TABLE OF CONTENTS

GENEVIÉVE CADIEUX: CLOSE UP

The difference in scale should normally produce a disequilibrium in the spectator and, possibly, enable him/her to see those things which might pass by unseen at a smaller scale, a little bit like close-ups, slow-motion or fast-motion cinema, where they are able to have a revealing effect, and thus illuminate those things which normally would rest hidden.

—Geneviève Cadieux, “Écrans de réflexion”1

Quel dommage que le cinéma possède le gros plan. (What a shame that the cinema possesses the close-up.)

Marcello Mastroianni, “Le Danseur et son double”2

THREE PHOTOGRAPHS: A BLACK and white image of a woman, facing left, simulating a moment of physical and/or mental discomfort; a similar image in color; and a black and white detail of the woman’s lips. Hear Me with Your Eyes, 1989, like much of the work of Geneviève Cadieux (born Montreal, 1955), encompasses a number of subjects: photographic

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