ZZ. What led you to appropriation and remix and how are they significant in your work?
M. Appropriation and remix have a long artistic tradition, beginning with Picasso’s collages. As early as the 1920s, Hannah Hoch and the Dadaists used this mode of expression to create major photographic works. In music, for example, from today’s DJs and Pop to Glenn Gould and Miles Davis, the practice of remix, collage and appropriation has been an essential part of their production. What I mean is that as an artistic concept, appropriation and remix are pretty standard and not particularly groundbreaking.
The interesting question is why their aesthetic power has been reasserted in photography precisely now. And I think one possible answer would be the combination of the formal exhaustion of the linear perspective as a photographic representation of the world and the huge impact digitization is having on every aspect of our lives. I would answer your question by turning it around and saying I find it hard to think of a truly relevant form of photography for the world we live in that continues to respect the Eurocentric, reactionary structure of the dark room.
ZZ. What do you mean by Eurocentric and reactionary?
M. The linear perspective, the visual structure resulting from the dark room, is a very particular and ideological way of visualizing the world. Panofsky has a text about it he wrote in 1927, a real classic, that is a pleasure to read.
But what is really remarkable is that it is an exception in art history. In 10,000 years of history, the linear perspective spans only 500 years and is located exclusively in the West. It has never been of interest to Asian, or pre-Columbian or African art … it is a European way of seeing in a period beginning in the Renaissance and ending in the 19th century.
And this is no coincidence because its ideological content is well known. The linear perspective arranges the world from the point of view of an autonomous individual whose individuality is the world’s principle of meaning. It is pure Descartes. And we all remember Descartes’ Fifth Meditation, which states that since the essence of matter is its extension, geometry is an essential instrument for understanding nature. Modernity can be defined as the advance of abstraction and the prevalence of the quantitative over the qualitative in which the mathematical-scientific order is regarded as the only source of valid knowledge. There is so much contemporary thought that debunks this narrative that I won’t repeat it here.
Thus, surprisingly, my earlier comment is still valid. Why should digital photography continue giving priority to a functionally and ideologically devalued visual structure?
ZZ. Why do you think digital photography changes the way we understand appropriation and remix?
M. Digital technologies are leading us towards the radical transformation of our world. By replacing the industrial economy with a bio-cybernetic system, digitization is modifying our environment, our subjectivity and soon, our bodies. This is the technological phenomenon that will define our era and therefore our culture.
Unlike an analog file, a digital file is invisible. It is a code whose visual expression is a translation highly mediated by default algorithms, whose most prominent feature is precisely its immateriality.
This technical structure fits our current era of abstraction and non-referentiality and the digital financialization of the economy. How do we see the world today? We have the answer on our computer and Smartphone screens. What is the essential aspect of the financial economy? The recombination of existing information units to create new information, in other words, “constructive compositing”. Digitization has definitively invalidated linear narrative, the monocular perspective and the author’s “authority”.
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