{"id":4253,"date":"2024-10-08T14:13:22","date_gmt":"2024-10-08T14:13:22","guid":{"rendered":"https:\/\/www.didiercohas.org\/?page_id=4253"},"modified":"2025-08-05T16:34:48","modified_gmt":"2025-08-05T16:34:48","slug":"contact","status":"publish","type":"page","link":"https:\/\/www.didiercohas.org\/?page_id=4253","title":{"rendered":"– qui suis je \/ contact"},"content":{"rendered":"

BIOGRAPHIE \/ <\/strong>BIOGRAPHY<\/span><\/p>\n

N\u00e9 \u00e0 Mont\u00e9limar en 1961, je suis photographe, sociologue et chercheur en nouvelles technologies de communication. Je d\u00e9veloppe des projets \u00e9ducatifs et identitaires pour de grandes institutions, UNICEF, CEE, Minist\u00e8res et Collectivit\u00e9s Locales Territorialles Fran\u00e7aises, France T\u00e9l\u00e9com. Depuis 40 ans, je documente photographiquement la construction identitaire et l’alt\u00e9rit\u00e9, interrogeant notre rapport soci\u00e9tal. En 1989, je cesse d’exposer pour mener mon travail \u00e0 maturit\u00e9, apr\u00e8s des expositions au Festival OFF d\u2019Arles (1983), journal La Provence (parution 9 weekend 1986), Les Imagiques Aix en Provence (1987), mus\u00e9e Vasarely (1987),.. En 1991, \u00a0j’int\u00e8gre la vid\u00e9o et la performance \u00e0 mon travail et je d\u00e9veloppe une \u00e9criture de Photographie Roman. En 2024, je d\u00e9cide de publier \u00e0 nouveau. L’auto-documentation et la narration en l’autre dans mon travail photographique sc\u00e9narise une identit\u00e9 altruiste.<\/em><\/strong><\/p>\n

Born in Mont\u00e9limar in 1961, I am a photographer, sociologist and researcher in new communication technologies. I develop educational and identity projects for major institutions, UNICEF, CEE, French Ministries and Local Territorial Authorities, France T\u00e9l\u00e9com. For 40 years, I have photographically documented identity construction and otherness, questioning our societal relationship. In 1989, I stopped exhibiting to bring my work to maturity, after exhibitions at the Festival OFF d\u2019Arles (1983), La Provence newspaper (published 9 weekends 1986), Les Imagiques Aix en Provence (1987), Vasarely Museum (1987),.. In 1991, I integrated video and performance into my work and developed a style of Photography Novel. In 2024, I decided to publish again. Self-documentation and narration in the other in my photographic work scripts an altruistic identity.<\/p>\n

Je suis devenu celui que j\u2019avais peur de devenir, un \u00eatre avec une identit\u00e9 sociale et le pire pour celui que j\u2019ai \u00e9t\u00e9 c\u2019est qu\u2019il s\u2019en est plut\u00f4t bien port\u00e9. Il y a 40 ans, j\u2019exposais mes photos, puis j\u2019ai cess\u00e9 pendant 20 ans, me consacrant \u00e0 ma carri\u00e8re de sociologue tout en captant\u00a0 <\/span>toujours des images. Il y a deux ans, l\u2019image de mon p\u00e8re me hantait, et je n\u2019arrivais pas \u00e0 mettre un visage sur ma M\u00e8re, les albums photographiques \u00e9taient au fond d\u2019un garde meuble. La s\u00e9rie \u00ab\u00a0M\u00e8re, P\u00e8re, \u00catre.\u00a0\u00bb est n\u00e9e, l\u2019image de mon p\u00e8re a disparu. Il devient imp\u00e9ratif de recycler mon album photographique mental…et de cr\u00e9er \u00a0mes Photographies Roman : \u00a0apr\u00e8s nos Dieux, nos h\u00e9ros, nos anc\u00eatres, nos histoires je participe \u00e0 l’\u00e9go-image.<\/em><\/strong><\/p>\n

I became the person I was afraid of becoming, a being with a social identity, and the worst thing for the person I was was that he did rather well. 40 years ago, I exhibited my photos, then I stopped for 20 years, devoting myself to my career as a sociologist while still capturing images. Two years ago, the image of my father haunted me, and I couldn’t put a face to my Mother, the photographic albums were at the bottom of a storage unit. The series \u00ab\u00a0Mother, Father, Being.\u00a0\u00bb was born, the image of my father disappeared. It became imperative to recycle my mental photographic album…and to create my Photographs Novel: after our Gods, our heroes, our ancestors, our stories, I participate in the ego-image.<\/p>\n

