The image I discuss here are on SPBH’s TO PHOTOGRAPH THE DETAILS OF A DARK HORSE IN LOW LIGHT BY ADAM BROOMBERG & OLIVER CHANARIN @ PARADISE ROW. There is a larger edit on Broomberg & Chanarin’s website, Chopped Liver.
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Broomberg & Chanarin’s To Photograph The Details Of A Dark Horse In A Low Light is a bizarre collection of works. There’s theatre involved and some of it feels Baroque.
Strip Test 4 (above) is an image of a lady holding the trunk (the boot for English-folk) of a car, grabbed my attention. There’s a lot going on in those five-tones separated by not totally vertical lines. Broomberg & Chanarin are playing a commendably weird whistleblower-jester hybrid. Is the lady wearing a mudmask? The back right tyre looks as if it is going to rise like a helium-filled balloon.
The neck of the female statue, Strip Test 3, resembles a 4D medical scan.
I’m not too keen on the collages. If I wanted African child’s play in high contrast, I’d opt for colour too and look at Ruud van Empel’s work.
Oh, and on the topic of colour prints why does their website say:
‘Broomberg & Chanarin succeeded in salvaging just a single frame from the many colour rolls they exposed in their visits [to Gabon].’
There are jpegs of more than 50 colour prints on the Goodman Gallery webpage for To Photograph the Details of a Dark Horse in Low Light?
The show is currently up at Goodman, but here’s a write up of the Paradise Row exhibition.
The 18,000cm2 Production of the Image of a Nation, is an image of stacked papers. It is printed on fiber based paper. Couple of levels of description. What’s in (on) that big stack of paper?
Strip Test 1 is a five-toned photograph of a bust.
Nudniks is a photocollage on a stick. A photolollipop, or a photollipop if you will.
Nudniks is a double portrait of Broomberg & Chanarin (from the chest up) layered over a double portrait of two black men in costume and paint (from the chest down.)
White voids, shaped like remote-control icons, dominate Untitled (165 portraits with dodgers). It is a series of half-length individual portraits. Subjects are obscured by recognisable shapes. It’s clumsy and works like putting a square peg in a round hole.
Return of the lollipop. The final image of the SPBH set looks like a Rocket lollipop. But it’s probably more serious than that.
Seriously, less seriousness. The colour ones look great. Don’t know why they weren’t in the Paradise Row show.
Mammen, Jeanne (German, 1890-1970) - Der Totentanz - s.d. jpg (by *Huismus)
Hot air balloon race over London, 1993.
by Peter Marlow
Have you ever got stuck with trying to understand what your British friends mean when they say: ‘Quite good’? Then read this ;)
Here is one from an amazing sunset at La Jolla California. Inspire me www.edinchavez.com
Amazing photo by @edinchavez
I like Egon Schiele’s stretched thin lines
Samedi (Black/black), 2011. Oil on aluminium. 200 x 163 x 10 cm.
Django (Alizarin violet), 2011. Mixed media on aluminium. 176 x 160 cm.
Modern paintings can be trying sometimes. But I love the purple depths and passion of Django.