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Appropriately, Miskin’s account came up with a difficult promise to prove that his image was created by AI. Bendiksen spent several weeks defending his account to become an independent artist from North Macedonia. He sent friendly requests to hundreds of people in the photo business; many retaliated, including archaeologists and photographers.
When Bendiksen arrives in Perpignan, his repetition weighs heavily on him. “I have a stomach ache, but I feel I have to write that the enlightenment actually happened,” she says. He avoided running around networks, eating alone and hiding in his hotel room to avoid meeting anyone he knew. The night he was examined, he arrived early and sat in the bleacher’s chair, trying to hide behind his face. After the Veles video was rolled up, pictures of his bear soon began to appear. “My heart skipped a beat,” Bendiksen said. “I think the bears are very weak.”
Bendiksen revolted the next day, at home in Norway, in an attempt to uncover the truth before the big program ended a few days later. He logged into Miskin’s Facebook account and wrote down what he accused of paying for education to commit fraud, saying “His job is a real lie !!”
For Bendiksen’s alarm, the message was not taken seriously. He also posted this on Facebook, which sparked a discussion in which the students agreed with Miskin’s statement, but found no fault in paying for the photos. With his planned preparation, Bendiksen spent several days busy making Miskin, finally catching the eye of the eagle Chesterton, a UK filmmaker who eventually called for the project. “It was too heavy on my shoulder,” Bendiksen said.
He summoned the Magnum chief, Caitlin Hughes, who loved almost everyone who owned the organization sitting in the dark. They were standing on a cold London street at night with their husbands when they heard that the company had printed a book, and sold art, which was false. “I knew he was doing a secret job, but I didn’t expect this,” he says, “It disrupts the photography space.” The next day, Magnum posted an interview with Bendiksen, and told the world about the recording.
Jean-François Leroy, executive director of Visa Pour L’Image, realized that his well-known celebration was interrupted when Bendiksen sent an email linking the interview. Revelation left a bitter taste. “We’ve known Jonas for years and we trust him,” says Leroy, who says he was “caught”. The festival sometimes asks artists to view raw, unadulterated photographs, but did not ask Bendiksen, whose work had already been shown. “I think Jonas should have told me it was a lie,” says Leroy, allowing the festival to focus on disclosure and discuss the erosion and its meaning.
Some of those who were taken over by Bendiksen’s work are happy. Julian Montague, a photographer and artist in Buffalo, New York, saw Bendiksen post a link to Magnum’s Facebook page and read it with interest. He bought the book earlier in the year, fascinated by the idea of false commercials, as well as ornaments that were already in the east. Bendiksen’s paintings, decorative and illuminating, treated him as an artist, not an artist. Now she felt differently – in a way that encouraged her to do more instead of leaving her feeling cheated. “It’s great to re-photograph and know this,” he says. “I admire it as an art and an architectural skill and I agree it represents a bright future.”
Chesterton, who made Bendiksen’s revelation, says the work is “beautiful,” but for a variety of reasons. He sees its initial importance not as an indication of the growing power of photography, but as a reflection on the photography industry.
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