READING IS WRITING - Greengrassi
READING IS WRITING - Greengrassi
READING IS WRITING - Greengrassi
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Mousse 26 ~ Moyra Davey<br />
<strong>READING</strong> <strong>IS</strong> <strong>WRITING</strong><br />
BY GIGIOTTo DEL VECCHIO<br />
32 Photographs from Paris (detail), 2009.<br />
Courtesy: Murray Guy, New York.<br />
For Moyra Davey, reading is both a pleasure and a problem. One can get<br />
swallowed up by a novel, or thrown into difficulty by an arduous<br />
essay. In any case, for Davey, the true requisite is a form of reading<br />
that coalesces and is organized around her work. Gigiotto Del Vecchio<br />
talks to an artist whose photographs, for years now, have been devoid<br />
of human presence, yet full of dust…<br />
40
Mousse 26 ~ Moyra Davey<br />
(A)<br />
(I)<br />
(E)<br />
(B)<br />
(L)<br />
(F)<br />
(C)<br />
(M)<br />
(G)<br />
(D)<br />
(N)<br />
(A) Rester Calme (detail), 2010.<br />
Courtesy: Murray Guy, New York.<br />
(B-C-D-G-L-M) 32 Photographs from Paris<br />
(detail), 2009.<br />
Courtesy: Murray Guy, New York.<br />
(H)<br />
(E-F-I) 16 Photographs from Paris<br />
(detail), 2009.<br />
Courtesy: Murray Guy, New York.<br />
(H-N) The Whites of Your Eyes (for Bill<br />
Horrigan), 2010.<br />
Courtesy: Murray Guy, New York.<br />
41
16 Photographs from Paris (detail), 2009. Courtesy: Murray Guy, New York.
Mousse 26 ~ Moyra Davey<br />
gigiotto del vecchio: Your work includes photography, film<br />
and video, and makes clear references to writing and to philosophy as well.<br />
Could you please tell me something about this “world of intersections” that<br />
influences your practice?<br />
moyra davey: Photography, film and video are closely related, and it’s<br />
very easy for artists to move from one to the other. When you’ve worked intensely<br />
in one medium for a while – for me it was photography for many years<br />
– it can feel invigorating to start fresh on a new project in writing and video.<br />
These days I have a few things going at once: I am reading and writing on Mary<br />
Wollstonecraft, Mary Shelley, and that whole amazing circle of women, and<br />
slowly some related photos and videos are creeping in. Probably I will hunker<br />
down and seriously begin to evolve a video out of some of this writing, but for<br />
now, it’s that very pleasurable form of “flânerie” known as research.<br />
gdv: you suggest an affinity between the acts of reading and writing,<br />
these two opposite sides of communication that intersect with each other;<br />
what exactly you mean when you say that reading and writing are complementary?<br />
Is this one of the topics in your book The Problem of Reading<br />
(Document Books, 2003)?<br />
md: Yes, it was a conclusion I came to in The Problem of Reading. I wrote<br />
that essay because I had a serious confusion and restlessness about reading and<br />
wanted to understand where it was coming from, how could I find focus, etc.<br />
Many great writers have addressed the problem of reading, some directly, like<br />
Virginia Woolf in her essay How Should One Read a Book, or Italo Calvino in<br />
his novel If on a Winter’s Night a Traveler, or Kafka (“don’t waste your time<br />
reading anything that’s not going to blow your mind”). Others (Benjamin, Sartre,<br />
Barthes) say in one way or another that “reading is writing,” and that for<br />
me was the most interesting discovery, and in a way the solution to my problem.<br />
I came to realize that for me the most vital and gratifying form of reading is<br />
one that gets organized around producing something of my own. I’m not sure<br />
where the restlessness comes from, but I know that eventually I need to anchor<br />
myself in themes and texts that will be generative.<br />
gdv: I imagine that this was the dimension in which you developed your<br />
recent show at Kunsthalle Basel, “Speaker Receiver”. Why this title?<br />
md: It started with a simple<br />
desire to title the exhibition<br />
after one, or in this case,<br />
two of the photographs in<br />
it (I also did that with my<br />
previous show at The Fogg,<br />
“Long Life Cool White”).<br />
I’ve always liked the pairing<br />
of those two titles, “Speaker-<br />
Receiver,” and as I thought<br />
about it more I began to see<br />
all sorts of resonances, especially<br />
with the videos: Fifty<br />
Minutes is largely about the<br />
psychoanalytic relationship,<br />
and My Necropolis is organized<br />
around a letter Walter<br />
Benjamin wrote in 1931, and<br />
a group of people who try to<br />
interpret it 75 years later.<br />
gdv: There’s always<br />
a sort of immobile dimension<br />
in your works, the sensation of things and objects that haven’t felt<br />
a human presence in quite a long time. People are very rarely represented.<br />
Could you talk about this element: why the distance? Of course, this is a<br />
question related to more than just the atmosphere of the image...<br />
md: It’s true, it’s rare that humans find their way into the photographs, and<br />
this has been the case for over 20 years. I made a lot of portraits up through<br />
about 1984, but as I became exposed via graduate school and the Whitney<br />
Program to the critique of representation, that impulse gradually atrophied.<br />
I’ve been thinking a lot about a line George Baker quotes from Walter Benjamin’s<br />
essay “Little History of Photography”: “To do without people is<br />
for photography the most impossible of renunciations,” a sentiment I totally<br />
agree with, yet Benjamin also adored Atget, whose work is mostly devoid of<br />
people – “like the scene of a crime” is how WB famously described Atget’s<br />
works. I love the tradition of the street as epitomized by Robert Frank, and<br />
the diary, exemplified by early Larry Clark and Nan Goldin, Peter Hujar,<br />
