"Lacking the three-dementionality that enhanced their verisimilitude, the dioramas exhibit in the photographs a newly found flatness that makes their stifling imoblity more apparent than ever: specimens stare at the camera without a hint of life, forever stuck in the same position. Reduced in size and intentionally presented wonder of their artificiality"

Olalquiaga, p.60

 

"Like the vanishing city, the body remains the only concrete proof of existence. Yet, scattered and fragmented under the weight of technology, the body and city can't be recovered by means other than those that displace them: they must be recorded or registered anew"

Olalquiaga, p. 93

These images are so staged and registered that the only way to appreciate them, much less read them is by accepting their blatant inauthenticity. In the imoblity of the framed images into concrete and frozen forms and through the over worked inauthenticity of the ads composition, the body remains as the only proof that authenticity exists. Yet, the display of the hyper inautheticity transforms itself authentic as it is appropriated as a mass subculture. By the process of mass culture turned subculture the inauthentic becomes the only piece of media advertisement that remains authentic.

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