PHOTOGRAPHIE ROMAN\/<\/strong>PHOTOGRAPHY NOVEL<\/p>\n

C\u2019est une invitation \u00e0 concevoir une relation entre l\u2019image photographique, le monde et le spectateur, d\u00e9passant ainsi la soumission de la photographie \u00e0 ce qui est donn\u00e9. Il s’agit d’une mise en \u0153uvre du potentiel critique et r\u00e9flexif de la photographie. Peut-\u00eatre pourrons-nous alors envisager que la photographie n\u2019est pas simplement narrative ou discursive, mais v\u00e9ritablement fictionnelle, tant dans l\u2019image elle-m\u00eame que dans le processus cr\u00e9atif engag\u00e9 lors de l\u2019acte photographique. La photographie n\u2019est jamais une simple affaire de nature, mais d\u2019usage (et c\u2019est bien humain !). La vie que nous d\u00e9signons habituellement comme \u00ab r\u00e9alit\u00e9 \u00bb n\u2019est rien d\u2019autre que la stabilisation d\u2019un r\u00e9cit humain possible. Toutes les images d\u00e9pendent de syst\u00e8mes de validation. Ainsi, la mani\u00e8re dont une photographie est per\u00e7ue, interpr\u00e9t\u00e9e et int\u00e9gr\u00e9e par les spectateurs d\u00e9pend largement de l\u2019espace discursif auquel elle est rattach\u00e9e. Mon dispositif, mon ancrage de sens pour stabiliser mes images, est donc la Photographie Roman, consid\u00e9r\u00e9e comme une image fictionnelle qui interroge l\u2019identit\u00e9 et la reconnaissance dans la pr\u00e9sence conjointe du photographe et de l\u2019autre. Ce processus vise \u00e0 permettre une cr\u00e9ation accessible et significative dans l\u2019alt\u00e9rit\u00e9 pour chacun d\u2019entre nous.<\/em><\/strong><\/p>\n

It is an invitation to conceive of a relationship between the photographic image, the world, and the viewer, thus going beyond the submission of photography to what is given. It is an implementation of the critical and reflexive potential of photography. Perhaps we can then consider that photography is not simply narrative or discursive, but truly fictional, both in the image itself and in the creative process engaged in the photographic act. Photography is never simply a matter of nature, but of use (and this is very human!). The life we usually designate as \u201creality\u201d is nothing other than the stabilization of a possible human narrative. All images depend on systems of validation. Thus, the way in which a photograph is perceived, interpreted, and integrated by viewers depends largely on the discursive space to which it is attached. My device, my anchor of meaning to stabilize my images, is therefore Novel Photography, considered as a fictional image that questions identity and recognition in the joint presence of the photographer and the other. This process aims to allow an accessible and meaningful creation in otherness for each of us.<\/p>\n

<\/span>Dans cette approche, le h\u00e9ros moderne du roman ou de l\u2019auto-fiction devient acteur de son image, invitant chacun \u00e0 s\u2019imaginer. Il s’agit de brouiller les fronti\u00e8res entre fiction et r\u00e9alit\u00e9. Le monde n\u2019est pas tel que nous le connaissons, ni m\u00eame tel qu’il pourrait \u00eatre. La Photographie Roman ne repr\u00e9sente pas le r\u00e9el actuel ou possible, mais interroge notre d\u00e9sir excessif de vivre, ce que je roman\u00e7e, ou ce que nous ne pouvons plus romancer dans nos identit\u00e9s : romancer un possible ind\u00e9termin\u00e9, dynamique, constitutif, accessible et ouvert. L\u2019individu se subjective dans les images, cr\u00e9ant une r\u00e9alit\u00e9 faisable au sein de l\u2019immensit\u00e9 des images st\u00e9r\u00e9otyp\u00e9es ou inaccessibles, cherchant ainsi \u00e0 \u00e9chapper \u00e0 un divertissement consum\u00e9riste.<\/em><\/strong><\/p>\n

Ce n\u2019est pas d\u2019un simulacre d\u2019\u00e9tude ou de pr\u00e9visionnisme, voire de catastrophisme, que le monde a besoin, mais plut\u00f4t d\u2019une transmutation de tout l\u2019ordre social. Chaque d\u00e9tail, chaque acte de la vie s\u00e9culi\u00e8re, devrait \u00e9veiller \u00e0 une image de son potentiel, sans identification, offrant l’image vivifiante de l\u2019universel dieu-homme, immanent et agissant en chacun d\u2019entre nous.<\/em><\/strong><\/p>\n

