Monday, June 21, 2010

Galerie Dennis Cooper presents ... Summer Show #1: Rineke Dijkstra's park potatoes and beachgoers

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'There is a pervasive tendency to claim that Dijkstra’s greatest work is that which most readily evokes classical models, as if photography has any more need to justify itself than do the awkward and unfinished facts of the lives it depicts. The images from Bathers, as prime examples of what’s most essential and powerful about Dijkstra’s work, propose a new form of portraiture that is neither overly mannered in the traditional mode nor so emptied of humanity as to be meaningless. Their brute plainness challenges our ability to look at them, to only look, without the additional armatures of context or concept. The very quality that unnerves and misleads so many viewers—the apparent vacuity that can push you to exasperation—is their stealthy strength. They feel moronic in the best way possible: purposefully and intelligently so. Counter to the predominant lavender view, Dijkstra’s work could well be considered the cornerstone of this bleak but affirmative strike for photography’s future. Hers is a forced imposition of the visual void, one in line with Thomas Struth’s street scenes, Gerhard Richter’s obliterated postcard landscapes, and Bruce Nauman’s videos, a heroic and conscious refusal, a vanguard of the retarded.' -- Gil Blank, Influence Magazine



Further

* Rineke Dijkstra @ Marian Goodman Gallery
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Jennifer Higgie on RD @ Frieze
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'What’s in a Portrait? Rineke Dijkstra’s Almerisa'
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'Rineke Dijkstra's Best Shot'
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RD interviewed
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'Why is she weeping? Rineke Dijkstra’s Liverpool videos'
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RD @ Facebook



Extras









Interview

How did you come up with the idea for the 'Beach' series?

I broke my hip about 15 years ago and started doing self-portraits after swimming in the pool where I was doing physiotherapy. I was fascinated by capturing something unconscious and natural in a photograph, something that was miles away from the boring and predictable businessmen I had until then mostly photographed. I was interested in photographing people at moments when they had dropped all pretence of a pose. Once I began taking these pictures, I realized I would prefer to do a series because it gave me a better grip on a subject.

How many frames do you shoot per subject?

I take about four or five sheets of film per subject, but I might shoot about five different people in a park on any given day. I've realized that I can't just go to a park and wait for the right person to turn up. I have to start working. Then I get into it and become part of the environment. It's a development. For example, a picture I took of a little girl in Barcelona only came about at the end of my working day. I was actually finished and packing up but then I saw her. She was there with her dad riding that scooter, looking at me like 'What are you doing?' and it's exactly the same look as in the photo. That's what I'm looking for. It's got to be emphatic. If you see the picture, it shouldn't look forced, it should look like a snapshot. You're not supposed to think it's all set up. You should take it for granted and it should be totally natural somehow. I took three frames of her. That's how long her concentration lasted. But I got my picture.

What art form does photography come closest to?

Perhaps sculpture. I think it's important that people understand and look at photography in a more abstract way. It's about being able to imagine looking behind the image as if it was three-dimensional.



Show

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p.s. Hey. Two things/alerts. (1) I'm going to preface this one by assuring you that Math, who will be speaking to you directly in a second, is just about the greatest, most responsible, hardest working, kindest, coolest, most considerate person I know, so please help her out if you can: 'hey, it's math.. i need a place to stay in Nyc, starting July 1, in the $600-800 range. i am an artist and would like to live with other artists/writers/scholars/etc. ideally i am looking for something in brooklyn, like east williamsburg / bushwick near the art scene. this might be for short or long term. i am responsible and pay for shit on time.' (2) I have an early Tuesday morning train to Brest, so there won't be an interactive p.s. tomorrow, just a hey and a brief intro to the day's post. I'll catch up with you and your comments again in my regular fashion on Wednesday. ** Jaws, Hey, welcome. I'll take that as a yes. ** Chris, My pleasure. 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