Exposición fotográfica: Performing for the Camera

La exposición reunida en la Tate Modern de Londres, Performing for the Camera, examina la relación entre la fotografía y el performance, desde la invención de la fotografía como tal en el siglo 19 hasta la cultura de tomarse “selfies” de nuestros días. Con alrededor de 500 imágenes abarcando casi 150 años, la exhibición se relaciona y compromete con el negocio del arte así como con el humor de la improvisación al posar para la cámara siendo uno mismo el fotógrafo y el fotografiado.

La exhibición comienza documentando la importante obra de performance del artista Yves Klein, Anthropometrie de l’epoque blue 1960, la pintura viva en la que se usaron cuerpos desnudos de mujeres en movimiento. También se podrán apreciar otros performance que se dieron en los años 60 con artistas como Yayoi Kusama, Marta Minujín y Niki de Saint Phalle.

Romain Mader, born 1988 Ekaterina: Mariage à Loèche-les-Bains (Marriage in Leukerbad) 2012. 400 x 500 mm © Romain Mader / ECAL
Romain Mader, born 1988
Ekaterina: Mariage à Loèche-les-Bains (Marriage in Leukerbad)
2012. 400 x 500 mm
© Romain Mader / ECAL

Al trazar cómo los artistas y fotógrafos también han trabajado en colaboración, la exposición examina eventos que ocurrieron exclusivamente para la cámara. Como ejemplos podemos ver obra del famoso estudio Nadar quien se encargaba de fotografiar las actuaciones del mimo francés Charles Deburau; o aquellas colaboraciones con el coreógrafo y fundador de la danza Butoh, Tatsumi Hijikata. La imagen fotográfica se convirtió en un escenario en el cual actuar, tal como lo hicieron artistas como Charles Ray, Carolee Schneemann y Erwin Wurm, ellos actuaban para su propia cámara.

 

La construcción de la propia identidad y la presentación de ella se explora a través de obras icónicas de Claude Cahun, Man Ray y Cindy Sherman, así como en proyectos más recientes como el de Samuel Fosso en Espíritus Africanos 2008, en la que el artista se retrata a sí mismo bajo la apariencia de figuras icónicas como Martin Luther king Jr y Miles Davis.

El mundo de las redes sociales se aborda en un reciente trabajo hecho en Instagram por la artista Amalia Ulman. La exposición no sólo muestra que la fotografía ha sido siempre un acto performativo, pero que el arte es inherentemente un rendimiento altamente fotográfico.

Masahisa Fukase From Window 1974 © Masahisa Fukase Archives. Courtesy Michael Hoppen Gallery.
Masahisa Fukase
From Window 1974
© Masahisa Fukase Archives. Courtesy Michael Hoppen Gallery.

Performing for the Camera está curada por Simon Baker, Curador Senior de la Tate Modern y se hizo posible gracias al patrocinio y apoyo de Hyundai Card.

Hasta el 12 de junio 2016. Tate Modern, The Eyal Ofer Galleries, Nivel 3. Admisión £16.00 Abierto diario de 10 am a 18 hrs, viernes y sábado hasta las 22 hrs. www. tate.org.uk


 

8 February – 12 June 2016
Tate Modern, The Eyal Ofer Galleries, Level 3

Sponsored by Hyundai Card

Admission £16.00.
Open daily 10.00 – 18.00 and until 22.00 on Friday and Saturday
For public information: +44 (0)20 7887 8888, visit tate.org.uk, follow @Tate #PerformingforCamera

Performing for the Camera examines the relationship between photography and performance, from the invention of photography in the 19th century to the selfie culture of today. Bringing together over 500 images spanning 150 years, the exhibition engages with the serious business of art and performance, as well as the humour and improvisation of posing for the camera.

The exhibition begins by considering the documentation of important performance works such as Yves Klein’s Anthropometrie de l’epoque blue 1960, a live painting event using the bodies of naked women, as well as key 60s performances by Yayoi Kusama, Marta Minujín and Niki de Saint Phalle. Drawing on an extensive collection of images by Harry Shunk and János Kender, two of the most important photographers to have worked with performance, the exhibition features iconic images and many rarely seen studies, including those revealing how the photomontage of Yves Klein’s famous Leap into the Void 1960 was made.

By charting how performers and photographers have also worked collaboratively, the exhibition examines live events that happened solely for the camera. Beginning with some of the earliest works in the exhibition, photographs from Nadar’s studio in 19th century Paris show the famous mime artist Charles Deburau acting out poses as the character ‘Pierrot’. Later works drawing on this same idea include Eikoh Hosoe’s Kamataichi, a collaboration with the choreographer and founder of the Butoh movement Tatsumi Hijikata. This seminal 1969 work is one of the first to have given equal authorial credit to the performing subject and the photographer.

The photographic image went on to become an arena within which to act, distinct from the live stage of theatrical or artistic performance, in works by artists like Charles Ray, Carolee Schneemann and Erwin Wurm. These artists often perform for their own cameras, either physically as in Paul McCarthy’s Face Painting – Floor, White Line 1972 or more conceptually through ideas of self-image and fantasy as in the work of Boris Mikhailov. The construction of self-identity and posing is explored through iconic works by Claude Cahun, Man Ray and Cindy Sherman, as well as more recent projects like Samuel Fosso’s African Spirits 2008, in which the artist photographs himself in the guise of iconic figures like Martin Luther King Jr and Miles Davis.

The exhibition looks at the innovative and performative approaches taken to self-portraiture by Lee Friedlander, Masahisa Fukase and Hannah Wilke. Identity and self-image were also important for artists like Jeff Koons and Andy Warhol in their own marketing and promotional photographs, and in more playful works like Mike Mandel’s Baseball Photographer Trading Cards 1974 in which photographers pose as ‘collectable’ baseball players. The world of social media is addressed in a key recent work staged on Instagram by Amalia Ulman. The exhibition shows not only that photography has always been performative, but that much performance art is inherently photographic.

Performing for the Camera is curated by Simon Baker, Senior Curator, Tate Modern with Fiontán Moran, Assistant Curator, Tate Modern. The exhibition is accompanied by a catalogue from Tate Publishing and a programme of talks and events in the gallery.

Anuncios