Blackpaint 144


More Exposed

Some more photos and sequences from the Tate Modern exhibition:

  • The Iraq convoy, smashed in the first Iraq war, like the Germans in the Falaise pocket (but without the hedgerows).  The WWI aerial photos, taken from about 500 ft, I thought – dangerously low, anyway – where you can see the individual soldiers advancing under clouds of shell smoke.  The Normandy cliffs, from higher up, but not that much.
  • The sex in the Japanese park sequence, where the photographer actually gets in on the action, pushing the idea of voyeurism to its extreme.
  • The Araki nude seen from behind, kneeling and resting her body across a chair or something, with a twist of her body at the waist; a beautiful life drawing pose, surprisingly, perhaps
  • Various actual surveillance photos of barbed wire, hangar-like buildings, deserted roads, deserts.
  • Northern Ireland army installations like cages; an IRA man in an armchair with a stocking over his flattened features.
  • paparazzi photos of celebs, Marilyn, Burton and Taylor.
  • The Kennedy assassination shots.

So, some great shots but all familiar; too much maybe, too wide a definition for one visit.  OK if you’re a member and can go back for a second or even third time.

Other Stuff

from yesterday’s visit, not  mentioned before;

  • the drooping coils of Marisa Merz’s metal schlangs, dangling from the ceiling;
  • The Dieter Roth plaque of blue,  pink and yellow card, treated with glue, next to the great (but small) wooden Schwitters;
  • the strangely sexy pile of old clothing against the naked statue in the Arte Povera bit (didn’t get the artist’s name);
  • Lucia Nogueira’s video of kite flying on windy verges in, surprisingly, Berwick-on-Tweed.  Why surprisingly?  because she was Brazilian.  I remember seeing her ink and paint-blot pictures a while ago.

Brief today, because not many readers on a Bank Holiday.

Blackpaint

31.05.10

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