Tate Artist Rooms: Robert Mapplethorpe (Aberystwyth Arts Centre)

Self-Portrait, 1980

I have always wanted to be one of the kids. One of those kids that gave Patti Smith's wonderful "Just Kids" its title. It's a tender longing to have seen the wild years of the late 1960s and 1970s, to spend nights and have conversations with the likes of William Burroughs, Janis Joplin and, naturally, Robert Mapplethorpe. But having been conceived a couple of decades to late, I remain as one of the kids who dress in black, turn off the radio whenever Taylor Swift is playing, and nurture their unrequited love for Mapplethorpe by visiting every exhibition they can. 

This month, I had the chance to see his work in the Arts Centre in Aberystwyth/Wales as part of the Tate Artist Rooms tour. And let's be frank, seeing Robert Mapplethorpe's beautiful photographs of his friends and of himself on the wall almost feels like a proper journey through time, and is probably as good as it can get in the year 2015. 

I saw some of Mapplethorpe's work curated by Isabelle Huppert at Paris Photo last year, but didn't find it as poignant or impressive as this year's small retrospective in Aberystwyth. Presenting a fairly small number of images (compared to Mapplethorpe's extensive oeuvre), the Tate cleverly managed to assemble a collection that is comprehensive but not overwhelming, and a nice introduction to Mapplethorpe's work in general. The focus is on the (self-)portraits, with only little room given to his still-lifes, which does wonders for the cohesion of the exhibition.

If you made your way through the display the right way round, it would start with Mapplethorpe's early self portraits, which he would use to perfect his photographic technique, then take you on a expedition through the Hotel Chelsea and Andy Warhol's The Factory, encountering Philip Glass, Keith Haring and Iggy Pop, exploring Mapplethorpe's more thematically constructed projects on the way, to finish on the self-portraits taken towards the end of his life, concluding the trip with a haunting close-up of his eyes. Just like "Just Kids" the exhibition traces Robert Mapplethorpe's life with a sentimental note, but the centre stage is taken by vivid, extravagant characters, be it his many alter-egos or the soon-to-be-famous poets, artists, bon vivants that he captured one by one.

Marianne Faithfull, 1976

They stare back at you, one by one, as you progress through the exhibition. Working a similar trick like Zanele Muholi years later, Mapplethorpes images live of the eye contact made between his subjects and his medium format camera, and consequently, the viewer. The eyes draw you in, image after image, they form the punctum, the first focal point, throwing you into the moment of the pressed shutter, into the situation, turning you into one of the kids, tête-a-tête with Marianne Faithfull. The exhibition's catalogue describes Robert Mapplethorpe's relationship with eyes, somewhat gloomily, in the following way:

"By training his camera on his eyes, and on his eyes only, Mapplethorpe has concentrated on those organs and on that faculty that determined his career. These eyes, sunk into his head and surrounded by lines, are the eyes of a sick man - Mapplethorpe was to die of an AIDS-related illness in a few months' time - but also the eyes of a brave and unflinching man, determined to outstare death."

One exception for me is Mapplethorpe's portraits of Andy Warhol where I always look at Warhol's hands first - at the awkward posture, the long white fingers fidgeting nervously. I love how these images are not controlled to the finest detail, how they encapsulate Warhol's uneasy nature - these photographs show Robert Mapplethorpe's artistry at its finest, his command of the portrait in its truest sense, candidly showing us the person, breaking them open with the camera. My favourite image is of Patti Smith, taken in Mapplethorpe's bare loft apartment. She crouches, naked, ribs showing, holding herself to heating pipes, an earnest stare underneath a nest of dark hair. She looks confident in her vulnerability, not shying away from the camera. It is a simple, but stunningly beautiful composition; the play of shapes and strong lines so beloved (and mastered) by Mapplethorpe stronger than ever. 

Patti Smith, 1976

The real surprise for me at this exhibition was the quality of the prints. Having seen a couple of shows at the Arts Centre and having squinted more than once at badly blown up digital prints in distracting lighting, the original prints acquired by the Tate constitute a lovely change. Some of them dating back to the early 1980s, they are just delightful, as they softly grasp the full potential of black and white medium format film, bringing out every shade in between the darkest black and the brightest white without drowning in either, or, even worse, in a dull grey. The swirling smoke of Robert Mapplethorpe's cigarette is just as marvelous to trace as the faintest outline of Doris Saatchi's shoulders in the gorgeous print of her portrait - let's be honest, we've all seen a version of that image in which she looked strangely decapitated by a sea of black, but not this time!

The plain framing - wooden  frames of a certain prominence - enhances the experience by subtly highlighting the element of symmetry, of lines and forms in Mapplethorpe's work; without taking over or fortifying the rigid nature of the square format which feels lofty, but not restricting here.