David Wojnarowicz. I admire this work a great deal, but my temperament<br />
and my way of seeing have somehow evolved in a hermetic, possibly even<br />
agoraphobic direction, more in line with the evidence photograph, or occasionally<br />
even eBay pictures: objects that infer a human presence but essentially<br />
have a life of their own. Maybe the immobile quality comes from<br />
the long time it took to make some of those pictures: time just seeps into the<br />
image.<br />
gdv: There is a passage in Eric Rosenberg’s text on your work that says:<br />
“let the present be, say Davey’s photographs, let it have its time, let it take<br />
its time, especially if the future means doing away with what’s broken before<br />
we determine how the broken might still be employed, held or seen.”<br />
Do you think you can add something to this observation? What exactly is<br />
the meaning of time for you?<br />
md: I am happy to see the word “present” in Eric’s sentence, because so<br />
often I get asked about the “the passage of time”. I know many of the objects<br />
in the photographs are antiquated, but that is not why I photograph them.<br />
For each picture there’s a specific reason: it might be the way the light is<br />
falling (Speaker); a formal confluence of shapes (Nyro); my ongoing fascination<br />
with dust (Shure, Paw, Two Streaks, etc.); Glad is kind of a joke about<br />
constipation from a Freudian perspective. The representation of music is<br />
important to me (Greatest Hits etc). I see record collecting, for instance, as<br />
a form of safeguarding and homage, and as inherently optimistic. But I’m<br />
entirely in agreement with the sentiment Eric expresses: the rate at which we<br />
consume new products is horrifying. The burning of fossil fuels, industry<br />
and manufacturing are making the planet toxic, yet here in the US we’re told<br />
to buy, buy, buy to save the economy. We’re headed for implosion, one way<br />
or another.<br />
gdv: Your photographs, always modest in size, never too spectacular,<br />
show living and working conditions as a metaphor for the human condition.<br />
Adam Szymczyk compared your work to what Cesare Pavese called,<br />
in the title of his diaries, “il mestiere di vivere”, the art of living. Is this<br />
position, from your point of view, more related to a poetic dimension, a<br />
political one, or both? And why?<br />
md: I like Adam’s invocation<br />
of a book of diaries, because<br />
I do think of many of<br />
my photographs as diaristic,<br />
and these days I think of the<br />
camera and the notebook as<br />
almost interchangeable. I<br />
love the Cesare Pavese book.<br />
I read parts of it in French<br />
last year, and I just pulled it<br />
off the shelf now. It is dogeared<br />
in two places, and one<br />
is about reading: “When we<br />
read, we are not looking for<br />
new ideas, but ones we’ve<br />
already thought... confirmation...<br />
that allows us to take<br />
flight from new places within<br />
ourselves,” and the second is<br />
about writing: “we want to<br />
make a work that will begin<br />
by astonishing ourselves”<br />
(these are rough translations).<br />
The same is true of photography, (Gary Winogrand: “I photograph to<br />
see what something will look like photographed”): we want to be surprised by<br />
the image. In terms of a political dimension, I believe there are feminist politics<br />
imbedded in some of the photographs, especially the ones that frame a domestic<br />
space, the floor, the fridge, the piled-up dust. Also suggested is a way of life<br />
where the focus is decidedly not on material things.<br />
There is more clearly a feminist position underlying the things I write. I gave a<br />
talk on Louise Bourgeois where I triangulate her as a historical, war-time figure<br />
with Marguerite Duras and Mildred Pierce, the fictional character from James<br />
M. Cain’s novel. And now I’m working on a text that borrows a lot from Mary<br />
Wollstonecraft, the late 18th century feminist, educator and political activist.<br />
gdv: I would love to ask you about your experience, and friendship, with<br />
such an important figure as Colin De Land from American Fine Art; you<br />
started exhibiting there in 1994. But also the experience of being part of<br />
44
Mousse 26 ~ Moyra Davey<br />
the collective that started the New York artistrun<br />
gallery Orchard. The program was really<br />
exciting, and in my opinion, one of the last important<br />
cultural moments. Orchard staged and<br />
produced new projects by Allan McCollum,<br />
Andrea Fraser, Michael Asher and many more.<br />
DI GIGIOTTo DEL VECCHIO<br />
md: Colin was a poetic, ambivalent figure who<br />
played the role of art dealer almost as a masquerade.<br />
After he and Pat Hearn died, many of us in<br />
their orbit felt the loss acutely, felt a void in the<br />
art world, and wanted a space that might address<br />
some of what AFA had represented for us. I think<br />
we crammed a lot into the three years Orchard<br />
operated: a multitude of (mostly group) shows,<br />
screenings, events, and tons of dialogue amongst<br />
ourselves and with the community that quickly<br />
formed around that space.<br />
gdv: How did it work? I mean the organization<br />
of the program at Orchard? What was<br />
the cultural climate in and around Orchard?<br />
md: The cultural climate was George Bush and<br />
the Republicans: pretty horrible. Many of us were<br />
so depressed by Bush’s re-election we felt we had<br />
to do something just to survive psychically and<br />
morally. Nic Guagnini (we were eleven members)<br />
was especially insistent that the shows had to protest,<br />
or at least be about the war in Iraq (in fact I<br />
think only one show, curated by Nic, “September<br />
