Stockholm

Jan Svenungsson

Galleri Engstrom

Photography’s double nature means that it can represent such disjunctures as the monster and the myth. The monster is, according to René Girard, not only a combination of already distinct elements, but it is a new unity, threatening order and differentiation by affirming the irreconcilability of these elements. The “monstrosity” of photography––art and nonart, subject and object––makes it a perfect symbol of dissolution and crisis, not only in art but in society at large. On a fundamental level, this explains the central role of photography in post-Modern discourse. The photographic image is the symbolic counterpart to the deconstruction of traditional categories, oppositions, and hierarchies. Photography threatens the established values of art. Nomadically, it moves between art and life, between high and low culture. But above all, it has created an awareness of the world’s status as

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