Abstract
During the 1980s, when it became increasingly easy to traverse great distances and ever more people went abroad, travel became associated with capitalist, globalized economies and lost the anti-establishment aspect that it had possessed in the 1960s. Photographers whose work focuses upon travel have to invent new forms of travelling, forms capable of counterbalancing global homogenization and reviving the radical nature of travel. Martin Parr and Tom Wood have focused upon unexceptional journeys, shopping trips to Boulogne or Calais and bus journeys around Liverpool; Thierry Girard, Marc Deneyer and others have slowed their modes of travel, paying particular attention to details and inconsequential events in order to heighten their significance (walking, for instance, results in the establishment of new relationships with the places); other photographers have adopted self-imposed constraints that have necessarily affected their travel experiences. In one way or another, such departures reinstate the unconventional and potentially subversive nature of travel. Au moment où les communications à distance et les déplacements se multiplient, le voyage en lui-même n'a plus la même valeur contestataire que dans les années 1960–1970. Les photographes qui associent intimement l'exercice de la prise de vue à une pratique itinérante ont tendance à inventer de nouvelles formes de parcours du territoire, qui s'avèrent susceptibles de faire contrepoint aux idées dominantes. Ainsi Martin Parr ou Tom Wood choisissent de suivre des itinéraires de proximité; Thierry Girard, Marc Deneyer et d'autres optent pour une certaine lenteur; nombreux sont aussi ceux qui décident de régir leurs déplacements par des protocoles contraignants à même de servir une auscultation renouvelée du territoire. D'une manière ou d'une autre, l'écart avec la norme restitue au Voyage une dimension subversive.
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