11, 1973” was explicitly about the war). But while<br />
we may have started off with a unified position, in<br />
practice we began to diversify pretty quickly and<br />
the shows became more about an individual’s set<br />
of concerns than the group’s as a whole, though<br />
the idea of showing inter-generational works (like<br />
Asher’s) survived, and we mostly stuck to the rule<br />
of not having solo shows. In the first year we met<br />
a lot as group and had heated discussions about<br />
our program, but then several members got jobs<br />
in California, or traveled a lot for exhibitions, and<br />
our core was reduced. And we started having the<br />
disagreements that seem endemic to collectives...<br />
But despite all of this, it was clear that Orchard<br />
was very important in those three years, and is still<br />
missed by a community of artists in New York.<br />
I’m proud of the profusion of shows and events<br />
we generated, you just have to look at the website<br />
(Orchard 47) to see the thought and inventiveness<br />
spilling out of each project.<br />
Per Moyra Davey la lettura è un piacere e un problema.<br />
Si può essere assorbiti completamente da un romanzo, o<br />
messi in crisi da un saggio arduo e difficoltoso. In ogni caso,<br />
per Davey, il requisito elettivo resta quello di una lettura<br />
che si addensi attorno al suo proprio lavoro, che gli si<br />
organizzi intorno. Gigiotto Del Vecchio incontra l’artista le<br />
cui fotografie sono, da anni, scevre di presenza umana ma<br />
cariche di polvere...<br />
gigiotto del vecchio: Il tuo lavoro comprende fotografia, cinema e video. Inoltre, contiene<br />
chiari riferimenti alla scrittura e alla filosofia. Potresti dirmi qualcosa di questo “mondo di intersezioni”<br />
che influenza la tua attività artistica?<br />
moyra davey: La fotografia, il cinema e il video sono strettamente legati ed è facilissimo per un artista<br />
passare da uno all’altro. Quando si lavora intensamente, per un certo periodo, con un determinato medium –<br />
nel mio caso si è trattato, per molti anni, della fotografia – può avere un effetto corroborante ricominciare da<br />
capo con un nuovo progetto sulla scrittura e il video. Attualmente sto lavorando a diverse cose contemporaneamente:<br />
sto leggendo e scrivendo di Mary Wollstonecraft, Mary Shelley e di tutto quello straordinario circolo<br />
di donne; pian piano stanno cominciando a venire alla luce alcuni video e foto attinenti. Probabilmente<br />
ad un certo punto mi metterò lì e comincerò seriamente a progettare un video a partire da questo lavoro di<br />
scrittura, ma per ora si tratta solamente di quella piacevolissima forma di flânerie nota come ricerca.<br />
gdv: Tu suggerisci vi sia un’affinità tra gli atti della lettura e della scrittura, due lati opposti della<br />
comunicazione che si intersecano l’uno con l’altro; che cosa intendi esattamente quando dici che lettura<br />
e scrittura sono complementari? È uno degli argomenti trattati nel tuo libro The Problem of Reading<br />
(Document Books, 2003)?<br />
md: Sì, si tratta di una conclusione a cui sono giunta in The Problem of Reading. Ho scritto quel saggio<br />
perché ero molto confusa e inquieta riguardo all’atto della lettura e volevo capire da dove venissero quella<br />
confusione e quell’inquietudine, come potessi trovare un centro d’attenzione su cui focalizzarmi, ecc. Molti<br />
grandi scrittori hanno affrontato il problema della lettura, alcuni direttamente, come Virginia Woolf nel suo<br />
saggio Come si legge un libro?, o Italo Calvino nel suo romanzo Se una notte d’inverno un viaggiatore, o, ancora,<br />
Kafka (“non perdete tempo leggendo qualcosa che non sorprenderà la vostra mente”). Altri (Benjamin,<br />
Sartre, Barthes) affermano, in un modo o nell’altro, che “la lettura è scrittura”, il che ha rappresentato per<br />
me la scoperta più interessante e, in un certo senso, la soluzione al mio problema. Mi sono resa conto che per<br />
me la forma di lettura più vitale e più gratificante è quella che si organizza intorno alla produzione di qualcosa<br />
di mio. Non sono sicura da dove provenga l’inquietudine, ma so che alla fine ho bisogno di ancorarmi<br />
a temi e testi che risulteranno generativi.<br />
gdv: Immagino che questa sia la dimensione entro la quale hai progettato la tua recente mostra alla<br />
Kunsthalle Basel, “Speaker Receiver”. Perché questo titolo?<br />
Opposite – 32 Photographs from Paris<br />
(detail), 2009. Courtesy: Murray Guy,<br />
New York.<br />
Top – Blow, 2007.<br />
Courtesy: Murray Guy, New York.<br />
md: Tutto è cominciato con il semplice desiderio di dare un titolo alla mostra da una o, in questo caso, due delle<br />
fotografie che vi ho esposto (l’ho fatto anche con la mia mostra precedente alla galleria The Fogg, “Long Life<br />
Cool White”). Mi è sempre piaciuto l’accoppiamento di quelle due parole, “Speaker-Receiver” e, riflettendoci<br />
più attentamente, ho cominciato a vedere nel titolo diverse risonanze, in particolar modo con i video: Fifty Minutes<br />
si basa in gran parte sul rapporto psicoanalitico e My Necropolis è organizzato intorno a una lettera che Walter<br />
Benjamin scrisse nel 1931 e su un gruppo di persone che, settantacinque anni dopo, cercano di interpretarla.<br />
45
Mousse 26 ~ Moyra Davey<br />
Newsstand No. 2, 1994.<br />
Courtesy: Murray Guy, New York.<br />
46
Mousse 26 ~ Moyra Davey<br />
Newsstand No. 3, 1994.<br />
Courtesy: Murray Guy, New York.<br />
47
Mousse 26 ~ Moyra Davey<br />
From top, clockwise –<br />
Receivers, 2003.<br />
Courtesy: Murray Guy,<br />
New York.<br />
Long Life Cool White,<br />
1999. Courtesy: Murray<br />
Guy, New York.<br />
Fridge, 2003. Courtesy:<br />
Murray Guy, New York.<br />
Paw, 2003.<br />
Courtesy: Murray Guy,<br />
New York.<br />
Opposite – Shure, 2003.<br />
Courtesy: Murray Guy,<br />
New York.
