In his first book about North Korea (DPRK, Thames & Hudson, 2006), Philippe Chancel has confronted photography with the vertiginous grandeur of performances staged by a totalitarian government. Everything is a matter of scale. He raises the question of how best to give an account of this survival of Communist pomp in the information-driven world of today. How can photography react to things which have been carefully and precisely organised in order to create an image?
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