(...) The rigorous structure conceived by Oscar Molina establishes the rules of a game of triangular relationships between artist, participants and receivers. The logic of the concepts that govern Photolatente, semantically and materially, gives rise to a group of transactions between these three actors. It is a transaction in all senses of the term, an exchange in this case, of papers and respective statutes - hence the difficulty in giving a precise name to each of these agents. Leaving that of artist aside, the names of author, photographer, co-author, spectator, all seem to be inadequate or exchangeable. It is equally a transaction when, at a certain point in the process, each one retires and renounces - as if in an agreement of reciprocal concessions- prerogatives and customary rights. Likewise, it is a transaction given that a contract stipulates the commitment of artist, collaborator and buyer. It seems only fair, then, that the latter should be entitled to finalise the process by revealing the photographic image: in its primitve sense, transaction denotes the action of finalising. (...)

© Natacha Pugnet, 2002
Complete text in Photovision nº 31