Introduction (english)

Grete Stern (Wuppertal, 1904-Buenos Aires, 1999) was a disciple of Walter Peterhans, the proponent of the Neues Sehen (New Vision), who was responsible for the first course on photography at the Bauhaus (Dessau, 1929). In Berlin, at the beginning of the 1930s, she associated with Ellen Rosenberg (later Auerbach) in the photographic studio ringl+pit, where they operated with photomontage and photocollage in advertising and portrait following the experiments of the New Vision and New Objectivity. In 1936, fleeing Nazism, she went into exile in Buenos Aires with her companion Horacio Coppola. 

Until her involvement with the magazine Idílio - La revista juvenil e femenina, [Idyll, the youth and women magazine], and the production of Sueños [Dreams], Stern had few opportunities to work on photomontage in Argentina, as the medium had no significant antecedents there. Indeed, the first known photomontages in the country were produced by Antonio Pozzo, the pioneer dague...

Since the nineteenth century, manipulated photographs have been used in presentations to illustrate the impact of architecture and landscape design on urban scenery, particularly in large-scale projects or buildings of historical and artistic importance. While photography has prompted all kinds of experimentation since it first appeared, photomontage has become a representational tool, challenging the relationship between space and time. Further, in the realm of contemporary images, it offers a unique opportunity to shed light on exchanges between disciplines and analyze the changes in the field of representation. In the same spirit, the present issue explores the vast range of photomontage practices, through in-depth historical and contemporary case studies, a translated lecture by Grete Stern, and a portfolio by contemporary artist Caterina Borelli. Both of these women situate their practice in line with the historical avant-gardes. Inspired by the Surrealists, Stern explores the ...

Ouvrage qui interroge l’habitat dans le milieu alpin, en prenant appui sur le canton du Valais. L’auteur, par la signification des mots, leurs usages et évolutions met en relief les transformations de mode de production de l’habitat alpin. D’une architecture dans les Alpes à une architecture alpine, il plonge le lecteur dans un récit engagé et critique. Il oppose capitalisme et sociétés rurales pour y exposer leurs rapprochements. Les premières colonisations de la montagne par la bourgeoisie, les enquêtes savantes et les stéréotypes de la société de masse ont façonné, sur le temps long, une représentation mentale polymorphe et totalisante de l’habitat en montagne. L’auteur, documents graphiques à l’appui, propose au lecteur une vision d’ensemble et discursive pour mieux déceler les effets néfastes et bénéfiques de cette lente « transformation » dissimulée.