{"id":62020,"date":"2010-07-24T20:18:35","date_gmt":"2010-07-24T19:18:35","guid":{"rendered":"http:\/\/www.luxsure.fr\/?p=12473"},"modified":"2010-07-24T20:18:35","modified_gmt":"2010-07-24T19:18:35","slug":"exposed-voyeurism-surveillance-and-the-camera-at-tate-modern","status":"publish","type":"post","link":"https:\/\/luxsure.com\/blog\/2010\/07\/24\/exposed-voyeurism-surveillance-and-the-camera-at-tate-modern\/","title":{"rendered":"Exposed: Voyeurism, Surveillance and the Camera at Tate Modern"},"content":{"rendered":"
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Greta Garbo in the Club St-Germain, Paris \u00a9 Georges Dudognon<\/figcaption><\/figure>\n

If\u00a0there is one thing that\u00a0can be said about the new exhibition at Tate Modern, Exposed: Voyeurism, Surveillance & the Camera<\/em>,\u00a0it’s\u00a0that it questions in depth our complex relationship, made of attraction and rejection, of fascination and repulsion, with images of celebrity, death and sex. Another thing\u00a0would be\u00a0that it’s by far one of the best photography exhibitions in years.<\/p>\n

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The journey is emotionally exhausting, hitting every button\u00a0in your mind, from amusement to tears, from arousement to disgust, from fascination to nausea. Divided into five thematic sections: The Unseen Photographer, Celebrity and the Public Glaze, Voyeurism and Desire, Witnessing Violence, and Surveillance, the show presents pictures taken by professional photographers and artists, including\u00a0great names\u00a0such as Brassai, Henri Cartier-Bresson, Walker Evans, Man Ray, Weegee, Helmut Newton, Guy Bourdin, Richard Avedon, Nan Goldin, Dorothea Lange, Araki, Sophie Calle, Susan Meiselas and many others (so many actually that, as a photography addict, it can make your head spin), as well as shots by anonymous people, even images made without our knowledge\u00a0by automatic systems like\u00a0CCTV.<\/p>\n

The show not only explores the ambiguity of exposing private moments to the public eye, it also\u00a0directly\u00a0questions the visitor’s own\u00a0tendency to voyeurism. We look at pictures that have been taken most of the time without\u00a0the subject’s consent or knowledge and\/or in situations that can be considered\u00a0as the most intimate ones, even in our overly-images-fed society, whether it\u00a0be caught having sex, a few seconds before commiting suicide, or in (generally violent) death.\u00a0We are not always at ease in front of these images (and that’s an euphemism) yet we keep watching, with\u00a0a combination of pleasure, sometimes horror, almost always guilt. We judge yet we are part of it.<\/p>\n

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Merry Alpern - Untitled (from Dirty Windows), 1994<\/figcaption><\/figure>\n<\/dd>\n<\/dl>\n<\/div>\n

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Identifying the highlights\u00a0of this\u00a0exhibition is almost\u00a0impossible as each one of the fourteen\u00a0rooms is essential. Exposed<\/em> will take\u00a0you from\u00a0\u00a0the world of workers in the slums of New York at the end of the nineteenth century to images of celebrities from the 1940’s to the 2000’s caught off-guard, from Brassai’s\u00a0erotic\u00a0Paris of the 1930’s to images of contemporary genocides and wars, from Weegee’s photographs of\u00a0 curious bystanders in New\u00a0York, watching fascinated a crime scene, to \u00a0Newton’s polished images of naked models, with the famous Self-Portrait with Wife June and Model<\/em>, a masterpiece of fetishistic looking, and from the sex trade in Wall Street watched through Merry Alpern’s Dirty Windows<\/em> to lynchings in segregationist America or a suicide scene in Johannesburg. You will see very famous photographs you will be amazed to find gathered\u00a0at\u00a0the same and\u00a0unique place, like Nick Ut’s Terror of War<\/em> or\u00a0Henri Cartier-Bresson’s Prostitutes in Calle Cuauhtemoctzin<\/em>, and so many others, including Nan Goldin’s Ballad of Sexual Dependency<\/em>, Cammie Toloui’s series Lusty Lady<\/em>, Susan Meiselas’s Cuesta del Plomo<\/em>, etc.<\/p>\n

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A young man called Amos Gexella looks back towards safety while perched on the sixth-floor balcony of a building in downtown Johannesburg, 4 August 1975. An estimated 2,000 onlookers yelled: \u201cJump! Jump!\u201d Two hours later, Amos rolled off the parapet and fell to his death Photograph: AP<\/figcaption><\/figure>\n
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Nan Goldin - Rise and Monty (from The Ballad of Sexual Dependency), 1988<\/figcaption><\/figure>
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Susan Meiselas - Cuesta del Plomo, 1981<\/figcaption><\/figure>\n<\/p>\n

We could of course\u00a0agree with The Guardian, which stated that “there are key missing images, the most obvious being the infamous shots taken at Abu Ghraib” and that “there’s an even better show to be made here” but in today’s world and our increasing appetite\u00a0for images – as well as their ever-growing broadcasting, the topic seems endless anyway.\u00a0 Again, this show, organised in conjunction with the San Francisco Museum of Modern Art,\u00a0is one of the best photography exhibitions in years. It may leave you shaken to the core, impressed\u00a0with the\u00a0volume and the quality of photographs on display, sick to death, shocked,\u00a0with a thousand questions and thoughts running through your mind like wild horses,\u00a0whatever,\u00a0you\u00a0will for sure feel alive.\u00a0So just go, don’t miss it!<\/p>\n

Laurie Guillem<\/p>\n

Exposed: Voyeurism, Surveillance and the Camera – 28 May \u2013 3 October 2010 – Tate Modern, Level 4 – www.tate.org.uk<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

If\u00a0there is one thing that\u00a0can be said about the new exhibition at Tate Modern, Exposed: Voyeurism, Surveillance & the Camera,\u00a0it’s\u00a0that it questions in depth our…<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[60],"tags":[],"class_list":["post-62020","post","type-post","status-publish","format-standard","hentry","category-mode"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/luxsure.com\/wp-json\/wp\/v2\/posts\/62020","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/luxsure.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/luxsure.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/luxsure.com\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/luxsure.com\/wp-json\/wp\/v2\/comments?post=62020"}],"version-history":[{"count":0,"href":"https:\/\/luxsure.com\/wp-json\/wp\/v2\/posts\/62020\/revisions"}],"wp:attachment":[{"href":"https:\/\/luxsure.com\/wp-json\/wp\/v2\/media?parent=62020"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/luxsure.com\/wp-json\/wp\/v2\/categories?post=62020"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/luxsure.com\/wp-json\/wp\/v2\/tags?post=62020"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}