The concept of iconoclash proposed by Bruno Latour aims at critical recognition of reciprocal interconnection between iconolatry and iconoclasm as a basic factor in the image wars. This recognition allows him to formulate a project of transcending beyond the permanent iconoclash that has determined the run of history. Transgression is possible, according to Latour, only through radical redefinition of the image, through absolute prohibition of freeze-framing the image. Thanks to that an icon, idol or fetish - crucial factors in any iconoclash - are replaced by unlimited flow of images. It raises the question of photography that, as Christian Metz shows, shares many features with fetish and fetishism. It seems, however, that amnesia of unlimited flows is not a correct reply to melancholic or nostalgic cathexis of photography as fetish. Referring to Jacques Derrida's notion of parergon, logic of supplement, concept of spectrality one may say that deconstruction of the frame (that is deconstruction of the opposition between the fetish and unlimited flow) is what may turn fetishism of photography into affirmative anamnesis, creative 'work of memory'.
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