Aventurile hiperimaginii. Reconstrucţia trompe-l’oeil-ului şi noua definiţie a fotografiei la Jean-François Rauzier şi Ileana Florescu
The Adventures of Hyperimage. The Reconstruction of trompe-l’oeil and the New Definition of Photography: Jean-François Rauzier and Ileana Florescu

Summary/Abstract: The present paper is questioning the concept of hyperphotography starting from the experiments in the field made by two photographers: the French Jean-François Rauzier and the Italian with Romanian origins, Ileana Florescu. We would try to prove that, in the case of hyperphotography, we can talk about a new kind of radicality of the image. As Baudrillard puts forth, punctum – the ‘symbolic void that makes the power’ of photography – is currently disappearing. Punctum, a concept introduced by Roland Barthes in Camera lucida, refers to the pure absence that resides in the heart of the image. Hyperphotography suspends this inner absence. Punctum is replaced by a redundant image, the picture’s reflection, its double. This excess of the image, as well as the trompe-l'oeil, leads to the deconstruction of the photographic object. Like pharmakon in the theory of Jacques Derrida, hyperphotography generates an utopia, the utopia of a reference that is, at the same time and to the same extent, representation and non-representation, negation and assertion.

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