The king’s tapestry
2022-en curs
Unlike historical hunting scenes, the photograph of Botswana is produced in a context of late-modernity where the character of the image is influenced by the development of information and communication technologies, which make it much more abundant, transitory, immaterial and easily appropriable and sharable. Hunting is also perceived differently in a society increasingly sensitized to animal abuse and with a growing ecological conscience. At this juncture and contrary to its traditional use, this image seems to question its original function to become an expressive agent of the recent tensions of the monarchy. Opposite to the visual consumption drive of the digital era, this project recovers the tapestry as a historical medium carrying representations of power, and of hunting scenes in particular, to weave a materiality and dwell on an image that is not only transcendent in the recent history of the monarchy, but that reveals itself as a symptom of the postmodern image.
