REFERENCES
- Barthes, Roland ([1980] 1981), La chambre claire. Note sur la photographie/Camera Lucida, Paris/New York: Gallimard, Seuil/Hill and Wang, p. 156.
- Benjamin, Walter ([1936] 2000/2008), ‘L'oeuvre d'art à l’ère de sa reproductibilité technique'/‘The work of art in the age of its technological reproducibility’, Œuvres III/The Work of Art in the Age of its Technological Reproducibility, and Other Writings on Media, Paris/Cambridge, MA: Gallimard Folio Essais/Belknap Press of Harvard University Press, p. 67–113.
- Chevrier, Jean-François (2003), ‘The Adventures of the Picture Form in the History of Photography’, The Last Picture Show — Artists Using Photography 1960–1982, Minneapolis, MN: Douglas Fogle, Walker Art Center.
- Lacan, Jacques ([1973] 1977), Le Séminaire, Livre XI, Les quatre concepts fondamentaux de la psychanalyse/The Seminar, Book XI, The Four Fundamental Concepts of Psycho-analysis, Paris/London: Seuil/Hogarth Press and the Institute for Psychoanalysis, p.102.
- Loire, Cédric (2007), ‘Thierry Costeséque. Urban cake’, Art 21, March—April, http://heterotopiques.blogspot.com/2007/03/thierry-costeseque-urban-cake.html (accessed date 2 October 2011).
- Mitchell, W. J. T. (1986), Iconology. Image, Text, Ideology, Chicago: The University of Chicago Press.
- Sterckx, Pierre (2009), ‘Robert Suermondt or cinema-painting’, Robert Suermondt, Redistribution des pièces, Bruxelles: La Lettre Volée.
- Sterckx, Pierre (2011), ‘Robert Suermondt en conversation avec Tania Nasielski’, Briobox Galerie, Paris, http://www.brioboxgalerie.com/. (accessed date 2 October 2011).