Mousse 26 ~ Moyra Davey<br />
gdv: C’è sempre una sorta di senso di immobilità nelle tue opere, la sensazione<br />
di cose e oggetti che non abbiano visto la presenza umana per molto<br />
tempo. Le persone sono raffigurate molto raramente. Potresti parlare di<br />
questo elemento? Perché una simile distanza? Ovviamente è una questione<br />
che non riguarda solo l’atmosfera dell’immagine...<br />
md: È vero, è raro che nelle mie fotografie compaiano esseri umani, ed è così<br />
da più di vent’anni. Fino al 1984 circa ho realizzato molti ritratti ma, grazie<br />
all’esposizione alla critica della rappresentazione – attraverso la scuola di dottorato<br />
e il Whitney Program – quell’impulso si è gradualmente atrofizzato. Ho<br />
pensato a lungo a una frase, tratta dal saggio di Walter Benjamin Piccola storia<br />
della fotografia e citata da George Baker: “La rinuncia all’uomo per la fotografia<br />
è, fra tutte, la più irrealizzabile”. È un sentimento che condivido pienamente;<br />
tuttavia, Benjamin adorava anche Atget, la cui opera è quasi completamente<br />
svuotata della presenza umana: “come la scena di un crimine” è la famosa frase<br />
con cui Walter Benjamin stesso ha descritto le opere di Atget. Amo la tradizione<br />
della strada, incarnata da Robert Frank, e quella del diario, esemplificata<br />
dal Larry Clark degli inizi e da Nan Goldin, Peter Hujar, David Wojnarowicz.<br />
Ammiro particolarmente questo tipo di lavoro, ma il mio temperamento e la<br />
mia visione si sono in qualche modo evoluti in una direzione ermetica, perfino<br />
agorafobica, più in linea con la fotografia testimoniale o, in qualche caso, perfino<br />
con le immagini di eBay: oggetti che lasciano intuire una presenza umana, ma<br />
che essenzialmente vivono di vita propria. Forse quell’immobilità caratteristica<br />
deriva dal lungo tempo che ci è voluto per scattare alcune di quelle fotografie: il<br />
tempo penetra nell’immagine.<br />
gdv: Nel testo di Eric Rosenberg sulla tua opera vi è un passo in cui si<br />
dice: “Lasciate che il presente sia, dicono le immagini di Davey, lasciate che<br />
abbia il suo tempo, che si prenda il suo tempo, specialmente se il futuro significa<br />
disfarsi di ciò che è rotto prima ancora che abbiamo determinato in<br />
md: Mi piace che Adam abbia citato dei diari, perché io stessa ritengo che<br />
molte delle mie fotografie siano diaristiche; di questi giorni penso che la macchina<br />
fotografica e il quaderno per gli appunti siano quasi intercambiabili. Amo<br />
il libro di Pavese. Lo scorso anno ne ho lette alcune parti in francese e proprio<br />
recentemente l’ho recuperato dallo scaffale. In due punti ho piegato gli angoli<br />
delle pagine e uno di quei due passi riguarda la lettura: “Leggendo non cerchiamo<br />
idee nuove, ma pensieri già da noi pensati, che acquistano sulla pagina<br />
un suggello di conferma. Ci colpiscono degli altri le parole che risuonano in<br />
una zona già nostra – che già viviamo – e facendola vibrare ci permettono di<br />
cogliere nuovi spunti dentro di noi,” e il secondo riguarda la scrittura: “vogliamo<br />
realizzare un’opera che comincerà stupendoci”. La stessa cosa vale per la<br />
fotografia, (Garry Winogrand: “Scatto fotografie per scoprire che aspetto avrà<br />
la cosa fotografata”): vogliamo essere sorpresi dall’immagine. In termini di dimensione<br />
politica, credo che in alcune delle immagini vi siano elementi di politica<br />
femminista, specialmente in quelle che ritraggono uno spazio domestico, il<br />
pavimento, il frigorifero, la polvere ammassata. Inoltre viene suggerito uno stile<br />
di vita che non concentri l’attenzione sulle cose materiali.<br />
La posizione femminista emerge più chiaramente nelle cose che scrivo. Ho tenuto<br />
una conferenza su Louise Bourgeois in cui effettuavo una triangolazione<br />
tra lei, in quanto figura storica del periodo bellico, Marguerite Duras e Mildred<br />
Pierce, il personaggio fittizio del romanzo di James M. Cain. E ora sto lavorando<br />
ad un testo che deve molto a Mary Wollstonecraft, la femminista, educatrice<br />
e attivista politica di fine Settecento.<br />
gdv: Vorrei chiederti della tua esperienza e della tua amicizia con una<br />
figura importante come quella di Colin De Land di American Fine Art,<br />
dove hai cominciato a esporre nel 1994. Ma vorrei che mi parlassi anche<br />
dell’esperienza di far parte del collettivo che ha creato Orchard, la galleria<br />
newyorchese gestita da artisti. Il programma era davvero eccitante e, a parer<br />
mio, uno degli ultimi momenti culturali importanti. Orchard ha messo<br />
in scena e ha prodotto i nuovi progetti di Allan McCollum, Andrea Fraser,<br />
Michael Asher e molti altri.<br />
che modo ciò che è rotto potrebbe essere riutilizzato, tenuto o visto”. Pensi<br />
di poter aggiungere qualcosa a tale osservazione? Che significato attribuisci<br />
esattamente al tempo?<br />
md: Sono molto felice di leggere la parola “presente” nella frase di Eric, perché<br />
spessissimo mi vengono poste domande sul “passare del tempo”. So che<br />
molti degli oggetti che compaiono nelle fotografie sono antiquati, ma non è<br />
quello il motivo per cui li fotografo. C’è un motivo specifico per ciascuna immagine:<br />
può essere per il modo in cui cade la luce (Speaker); una confluenza di forme<br />
(Nyro); la mia continua attrazione per la polvere (Shure, Paw, Two Streaks,<br />
ecc.). Glad, invece, è una sorta di scherzo sulla costipazione da un punto di vista<br />
