Interventions, Volume 02, Issue 02: Shadow of a Doubt

 The visual character of proof—the notion that seeing is believing—persists in our digital age of endless reproducibility and boundless mutability. Images are shared, reformatted, altered, and remixed as they travel through globalized media circuits, continually reappropriated and recontextualized. Dematerialized and deterritorialized, they move with the flow of global capitalism. As physical space and digital space are increasingly integrated, what does our relationship to reality look like? And, what role can fiction play in illuminating it?

With an emphasis on artists’ projects, this issue of Interventions investigates our post-simulacral condition. Photography and film—traditionally indexical media—document that which never was. Found images are re-appropriated in the creation of a fictive archive. Legends are literalized, rumors are propagated, and fanciful connections are made as artists involve themselves in made-up experiences of real-life figures, constructing narratives using photographic documentation. A parallel universe operates under complementary logic. The icon, the index, and the symbol play semiotic games. Imagined and real landscapes are mapped onto each other. Real and fictional spatiotemporalities are conflated and communication across worlds is enabled by technology.

We now understand truth as a plural construct, acknowledging that no document is a transparent copy and that all representation comprises a set of political relationships. All documents carry the conditions of their own production and distribution: they are traces of their own construction. Uniquely positioned to undermine objectivity, fiction provides a means through which to critically engage the structure of our composite reality.

Carmen Falcioni, Carmen Ferreyra, and Cecelia Thornton-Alson

New York, July 2013