09 agosto 2010

Visite mi galeria... RINEKE DIJKSTRA


El verano según Rineke Dijkstra (1959-)


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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



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