freudiano. E poi c’è l’importanza che per me riveste la rappresentazione della<br />
musica (Greatest Hits ecc.). Per esempio, considero il collezionismo di dischi<br />
una forma di salvaguardia e di omaggio e qualcosa di intrinsecamente ottimistico.<br />
Ma sono totalmente d’accordo con il sentimento espresso da Eric: il ritmo<br />
con cui consumiamo nuovi oggetti è spaventoso. L’uso di combustibili fossili,<br />
l’industria e le manifatture stanno rendendo tossico il pianeta; ma qui negli Stati<br />
Uniti ci viene detto di comprare, comprare, comprare per salvare l’economia.<br />
In un modo o nell’altro ci stiamo dirigendo verso l’implosione.<br />
gdv: Le tue fotografie, sempre di dimensioni modeste e mai troppo spettacolari,<br />
mostrano le condizioni di vita e di lavoro come metafora della<br />
condizione umana. Adam Szymczyk ha paragonato il tuo lavoro a quello<br />
che Cesare Pavese, nei suoi diari, chiamava “il mestiere di vivere”. Questa<br />
posizione, dal tuo punto di vista, si lega maggiormente a una dimensione<br />
poetica, politica o a entrambe? Perché?<br />
md: Colin era una figura poetica e ambigua, che interpretava il ruolo di mercante<br />
d’arte quasi come una messinscena. Dopo la sua morte e quella di Pat<br />
Hearn, molti di noi, che gravitavamo nella loro orbita, hanno sentito un forte<br />
senso di perdita, la sensazione di un vuoto nel mondo dell’arte, e volevano<br />
trovare uno spazio che potesse essere un po’ quello che l’American Fine Art<br />
aveva rappresentato per loro. Penso che abbiamo sgobbato molto nei tre anni di<br />
attività di Orchard: abbiamo dato vita a una moltitudine di mostre (prevalentemente<br />
collettive), proiezioni, eventi e abbiamo dialogato molto tra noi e con la<br />
comunità che si è rapidamente formata intorno a quello spazio.<br />
gdv: Come funzionava? Com’era organizzato il programma di Orchard?<br />
Qual era il clima culturale al suo interno e quale fuori?<br />
md: Il clima culturale era quello rappresentato da George Bush e dai repubblicani,<br />
quindi orribile. Molti di noi erano così depressi per la rielezione<br />
di Bush che sentivano di dover fare qualcosa semplicemente per sopravvivere<br />
fisicamente e moralmente. Nic Guagnini (eravamo undici membri) insisteva<br />
particolarmente sul fatto che le mostre dovessero protestare contro, o almeno<br />
riguardare la guerra in Iraq (in realtà penso che solo una mostra, curata da<br />
Nic e intitolata “September 11, 1973” fosse esplicitamente incentrata sulla<br />
guerra). Inizialmente siamo partiti da una posizione unitaria, ma nella pratica<br />
si è assistito ben presto ad un processo di diversificazione e le mostre hanno<br />
cominciato a riflettere un insieme d’interessi individuali piuttosto che quelli<br />
di un gruppo preso nella sua totalità. Nonostante ciò l’idea di esporre opere<br />
intergenerazionali (come quelle di Asher) è sopravvissuta e nella maggior<br />
parte dei casi ci siamo attenuti alla regola di non organizzare mostre monografiche.<br />
Il primo anno ci siamo incontrati spesso come gruppo e abbiamo<br />
avuto accese discussioni sul programma; poi alcuni membri hanno ottenuto<br />
lavori in California, mentre altri erano sempre in viaggio per le mostre e così<br />
il nucleo si è ridotto. È stato allora che sono cominciati i disaccordi che sembrano<br />
endemici ai collettivi... Nonostante ciò, è evidente l’importanza che<br />
ha avuto Orchard in quei tre anni, e una comunità di artisti di New York ne<br />
sente ancora la mancanza. Sono fiera della profusione di mostre e di eventi<br />
a cui abbiamo dato vita; basta dare un’occhiata al sito web (Orchard 47)<br />
per rendersi conto della riflessività e dell’inventività che emergevano da ogni<br />
progetto.<br />
49
MARCH2010
April 2010 | Issue 130<br />
Some Things Moyra Taught Me<br />
ART H<strong>IS</strong>TORY<br />
The intertwining of melancholy and possibility<br />
in contemporary photography<br />
by George Baker<br />
Thinking about this column has stirred a vague<br />
set of memories. It is the winter of 2003, the last<br />
winter of my life as a New Yorker, the final<br />
months before I moved to Los Angeles. Perhaps<br />
because of this, I remember a lot of snow: tramping<br />
and stumbling about in the stuff, visiting Chelsea<br />
galleries. In the wake of one particularly brutal<br />
blizzard, I make my way to American Fine Arts. Moyra Davey, 32 Photographs from Paris (detail, 2009)<br />
I am, rather auspiciously, with Kaja Silverman<br />
Courtesy of Murray Guy, New York<br />
and James Coleman. But these are the final months<br />
of the gallery’s existence, not long after Colin de Land’s death from cancer earlier that year. The exhibition is Tom Burr’s ‘Gone,<br />
Gone’, an installation of all-black sculptures that seemed to react to the gallerist’s passing, to his partner Pat Hearn’s death and<br />
perhaps to larger, more collective losses. A series of monumental black vinyl flowers have been strewn throughout the space, thrown<br />
or draped or hoisted into the air by cruel wires. A reflective black box stands littered with cigarettes and empty glasses, as if it were a<br />
bar. Indeed, bar stools pose beside it and lie toppled all around, some of them covered by the vinyl flowers, like shrouds. The party, it<br />
seems, is over, and other activities have come into play, a sculptural process more reminiscent of the fort-da game Sigmund Freud<br />
played with his infant grandson, or the charged psychic labours of destruction and reparation.<br />
