly reconstructed \u00adelements may be appended to standing structures in the attempt to solve the puzzle.6<\/sup><\/a><\/span> 6 <\/a> - On the fantasies of origin that prevail in archaeological reconstruction, see Philippe Jockey, \u201cDe vestige exhum\u00e9 au pass\u00e9 (re)produit,\u201d Fa\u00e7onner le pass\u00e9 : repr\u00e9sentations et cultures de l’histoire (XVIe<\/sup>-XXIe<\/sup> si\u00e8cles<\/em>), ed. by Jean-Luc Bonniol and Maryline Crivello (Aix-en-Provence: Publications de l\u2019Universit\u00e9 de Provence, 2004), 161\u201382.<\/span> Archaeological reconstruction is ultimately an additive \u00adoperation, which, from several reliable parts, builds up a whole. With Dijkstra, however, reconstruction functions through subtraction. Indeed, the passage from image to sculpture entails a certain loss. It is a \u00adnegative anastylosis. A distinctive feature of Dijkstra\u2019s work is in fact how it \u00adproceeds by way of formal reduction, cutting the press photo down to its main component\u2014a figure of survival,7<\/sup><\/a><\/span> 7 <\/a> - On the notion of survival in art history, see Georges Didi-Huberman, L\u2019Image \u00adsurvivante : histoire de l’art et temps des fant\u00f4mes selon Aby Warburg<\/em> (Paris: Minuit, 2002). <\/span> crying out, or lying prostrate, or simply resigned. Thus, the elimination of all contextual elements becomes a metaphor for an omission that is immediately compensated for by a hypostasis of the suffering subject. The latter\u2019s isolation transforms it into an orphan figure of the causes of its own predicament\u2014a dispossession in which its very nudity takes part, stripping it of culture and reducing it to its animal \u00adquality.<\/p>\n\n\n\n This type of nudity cannot be identified with the one on which art \u00adhistory has founded its aesthetic norms regarding the representation of passion. The representation of human expressions in art, particularly in the statuary of classical antiquity, has spurred several important aesthetic debates in eighteenth-century art history, then a burgeoning field. The object of choice for such studies on the sculptural representation of \u00adpassion was the Laoco\u00f6n<\/em>, a Greek marble group (in fact, a first-century Roman copy) that represents a passage from Virgil\u2019s Aeneid<\/em>. In his Reflections on the Imitation of Greek Works in Painting and Sculpture<\/em>, Winckelmann refers to it as one of the greatest examples of the sublime and austere style.<\/p>\n\n\n\n Lessing discusses it in a book that he in fact titles Laoco\u00f6n<\/em>, in which he examines the respective limits of poetry and the visual arts, \u00adparticularly with respect to the expression of emotions. Lessing\u2019s comments on the pictorial and sculptural representation of suffering are particularly instructive for our purposes: \u201cThere are passions and degrees of \u00adpassion which express themselves in the countenance by the most hideous \u00adgrimaces, and put the whole frame into such violent postures that all the beautiful lines are lost which define it in a quieter condition. From these, therefore, the ancient artists either abstained wholly or reduced them to lower degrees in which they were capable of a measure of beauty.\u201d8<\/sup><\/a><\/span> 8 <\/a> - G. E. Lessing, Laoco\u00f6n<\/em>, in J. M. Bernstein, ed., Classic and Romantic German Aesthetics<\/em> (Cambridge: Cambridge University Press, 2003), 34-35.<\/span> To which Lessing then adds, \u201cThe mere wide opening of the mouth\u2014apart from the fact that the other parts of the face are thereby violently and unpleasantly distorted\u2014is a blot in painting and a fault in sculpture which has the most untoward effect possible.\u201d9<\/sup><\/a><\/span> 9 <\/a> - Ibid., 64.<\/span><\/p>\n\n\n\n And yet, the photographic representation of human passions, those that photojournalism constantly tracks and reiterates, blatantly violates the aesthetics of restraint advocated by the Laoco\u00f6n<\/em>\u2019s commentators. Affective display in photojournalism is all cries and gaping mouths. That Dijkstra chose the wailing figure of little Kim Phuc as a model for his own image says as much about the obsolescence of the aesthetics of calm grandeur as about the need to exhibit its negative corollary. But to what ends? For the survival of what memory do Dijkstra\u2019s monuments strive? What exactly are we celebrating? The image\u2019s newfound \u00adgrounding? The figured event made sedentary? The embodiment of the figure of \u00adsuffering? Reinhart Koselleck distinguishes funerary monuments from monuments to the dead by the fact that the latter \u201cserve to commemorate a violent death, caused by the hand of man.\u201d10<\/sup><\/a><\/span> 10 <\/a> - Reinhart Koselleck, \u201cLes monuments aux morts, lieux de fondation de l\u2019identit\u00e9 des survivants,\u201d L\u2019exp\u00e9rience de l\u2019histoire<\/em> (Paris: Hautes \u00c9tudes\/Gallimard\/Seuil, 1997), 137.<\/span> While deploring life lost, monuments to the departed\u2014soldiers, victims, heroes, conquerors\u2014strive, first and foremost, to give meaning to survival. The monument to the dead is a memorial to survival. This is particularly evident with certain memorials, like that at the Buchenwald concentration camp (Fritz Cremer, 1958), where the theme of survival, embodied by a gathering of \u00adsurvivors, overshadows that of mass death. Dijkstra\u2019s monuments are not monuments to survival, for they do not communicate any form of hope. Which is not to say that their message is pessimistic. The lack of \u00adprospects rests on the impossibility in these works of producing an allegorical \u00adrepresentation of suffering that might be free of the \u00adcontemporaneous. Press photos impose a temporality on the figure that it cannot escape. Imprisoned in the moment, it cries out for eternity. If there is survival to be had here, it is that of the image.<\/p>\n\n\n\n [Translated from the French by Ron Ross]<\/p>\n![\"\"](\"https:\/\/esse.ca\/wp-content\/uploads\/2022\/08\/67_DO07_Lavoie_Dijkstra_Proposal-19-scaled.jpg\")
photos\u202f: permission de l’artiste | courtesy of the artist<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/esse.ca\/wp-content\/uploads\/2022\/08\/67_DO07_Lavoie_Dijkstra_Proposal-14.jpg\")
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photos\u202f: permission de l’artiste | courtesy of the artist<\/figcaption><\/figure>\n\n\n\n