In this approach, the modern hero of the novel or autofiction becomes the actor of his image, inviting everyone to imagine themselves. It’s about blurring the lines between fiction and reality. The world is not as we know it, nor even as it could be. Photography Novel does not represent current or possible reality, but rather questions our excessive desire to live, what I romanticize, or what we can no longer romanticize in our identities: romanticizing an indeterminate, dynamic, constitutive, accessible, and open possibility. The individual subjectivizes himself in the images, creating a feasible reality within the immensity of stereotypical or inaccessible images, thus seeking to escape consumerist entertainment.<\/p>\n

It is not a simulacrum of study or forecasting, or even catastrophism, that the world needs, but rather a transmutation of the entire social order. Every detail, every act of secular life, should awaken an image of its potential, without identification, offering the life-giving image of the universal god-man, immanent and acting in each of us.<\/p>\n

PROCESSUS\/<\/strong>PROCESS<\/span><\/p>\n

Ce sont mes v\u00e9rit\u00e9s intimes que je peux cr\u00e9er, me permettant ainsi d’\u00e9crire mon propre roman narratif. Je photographie ou filme sans trucage et sans intelligence artificielle ; tout doit rester r\u00e9el. Je photographie, je compose des albums documents, je performe en enregistrant la vid\u00e9o, et ensuite je monte un film de l’ensemble de ces \u00e9l\u00e9ments sur lequel je fais des captures d\u2019\u00e9cran\u2026 \u00e9paisseurs, profondeurs, couches et instantan\u00e9s photographiques. J\u2019avoue d\u00e9tester le plan parfait, souvent trop beau pour \u00eatre \u00ab vrai \u00bb. J\u2019appr\u00e9cie l\u2019\u00e9vidence ; elle n\u2019est jamais plus pr\u00e9cieuse que lorsqu\u2019elle est une surprise.<\/strong><\/em><\/p>\n

J\u2019appr\u00e9cie la profondeur, l\u2019\u00e9paisseur et la complexit\u00e9 dans la r\u00e9alisation de mes images : mon travail se compose de couches documentaires d\u2019un m\u00eame moment photographique. J\u2019admire \u00e9galement la peinture classique et sa texture riche ; pour moi, la photographie constitue un instantan\u00e9 conceptuel moderne des multiples couches de la r\u00e9alit\u00e9. Ce n’est jamais l\u2019\u00e9vidence ou l\u2019anecdote qui me guide, mais plut\u00f4t un miroir compos\u00e9 de ces multiples facettes, souvent imm\u00e9diat et pourtant si construit par le regard, semblable \u00e0 une r\u00e9v\u00e9lation.<\/strong><\/em><\/p>\n

These are my intimate truths that I can create, allowing me to write my own narrative novel. I photograph or film without trickery or artificial intelligence; everything must remain real. I photograph, I compose documentary albums, I perform while recording the video, and then I edit a film of all these elements on which I take screenshots… thicknesses, depths, layers, and photographic snapshots. I confess to hating the perfect shot, often too good to be \u00ab\u00a0true.\u00a0\u00bb I appreciate the obvious; it is never more precious than when it is a surprise.<\/p>\n

I value depth, thickness, and complexity in the creation of my images: my work is composed of documentary layers of a single photographic moment. I also admire classical painting and its rich texture; for me, photography constitutes a modern conceptual snapshot of the multiple layers of reality. It is never the obvious or the anecdote that guides me, but rather a mirror composed of these multiple facets, often immediate and yet so constructed by the gaze, similar to a revelation.<\/p>\n

IDENTITE RECONNAISSANCE\/<\/strong>IDENTITY RECOGNITION<\/span><\/p>\n

Dans une soci\u00e9t\u00e9 o\u00f9 l\u2019individualisme r\u00e9duit tout \u00e0 des arch\u00e9types, la joie se trouve dans les moments o\u00f9 je parviens \u00e0 d\u00e9velopper ma propre identit\u00e9, \u00e0 l’ inventer, \u00e0 me l’approprier. Il est alors d\u2019autant plus pr\u00e9cieux de la d\u00e9couvrir que de la chercher.<\/strong><\/em><\/p>\n

Tout cela pourrait sembler banal ou pr\u00e9tentieux s\u2019il ne s\u2019agissait avant tout d\u2019une exp\u00e9rience v\u00e9cue, ou si je ne m’engageais pas \u00e0 la r\u00e9aliser. Mon travail n\u2019est ni grand ni petit, ni ceci ni cela, ni une diff\u00e9rence, ni une cat\u00e9gorie ; il est avant tout une exp\u00e9rience multiple, contribuant \u00e0 l’\u00e9difice de ce que je suis. Ni identit\u00e9, ni sexe, ni genre, juste la mienne : une photographie romanesque, lib\u00e9r\u00e9e et fraternelle, sans revendication ni besoin, sauf celui de nous rapprocher.\u00a0<\/span><\/strong><\/em><\/p>\n

