Exit #64 Falso / Fake

False or true? True or false? Art or photography? The brief history of photography has been told by perfectly documented facts that are false stories, images that lie about the authenticity of photography. Constructed documents that we could believe except for the reason that they are enormous lies.

Beyond joke, provocation, irony, beyond the game, we find the central criticism about this canonical history, about the foundational theory that photography is a tool that offers us reality beyond doubt. All these artists, all these more or less skillful characters, more or less poetic or brilliant, are whispering the only great truth of art, of life: there is no difference between truth and lie. What has been might have not been and nevertheless happen. All our truths are based upon a pile of lies, deception is more than a necessity an art. There is nothing more like truth than a lie. They are so similar that we do not distinguish them, that we can exchange them. And, ultimately, lies have been invented to make us understand the truth.

In EXIT 64 we talk about the lie, about all those artists who have built a parallel story of truth through their hidden face. With us you can find out all the stories so real, so perfectly documented, so curious, so interesting, so funny, that they can only be invented stories, dreams, fables and, ultimately, lies.

Editorial: 
Lying as one of the Fine Arts, Rosa Olivares

Texts:
Mercedes Cebrián, Tomás Zarza, Ana J. Revuelta

Artists:
Thomas Dagg, Cristina de Middel, Cédric Delsaux, Hans Eijkelboom, Joan Fontcuberta, Rafael Goldchain, Paco Gómez, Alison Jackson, June Korea, EJ Major, Nikki S. Lee, Martí Llorens, Peter Marlow, Jorge Molder, Dita Pepe, Chuck Samuels, Jon Uriarte.

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