ABSTRACT
Posthuman photography is concerned with the photographic image that is based not on the patriarchal politics of identity and subject–object dualisms but on establishing the multiversal. The photographic treatment consists of producing representations of whatever happens to be in front of the lens, reflecting the whole world as if in a mirror, bestowing a comforting uniformity on everything that appears in its field of view. The photograph is situated at a cross-roads between complex systems, each one of which has its own specific parameters and its own consistency. The frame is a constant reminder that the photograph struggles to maintain an equilibrium between its claim for realism and the obvious fact that it is detached from the real. In REM photography is being revealed not as a 'representative chamber', but as an infinite movement of surfaces that continuously self-replicate and morph into each other.