Sans doute parce que les cat\u00e9gories et nos st\u00e9r\u00e9otypes m\u00e9diatiques s’apprennent les uns des autres, ce n’est pas qu’elles \u00e9laborent l’\u00eatre, mais qu’elles collaborent \u00e0 l’\u00eatre. Ce n’est pas tant une nouvelle image qu’une irruption d’une dimension nouvelle dans les m\u00eames images.<\/strong><\/em><\/p>\n

In a society where individualism reduces everything to archetypes, joy is found in the moments when I manage to develop my own identity, to invent it, to make it my own. It is then all the more precious to discover it than to seek it out.<\/p>\n

All this might seem banal or pretentious if it weren’t primarily a lived experience, or if I weren’t committed to achieving it. My work is neither big nor small, neither this nor that, neither a difference nor a category; it is above all a multiple experience, contributing to the edifice of who I am. Neither identity, nor sex, nor gender, just mine: a romantic, liberated, and fraternal photography, without demands or needs, except that of bringing us closer together.<\/p>\n

Perhaps because our media categories and stereotypes learn from each other, it is not that they elaborate being, but that they collaborate in being. It is not so much a new image as an irruption of a new dimension in the same images.<\/p>\n

C\u2019est une invitation \u00e0 reprendre les photographies clich\u00e9es, sur ces albums et ces r\u00e9seaux de distraction, et sur les injonctions li\u00e9es aux apparences. C\u2019est un peu, et surtout, notre identit\u00e9 et notre histoire r\u00e9appropri\u00e9e, empreinte de gratitude. Merci \u00e0 toutes ces rencontres qui m’ont fa\u00e7onn\u00e9.<\/strong><\/em><\/p>\n

Pour moi, la joie est une exp\u00e9rience active de l\u2019autre. Il me faut donc rassembler l\u2019ensemble des exp\u00e9riences et des personnes qui ont contribu\u00e9 \u00e0 cr\u00e9er non pas ce qui n\u2019est plus ou ce qui a \u00e9t\u00e9, mais ce qui est. Derri\u00e8re chacune de mes photographies se trouvent tous ceux qui m’ont donn\u00e9 vie ou m’ont fa\u00e7onn\u00e9. Je ne peux reprendre une photographie, mais je peux tenter de la (re)cr\u00e9er en tant qu\u2019exp\u00e9rience, ajoutant une documentation sur les \u00eatres et les espaces qui l\u2019ont fait na\u00eetre. Ce ne sont pas des souvenirs, ni des gouffres ou des batailles ; je leur dois simplement d\u2019\u00eatre pr\u00e9sent dans la photographie, et je leur dois beaucoup.<\/strong><\/em><\/p>\n

It’s an invitation to revisit clich\u00e9d photographs, those albums and networks of distraction, and the injunctions linked to appearances. It’s a little bit, and above all, our identity and our history reclaimed, imbued with gratitude. Thank you to all these encounters that have shaped me.<\/p>\n

For me, joy is an active experience of the other. I must therefore bring together all the experiences and people who have contributed to creating not what is no longer or what was, but what is. Behind each of my photographs are all those who gave me life or shaped me. I cannot retake a photograph, but I can attempt to (re)create it as an experience, adding documentation of the people and spaces that gave birth to it. These are not memories, nor chasms or battles; I simply owe them the fact that I am present in the photograph, and I owe them a great deal.<\/p>\n

didier cohas<\/p>\n

 <\/p>\n

contact : didier.cohas@me.com<\/p>\n

\"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

BIOGRAPHIE \/ BIOGRAPHY N\u00e9 \u00e0 Mont\u00e9limar en 1961, je suis photographe, sociologue et chercheur en nouvelles technologies de communication. Je d\u00e9veloppe des projets \u00e9ducatifs et identitaires pour de grandes institutions,…<\/p>\n","protected":false},"author":1,"featured_media":8479,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4253","page","type-page","status-publish","has-post-thumbnail"],"_links":{"self":[{"href":"https:\/\/www.didiercohas.org\/index.php?rest_route=\/wp\/v2\/pages\/4253","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.didiercohas.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.didiercohas.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.didiercohas.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.didiercohas.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4253"}],"version-history":[{"count":32,"href":"https:\/\/www.didiercohas.org\/index.php?rest_route=\/wp\/v2\/pages\/4253\/revisions"}],"predecessor-version":[{"id":8989,"href":"https:\/\/www.didiercohas.org\/index.php?rest_route=\/wp\/v2\/pages\/4253\/revisions\/8989"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.didiercohas.org\/index.php?rest_route=\/wp\/v2\/media\/8479"}],"wp:attachment":[{"href":"https:\/\/www.didiercohas.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4253"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}