© Vilma Pimenoff, Untitled (figures-left + beings-right), from The Dark Collection

© Vilma Pimenoff, Untitled (beings), from The Dark Collection

© Vilma Pimenoff, Untitled, from the series Demoiselles de Paris

“Pierce called indexical the process of signification (semiosis) in which the signifier is bound to the referent not by a social convention ( = “symbol”), not necessarily by some similarity ( = “icon”), but by an actual contiguity or connection in the world: the lightning is the index of the storm. In this sense, film and photography are close to each other, both are prints of real objects, prints left on a special surface by a combination of light and chemical action. This indexicality, of course, leaves room for iconic aspects, as the chemical image often looks like the object (Pierce considered photography as an index and an icon). It leaves much room for symbolic aspects as well, such as the more or less codified patterns of treatment of the image (framing, lighting, and so forth) and of choice or organization of its contents. What is indexical is the mode of production itself, the principle of the taking. And at this point, after all, a film is only a series of photographs. But it is more precisely a series with supplementary components as well, so that the unfolding as such tends to become more important than the link of each image with its referent.

(…)
Photography has a third character in common with death: the snapshot, like death, is an instantaneous abduction of the object out of the world into another world, into another kind of time-unlike cinema which replaces the object, after the act of appropriation, in an unfolding time similar to that of life. The photographic take is immediate and definitive, like death and like the constitution of the fetish in the unconscious, fixed by a glance in childhood, unchanged and always active later. Photography is a cut inside the referent, it cuts off a piece of it, a fragment, a part object, for a long immobile travel of no return. Dubois remarks that with each photograph, a tiny piece of time brutally and forever escapes its ordinary fate, and thus is protected against its own loss. I will add that in life, and to some extent in film, one piece of time is indefinitely pushed backwards by the next: this is what we call “forgetting.” The fetish, too, means both loss (symbolic castration) and protection against loss. Peter Wollen states this in an apt simile: photography preserves fragments of the past “like flies in amber.”6 Not by chance, the photographic act (or acting, who knows?) has been frequently compared with shooting, and the camera with a gun.”

excerpt from the article Photography and Fetish, by Christian Metz, published in October, Vol. 34 (Autumn, 1985), pp. 81-90

more of Vilma‘s work here

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