Зачем стрелять в портреты на фотографиях?
Два проекта, в которых частью изображения становятся пулевые отверстия от выстрелов. Что любопытно - оба портретные.
В первом - Brad Feuerhelm, очевидным образом, спекулирует на желании любого "пацифиста" пристрелить всех торговцев оружием. Очень понятная и звонкая идея. Причём объектом приложения выстрела становится изготовленная фотокнига с найденными портретами - "все её 200 с лишним копий". Последствия выстрела переводят книгу ещё и в скульптурное измерение.
Во втором проекте - Kari Wehrs изготавливает на стрельбище в пустыне тинтайпы с портретами любителей потренировать меткость и тут же предлагает им использовать их в качестве мишени. Пулевое отверстие как свидетельство опасности "оружия вообще"? Попытка связать запечатлённое с самим медиумом фотографии (давным-давно я писал текст про это, но сейчас бы переписал его)? Хотя проект не закончен, очевидно, что следы от выстрелов останутся максимум в выставочном варианте проекта (зато сразу переводя каждую фотографию в объект уникальный), а вот в фотокнигу без потерь это уже не перенести.
Brad Feuerhelm - Let us now Praise Infamous Men (2014)
"In Walker Evans and James Agee’s 1936 book “Let us now Praise Famous Men”, Evans and Agee conspired to illustrate the life of American sharecropper’s plight during Franklin Roosevelt’s New Deal highlighting the struggles of Americans living during the dust bowl years and the resulting poverty that ensued. Saccharine to the point of decay, the assignment was funded by Fortune magazine for which Evans worked.
Presently, Brad Feuerhelm has taken the iconic photo-literary tract of Evans and Agee and has appropriated the tract to inverse the use of the photographic image in a political dialogue through the act of violent destruction by physically shooting all 200+ copies of the book point blank with a glock .45 in the summer of 2014. The author was in his words “at war with the obnoxiously persistent and tentacled filament of the military industrial complex in America and the societal Disneyland (absurdity) that has invoked complacency over the mechanics of it at large”.
Perhaps direct and somewhat abusive, the bullet that pierces each of the pages transcends the nominal photo-book into that of an anti-iconographic relic. The book becomes object in which violence has occurred and each of the portraits becomes a transgressive display of intolerance towards societal disregard for the economic war machine. Heads of several multi-national arms corporations, both domestic and international find their own image torn asunder by a violent act. The irony of which is that the book itself becomes an object to be re-sold to an audience pointing at the cyclical and futile irony of the presiding problem of complacency within the ever-expanding pursuit of capital largess through arms and military equipment sales. Possibly the first book to be physically shot in such a manner, the accompanying text by Feuerhelm and Michael Salu point combatively to the problems of becoming complacent under life at its extremes."(отсюда)
http://paralaxe-editions.com/let-us-now-praise-infamous-men-special/
Kari Wehrs - Shot
"In an attempt to explore one aspect of gun culture, I set up my darkroom tent and tintype gear at known target shooting locations in the Arizona desert. I create participants' tintype portraits and then the subjects use the objects as a shooting target.
Tintypes were the primary form of photography during the American Civil War - a time when the country was divided by geography and beliefs. Soldiers often posed for their tintype in uniform and with weaponry.
My use of this form of photography in contemporary time elaborates on these connections to history, particularly an America that currently exhibits a divide in the complex ideologies relating to gun culture."
http://www.kariwehrs.com/shot
В первом - Brad Feuerhelm, очевидным образом, спекулирует на желании любого "пацифиста" пристрелить всех торговцев оружием. Очень понятная и звонкая идея. Причём объектом приложения выстрела становится изготовленная фотокнига с найденными портретами - "все её 200 с лишним копий". Последствия выстрела переводят книгу ещё и в скульптурное измерение.
Во втором проекте - Kari Wehrs изготавливает на стрельбище в пустыне тинтайпы с портретами любителей потренировать меткость и тут же предлагает им использовать их в качестве мишени. Пулевое отверстие как свидетельство опасности "оружия вообще"? Попытка связать запечатлённое с самим медиумом фотографии (давным-давно я писал текст про это, но сейчас бы переписал его)? Хотя проект не закончен, очевидно, что следы от выстрелов останутся максимум в выставочном варианте проекта (зато сразу переводя каждую фотографию в объект уникальный), а вот в фотокнигу без потерь это уже не перенести.
Brad Feuerhelm - Let us now Praise Infamous Men (2014)
"In Walker Evans and James Agee’s 1936 book “Let us now Praise Famous Men”, Evans and Agee conspired to illustrate the life of American sharecropper’s plight during Franklin Roosevelt’s New Deal highlighting the struggles of Americans living during the dust bowl years and the resulting poverty that ensued. Saccharine to the point of decay, the assignment was funded by Fortune magazine for which Evans worked.
Presently, Brad Feuerhelm has taken the iconic photo-literary tract of Evans and Agee and has appropriated the tract to inverse the use of the photographic image in a political dialogue through the act of violent destruction by physically shooting all 200+ copies of the book point blank with a glock .45 in the summer of 2014. The author was in his words “at war with the obnoxiously persistent and tentacled filament of the military industrial complex in America and the societal Disneyland (absurdity) that has invoked complacency over the mechanics of it at large”.
Perhaps direct and somewhat abusive, the bullet that pierces each of the pages transcends the nominal photo-book into that of an anti-iconographic relic. The book becomes object in which violence has occurred and each of the portraits becomes a transgressive display of intolerance towards societal disregard for the economic war machine. Heads of several multi-national arms corporations, both domestic and international find their own image torn asunder by a violent act. The irony of which is that the book itself becomes an object to be re-sold to an audience pointing at the cyclical and futile irony of the presiding problem of complacency within the ever-expanding pursuit of capital largess through arms and military equipment sales. Possibly the first book to be physically shot in such a manner, the accompanying text by Feuerhelm and Michael Salu point combatively to the problems of becoming complacent under life at its extremes."(отсюда)
http://paralaxe-editions.com/let-us-now-praise-infamous-men-special/
Kari Wehrs - Shot
"In an attempt to explore one aspect of gun culture, I set up my darkroom tent and tintype gear at known target shooting locations in the Arizona desert. I create participants' tintype portraits and then the subjects use the objects as a shooting target.
Tintypes were the primary form of photography during the American Civil War - a time when the country was divided by geography and beliefs. Soldiers often posed for their tintype in uniform and with weaponry.
My use of this form of photography in contemporary time elaborates on these connections to history, particularly an America that currently exhibits a divide in the complex ideologies relating to gun culture."
http://www.kariwehrs.com/shot