The next month, I was back at American Fine Arts. Was it for the last time? I cannot remember. But I had also forgotten until now<br />
that the show immediately after Burr’s was by the photographer Moyra Davey. Again, it had snowed and, again, I was visiting the<br />
gallery with close friends; with my sister, I think, and a very young Gary Carrion-Murayari, before he started curating. We were all<br />
touched by Davey’s small-scale, delicate photographs, and spent a long time wandering back and forth from print to print. Although<br />
many of the photographs were of empty liquor bottles irradiated by light, I did not associate them with Burr’s drunken, passed-out<br />
bar stools from the month before. The photographs seemed an obsessive, if random and half-hearted, mapping of Davey’s domestic<br />
interior: photographs of dust along a floorboard, of vinyl records or books heaped upon a groaning shelf, of dishevelled, paper-strewn<br />
tables and desks. It did not occur to me until now that Davey’s photographs were as much a reaction to – and mourning of – De<br />
Land’s death as Burr’s blacked-out party space. It was as if De Land’s dishevelment had become Davey’s too, as if her forlorn<br />
photographs had taken on qualities linking her home to the typical condition of his gallery, her images to his notorious persona – and<br />
this introjection of the lost object remains one of the defining experiences of melancholia.
These memories return to me at a moment when I have been attempting to think about the fate of photography – analogue<br />
photography, the indexical image – in the face of its technological demise, but also potentially of its afterlife; what I have elsewhere<br />
called photography’s ‘expansion’. It seems to me that melancholia has coloured photography’s fate, and it is artists like Davey who<br />
embody this relationship most incisively. For here is an artist who seems to have closed off the outside world to become a prowler of<br />
the domestic interior, shut off from the city streets that so long nurtured the hopes of the photographic document. Here is an artist<br />
who seems to emulate Marcel Duchamp, with his laziness and his dust, and one whose artistic process seems an extended languishing<br />
– a flânerie of books and articles and films – an almost passive consumption of other products, in the hope that they might spur an<br />
image or produce the desire to make a photograph. In Davey’s video 50 Minutes, begun in the summer of 2003, she interspersed<br />
footage of her own domestic photographs with a deep reflection upon nostalgia, declaring it ‘the intellectual’s guilty pleasure’.<br />
Quoting a critic, she continues: ‘I admit to being disconcerted by a grieving that has been made beautiful. Grief, absence, loss,<br />
longing, wandering, exile, homesickness […] nostalgia is itself a lovely and piercing word.’ In her more recent video, My Necropolis<br />
(2009), the artist fixated on Walter Benjamin, a notoriously saturnine thinker, interspersing images of tombstones in Parisian<br />
cemeteries with footage of the artist’s friends trying to decipher a letter Benjamin once wrote to his friend, the philosopher and<br />
historian Gershom Scholem, in which he mourns for a clock visible from his apartment window – an object he cannot own but to<br />
which he is attached nonetheless, and that he calls ‘a luxury it is difficult to do without’.<br />
‘But,’ objects Josiah McElheny, to whom I am explaining some of my ideas, ‘Moyra’s work is not melancholic.’ And that’s just it:<br />
Davey shows us that an attachment to loss – of the photographic medium to its own loss – has become a space of possibility for<br />
contemporary photography. Far from a pathological fixation, such melancholia should be understood as a space of opening (an open<br />
wound, if you will). Consider, for example, Davey’s series ‘Copperhead’ (1990). Produced during an earlier economic recession (one<br />
to which we can reconnect today), Davey’s low-tech images focus on the profile of Abraham Lincoln engraved on the United States<br />
penny – the most devalued piece of American currency. Although almost worthless, the pennies that Davey depicts are ‘like’<br />
photographs in many different ways: they are objects of circulation and of use kept close to the body, in wallets and pockets; they are<br />
tokens stamped with their date. They are miniatures, enlarged by the photograph’s innate habit of holding on tight to its objectworld,<br />
progeny of the close-up and the zoom. They are obsolete, throwaway vestiges, but also keepsakes, collectors’ items, the useless<br />
avatars of blind luck or cunning thrift simultaneously. Indeed, each ‘Copperhead’ seems a memorial to photography’s eradication, or<br />
– what amounts to the same thing – its ceaseless dedication to that which is on the verge of disappearance. The photographs capture<br />
the immeasurable variety of the decay of each cast profile upon the penny’s surface, embodying meditations upon loss, erosion, and<br />
the slipping of a thing into the status of detritus.<br />
And yet, in fixating on this image-loss, the ‘Copperhead’ series depicts the penny as a receptor surface, a skin infinitely susceptible to<br />
wounds, gouges and scratches – in other words, a site of contact; an object, like the photograph, endlessly open to receiving the marks<br />
of the world. In recording this, Davey’s work mirrors photography in yet another way: these are images of serial objects, replicas, all<br />