Doris Saatchi, 1983

It is by no means a perfect exhibition. The Tate Artist Rooms initiative is aiming to engage new audience with the works of individual artists and consequently, learning and education take priority. Education toolkits are provided on the Arts Centre website and on location, not only providing socio-cultural context and locating Mapplethorpe within a bigger arts history but issuing question and answer sets which are clearly not made for the general public, but explicitly for (young) students. It is presumably owed to this objective that what appears to be a comprehensive retrospective at first is actually missing all of Mapplethorpe's more provocative work, addressing the S&M scene and gay emancipation. Thus it eradicates some of the most pivotal, political work of Mapplethorpe, work which lifts him above being a mere chronicler of his time; and it is also a key element of his own biography missing in a display which claims to be following his life by its set-up. 

Ironically, the S&M part is, albeit swiftly, mentioned in the education kit - so when one leaves the exhibition, having loved the beautiful prints and cherished the feeling of being amongst pop culture giants for a good afternoon, one is left with the mental image of a ten year old, stumbling across two curious letters during his arts homework, innocently typing them into Google... just imagine his eyes. Imagine that boy's eyes.

Andy Warhol, 1983

PS: I actually like Taylor Swift (sometimes), and I don't dress exclusively in black (don't call me Doris). But you get the picture.

All images taken from the Tate/National Galleries of Scotland.

Deutsche Börse Photography Prize 2015

Today, I am really happy to read that Zanele Muholi, who I have written about several times on this blog, has been nominated for the prestigious Deutsche Börse Photography Prize 2015. The judges, among them photographer Rineke Dijkstra and Chris Boot of Aperture, decided to acknowledge Muholi's work Faces and Phases (2006-2014).

Earlier this year, I went to Paris Photo where I found Faces and Phases in its most recent form, an enormous book published by Steidl.

Just chillin' at Paris Photo shelves: Faces and Phases

Although I loved the simple design and the beautiful black and white printing (straightforward-ness always strikes a chord in me) and despite my long-declared love for Muholi's work, I actually did not end up buying the book. For a simple reason: I prefer those images on a wall, in a big print, when her subjects seem to look right back at you. In gallery prints the sheer power of Faces and Phases and other works is enriched by a sense of intimacy, which the book does not quite manage to pull off. Luckily Paris Photo is a powerhouse of photography, and in one of the many corners I found Muholi on the wall, too, as represented by Yancey Richardson Gallery from NYC.

Either way, it's lovely to see her work slowly being recognised on a much lager scale. The Deutsche Börse prize is a big deal, and she's up against strong competitors like the amazing Viviane Sassen. I'll keep my fingers crossed.

Thomas Weisskopf: Cut

Thomas Weisskopf: untitled 001

Let's stick to the recent theme of portrait series mixed up with Switzerland a little longer, and introduce Thomas Weisskopf. This Swiss photographer provides the extensive series Cut, an unequivocal commentary on identity, beauty standards and orientalism. He photographed trans women and transvestites from Thailand for his portraits, in the same way continually: a simple dark blue background, the focus on the naked torsos - cut off across the chest, mostly just a hint of breasts - and on the faces, enhanced with make-up, framed by well-cared hair, the gaze often drifting into the unknown around the lens.

Weisskopf became acquainted with many of his subjects during his stays in Bangkok, and when you have a look at the index on his gallery's website, it becomes a sea of women photographed in the same way, united by fairly many attributes: the make-up, the hair, the full, sensual lips and so on. While each of the portraits shows as an individual, they become an anonymous mass, like-minded and forced into line.

The title Cut refers, of course, to the sex re-assignment surgery many of the women supposedly underwent. It can also stand for the metaphorical cut in the women's lives, the change from a outwardly male appearance to a full female identity. For Maja Peter it further indicates the way in which "illusion and reality blend in a scintillating semblance into which yearning is etched like a wound". But what is the root of this yearning, and what do these women desire? Do they, on the basis that they look, to an untrained eye, very much alike, desire the same things, or is the portrait in the end about the individual again?

Cut is certainly multi-layered. Weisskopf's subjects are exposed to the gaze of others - and there is the crux of it. As much as the series is about the quest for self-identity, it also hits on the fulfillment through others, and on the beauty standards these women pursue in order to please (and make money, presumably). It is a 'standardised femininity', achieved through facial feminisation surgery (another cut!), and make-up - prominently featured in these images. Trans women underly the struggle for beauty in a world in which beauty is defined by the patriarchal system just like most other women.

And this is where yet another layer comes to play: Who, in particular, sets these beauty standards? It is the mighty white man from the Western world - the light skin tones, the dyed hair, the accentuated big eyes hint to it. Without claiming that all of Weisskopf's subjects are prostitutes (they are not), it remains a fact that the sex industry gains Thailand up to $4 billion every year, and that the clients' wishes have subtly taken over the traditional value of feminine beauty in Thai culture.

