Photographie de la photographie de Charles Baudelaire par Nadar.
Je l'ai prise au Musée d'Orsay à Paris, en 1989.
C'est ce que l'on pourrait appeler : une reproduction.
Entre l'original de Nadar, et celle-ci, il y a,  mon appareil photo, l'air du musée d'Orsay et le regard de Baudelaire qui traverse la vitre du cadre.
C'est une image d'une image, le début d'une mise en abyme.



Photography of Charles Baudelaire's photography by Nadar.
I took it in the Musée d'Orsay, in Paris, in 1989.
It is what we could call: a reproduction.
Between the original of Nadar, and this one, there are, my camera, the air of the Musée d'Orsay and the glance of Baudelaire which cross the window of the frame.
It is an image of an image, the beginning of a mise en abyme.

3 commentaires:

Terresa a dit…

A phenomenal picture, thanks for this one, V.!

Laurent a dit…

Happily you prove also the opposite case: the resiliency of the subject, the tenacity of desire to discover the representation (which becomes the subject), and yet of course the inspiration to transform the representation; but for this I think "abyss" portrays a parti pris.

That said, I can't believe anyone wouldn't be interested in a representation by VL in a representation of Baudelaire; which is to say, one can create value in the abyss. This also works a kind of Rockefeller effect of provenance on the famous auction price of his Rothko; but your intervention exceeds mere possession, again deflecting it from an abyss.

I don't mean to be tiresome, but if your Baudelaire representation sires any representational puppies, I'd be pleased to be considered to offer a bid.

Happy Easter, Valéry.

Cat a dit…

"Tête-à-tête sombre et limpide
Qu'un coeur devenu son miroir !
Puits de Vérité, clair et noir,
Où tremble une étoile livide," C.Baudelaire cité par Cat, je ne résiste pas à plonger moi même dans l'abyme.