given over to the condition of absolute chance and singularity. If each photograph seems an image of disappearance, a cast or imprint<br />
fading away before our eyes, the images’ condition as ‘last photographs’ can also be reversed. It’s as if we are gazing upon photograph<br />
after photograph of what seem to be latent images, a form at the point of its emergence, like a landmass surfacing from the ocean’s<br />
depths, an unknown object blanketed by deep snow. The photographs are at once images of destruction and resurrection, loss and<br />
potential rebirth.<br />
This points to both how and why melancholia has become a tactic, today, in the process of being transvalued by many contemporary<br />
artists. For melancholia, we might say, is above all a form of connection. It is a recalcitrant insistence on attachment, a passionate<br />
embrace, but to an object that is in fact gone; this is a connection staged around loss. Melancholia thus embodies a form of impossible<br />
connection. For photography, at least, this has always been the medium’s central condition, but it is a paradox we can only fully sense<br />
today, as the medium itself has been subjected to its own processes of death. To seize upon connection at the point of loss: Freud<br />
once insisted, in ‘Mourning and Melancholia’ (1915), that melancholia was not only a fixation, but also a ‘taking flight’, a mysterious<br />
passage of the lost object into the ego, so that – just perhaps – ‘love [might] escape [...] abolition’. And so it is with photography<br />
today, as well.<br />
George Baker<br />
George Baker is Associate Professor of Modern and Contemporary Art,<br />
Vice-Chair UCLA, Department of Art History, Los Angeles, USA.
March 2010<br />
Four photographs in Moyra Daveyʼs<br />
installation 32 Photographs from Paris,<br />
2009, C-prints with tape, postage and ink,<br />
each 113⁄4 by 173⁄4 inches; at Murray Guy.<br />
MOYRA DAVEY<br />
MURRAY GUY<br />
New York Moyra Daveyʼs first<br />
show with Murray Guy was an<br />
engrossing demonstration of the<br />
cameraʼs ability to isolate detail,<br />
organize content and serve<br />
agendas both simple and<br />
complex. Since the early ʼ90s,<br />
the New York-based<br />
photographer has created<br />
photographs, videos and<br />
publications whose subject<br />
matter—including studio<br />
ephemera, domestic objects and<br />
books—may suggest more<br />
sympathy toward the page than<br />
the wall. Davey steadily<br />
documents segments of her own<br />
world and operates in that<br />
narrow gap between the novel<br />
and the cinema. She is<br />
something of an intimist, and her<br />
modestly scaled C-prints, none<br />
larger than 20 by 24 inches,<br />
feature the things we value and<br />
accumulate.<br />
The earliest works on view,<br />
five images from the series<br />
“Copperheads” (1990), are<br />
extreme close-ups of pennies,<br />
revealing their weathered,<br />
gouged surfaces, with Lincolnʼs<br />
profile serially repeated.<br />
Eisenstein (1996), an image of<br />
crammed bookshelves, was<br />
taken in Daveyʼs home and<br />
shows the artistʼs studio as<br />
academy. Popular culture<br />
informs Greatest Hits (1999), in<br />
which a collection of LPs on a<br />
shelf can be read as<br />
portraiture—who hasnʼt looked<br />
through someoneʼs books or<br />
records to learn something about<br />
their owner?<br />
Daveyʼs 32 Photographs from<br />
Paris (2009) wrapped around<br />
one room, the small<br />
images—café tabletops, clock<br />
faces, book pages and<br />
depopulated domestic<br />
settings—simply pinned to the<br />
wall in a horizontal row. After<br />
printing them, Davey folded<br />
them up and mailed each one to<br />
a friend, later reassembling them<br />
for display; the stamps and<br />
handwritten addresses are<br />
visible on many of the prints.<br />
Steeped in nostalgia for the<br />
handmade and pre-digital, these<br />
photos of café life may call up<br />
the viewerʼs inner Francophile.<br />
Exhibited in the same room<br />
was the 30-minute video My<br />
Necropolis (2009), which begins<br />
with a tour of the graves of<br />
cultural figures in Paris<br />
cemeteries. The camera drifts<br />
over the weathered memorial<br />
stones, looking for arrangements<br />
of personal remembrances left<br />
there by visitors. While such<br />
sites usually attract those<br />
seeking psychic connection to<br />
mythic figures, for Davey they<br />
appear to operate as locations<br />
where things accumulate. Later,<br />
Davey (off camera) leisurely<br />
converses with artist friends,<br />
who often make guest<br />
appearances in each otherʼs<br />
work. Here, they comment on an<br />
enigmatic passage in a letter<br />
written in 1931 by a depressed<br />
Walter Benjamin to his friend<br />
and fellow philosopher Gershom<br />
Scholem (a copy of the letter<br />
was available for visitors to<br />
read). While fretting over his<br />
living quarters, Benjamin<br />
professes fascination with a<br />
clock that is visible from his<br />
window, calling it a luxury that is<br />
increasingly impossible to do<br />
without. Daveyʼs exchanges,<br />
which include one with her<br />
young son Barney, are as cozy<br />
as the couch provided by the<br />
gallery for our viewing comfort.<br />
The press release states that<br />
Davey desires, among other<br />
things, to “reclaim a practice of<br />
photography grown out of<br />
