Abstract

According to the author, the Duchampian notion of “inframince” puts photography, its status as well as its artistic use, to the test of its relationship with reality. Far from its documentary function, it is confronted with ultrathin differences, both phenomenal and conceptual, which substantially change the conception of the reality of which it is an image: “thing”, real, object a, simulacrum or other? The text introduces these problems and opens the vision of the image to multiple horizons from this point of view.