Therefore another, and the most interesting, layer of Weisskopf's work is the commentary on the exploitative gaze on what seems exotic to the viewer. Presumably the majority of Weisskopf's audience is white and middle class - as is the author of this blog. It is exactly this audience which is establishing and re-enforcing the beauty standards Weisskopf's women follow - and which is mostly (sadly) not able to tell one Asian women apart from another. That is why one tends to get the terrible impression of uniformity when seeing too many of the Cut images at once. Peter Stohler asks the question: "How 'individually' can 'exotic' people be shown in photographs?" It is this audience which is responsible for the cut - not the literal, but the metaphorical one, the gap between self-identity and identity of the mass, self-fulfillment and the desire to please others. 

Cut is not as much about personality as, for example, Zanele Muholi's portraits. Weisskopf does not even give us the names of the women. It remains a meditation on the meaning of the individual in a uniform world with homogenous requirements. And yet, finally, Weisskopf takes us back to the individual. It is almost an invitation to look longer at one of the many singular portraits, engage with one of the women, in the helpless attempt to compensate for the negligence. 

Thomas Weisskopf: untitled 037

Zanele Muholi in Weltbilder 5, Zürich

To refresh my mind after the long break, and get my thoughts back on track, I went to Switzerland. In the Helmhaus in Zürich's city centre, I visited a carefully conceived and curated exhibition called Welt - Bilder 5. Welt - Bilder (World Images) is an ongoing exhibition series which asks and answers questions about the way people live, move and conform in different parts of the world and cultures. This year, it featured artists such as Bieke Depoorter, Naoya Hatakeyama and Tobias Zielony.

The poster, featuring an image from Zielony's Trona series

My favourite part has to be - easy to tell regarding the content of this blog and this earlier blog post - Zanele Muholi's Faces and Phases. It includes simple portraits of queer South Africans, each completed with a name and place. I described this series as powerful and poignant back when I had seen it on the internet. I dare say that Muholi's images work even better in print.

Muholi's work had a room for itself in the spacious Helmhaus, well lit and without windows or noises, making it possible to immerse into the pictures and get caught up in them without distraction. The portraits are hung on eye height, and because Muholi's subjects looked right into the camera, it feels, when looking at the prints, as if the people are staring right back at you. The faces are printed close to lifesize, and when I looked at one of them, I felt a downright conversation between me and the person taking place.
The Welt - Bilder 5 hand-out describes the work as "scintillating diversity (...) These images of the lesbian, transgender and gay scene bear witness to a healthy sense of self on a continent where traditional gender roles are strongly upheld". Having been transported thousands of miles to the slightly less conservative Switzerland and a mainly white audience, the images, in the way they were displayed, are still strong and proud ambassadors. They question prejudice, fear, invisibility, and they do it in the most direct way possible except for the people actually speaking to you in person.
I am really happy I managed to see Faces and Phases exhibited this way, and hope that the prints become available to an even larger audience in the future. The series is also included in the book Welt - Bilder 5, accompanied by background information texts. The book is published by Verlag für moderne Kunst, Nürnberg.

Zanele Muholi: Being & Faces and Phases

Zinzi and Tozama II

Long overdue, the European Court of Justice recently ruled that homosexual Africans are now entitled to asylum is EU countries, given a persecution in their home country. In Mauritania and Sudan as well as in parts of Nigeria and Somalia, gays face the death penalty; in 27 countries homosexuality is punished with imprisonment of up to 14 years. Homosexuals face discrimination every day, are fearing for their partners, their families, and their lives - the harassment starts with open insult and ends with rape and murder. South Africa is one of the few countries where they are legally protected, but even there, 'corrective rape' and murder of lesbians is the daily fare.

Zanele Muholi is a photographer and activist based in Johannesburg, South Africa. Her photography is a strong statement against the discrimination, giving black LGBTQI a face and a voice. She was awarded the Index on Censorship arts award 2013 for her work on gender and sexuality in South Africa. Her work is beautiful and powerful - particularly her candid look on South African lesbian couples from the series Being. Her style is straight forward in (or despite) its versatility, including classic portraits, changing between colour and black and white, staged and observed. It feels very honest - her work shows what normally stays hidden, it is a brave testimony of love, and of existence.

Katlego Mashiloane and Nosipho Lavuta, Ext. 2, Lakeside, Johannesburg 2007

Ayanda Magozola, Kwanele South, Katlehong, Johannesburg, 2012

The last picture is from another award-winning series by Muholi, Faces and Phases, which is literally giving South African LGBTQI a face (or faces). These are the simplest portraits one can imagine - and in their simplicity they are powerful, they are poignant, they are fearless: Just look at those fierce eyes! The pictures are impressively confident. Zanele Muholi, her subjects, and her pictures stand up to threat and violence. Visibility changes awareness. These pictures visibly have the power to bring change.