Cover image. Courtesy of CAI
Post-photography forbids an image to be just an image.
Twelve years after Robert Shore claimed it was merely “a moment, not a movement,” the medium remains stubbornly present. At Cibrián, Margaux Moonen Guillaume treated photographic prints as a foundational layer for textiles stained with ink, varnish, and oil. In Lustre, a chandelier print on positives was sandwiched within stained cotton-tarlatan. In Good Morning, golden-hour shadows were obscured by sheer cotton and pencil shavings. Elsewhere, Wei Leng Tay reworked archival photos of a 1963 ikebana competition in Penang. Vyatautas Kumzâ’s framed photographs featured protruding objects. Giorgos Tigkas showed a feet pic in a leatherette frame with green tape.