contingency and accident.” In<br />
this, she is not alone.<br />
–Tim Maul
BEST BOOKS OF 2008<br />
SHANNON EBNER<br />
If a writer’s style can be characterized as<br />
photographic, then this is how I would refer to<br />
Moyra Davey’s stylistic approach in her essay<br />
“Notes on Photography & Accident.” Published on<br />
the occasion of the artist’s first museum exhibition<br />
(at Harvard’s Fogg, curated by Helen<br />
Molesworth), Long Life Cool White is a small,<br />
elegantly designed paperback that neither feels<br />
nor reads like a typical catalogue.<br />
Davey’s writing is scholarly while never losing sight of a more personal and notational expository<br />
drift. And it is precisely this drift that grants her prose its photographic quality. Taking up the<br />
question of whether the notion of accident may hope to retain its relevance, Davey looks to<br />
Roland Barthes, Walter Benjamin, Susan Sontag, and Janet Malcolm, each of whom has mined<br />
this history of analog slippages in his or her texts. Through their writing, Davey locates<br />
precedence for a renewed interest in the camera’s mechanical mishaps. One gets the sense that<br />
Davey, in casting herself into the interstitial spaces of thought, is not so much thinking about<br />
things as thinking between them. As an example, among Davey’s notes are ideas about<br />
photography’s ascending market value and correlative expansion of scale; Benjamin’s idea of the<br />
optical unconscious in relation to psychoanalysis; Davey’s own declining health; and, finally,<br />
thoughts on the drive to take photographs in the “real,” as opposed to the imagined (read: staged)<br />
world at all. Definitive conclusions are not necessarily what Davey values.<br />
What readers may find of value, however, are Davey’s photographs, in particular her<br />
“Copperheads” series, 1990–92. Here, the distressed surfaces of pennies, the lowliest form of<br />
currency, are surveyed by the camera’s uncompromising lens, investing the cent with the exploits<br />
of visual information not commonly bestowed upon it.<br />
Perhaps what struck me most about this book was Davey’s low-grade anxiety about analog<br />
photographic technologies on the cusp of obsolescence. In her summary of the quotes (from<br />
Barthes, Sontag, et al.) that began her journey into the topic of “Photography & Accident,” Davey<br />
formulates the proposition that “accident is the lifeblood of photography.” If we are to accept this<br />
claim, one may ask, what will it mean for the medium when photography loses touch with the<br />
analog—which requires, at the very least, an actual subject, even if inanimate—and so<br />
surrenders some control to the fate of a mechanical camera? Will photography be leached of life,<br />
or will the notion of accident merely undergo a radical redefinition? In medias res, this pun is<br />
intended.<br />
Shannon Ebner is an artist based in Los Angeles.
Murray Guy<br />
453 West 17 Street New York NY 10011 T: 212 463 7372 F: 212 463 7319 info@murrayguy.com<br />
December 19, 2003<br />
ART IN REVIEW<br />
Moyra Davey<br />
American Fine Arts<br />
530 West 22nd Street, Chelsea<br />
Through Jan. 10<br />
A forensic investigator might conclude that the disheveled living spaces documented in<br />
Moyra Davey's photographs belong to a depressed and possibly dangerously alienated<br />
person. Gallerygoers will instantly recognize the lifestyle of the bohemian New York<br />
loft-dweller. It is the world of Nan Goldin's early snapshots, with the people gone for the<br />
day.<br />
The funky, beat-up furniture and stereo equipment, the shelves groaning under the weight<br />
of thousands of vinyl records, the dust and spider webs under the beds, the empty liquor<br />
bottles on cluttered counters: these are the spaces of people who invest their resources in<br />
things other than domestic beautification. In fact the photographs depict places where Ms.<br />
Davey herself has lived over the last 10 years.<br />
The photographs have an appropriately down-and-dirty look, the opposite of the oversize<br />
and overproduced prints that continue to glut the market. Because their color is grimy, the<br />
light is wan or murky and the focus is on unlovely things -- two bare light bulbs in a<br />
cheap ceiling fixture, dust caught around a stereo needle, a rubber ball lost under a<br />
dresser -- the photographs have a mournful feeling and a quiet metaphorical<br />
reverberation. They are poems about the soul, lost and starved in a land of material<br />
overabundance and manic extroversion.<br />
KEN JOHNSON
Murray Guy<br />
453 West 17 Street New York NY 10011 T: 212 463 7372 F: 212 463 7319 info@murrayguy.com<br />
March 1, 1996<br />
ART IN REVIEW<br />
Moyra Davey<br />
American Fine Arts<br />
22 Wooster Street<br />
SoHo Through March 9<br />
A gallery statement that links Moyra Davey's collages of different photographs to the<br />
tradition of trompe l'oeil bulletin boards by 19th-century American painters like William<br />
Harnett may be stretching things a bit. Nonetheless, for all their buttoned-down<br />
Conceptualism, Ms. Davey's accumulations of images are surprisingly suggestive and<br />
satisfying in the ways they evoke and contrast different human needs and obsessions, all<br />
the while comparing different photographic methods.<br />
Most of the collages are dominated by detailed color photographs of messy desktops or<br />
shelves filled to overflowing with books, records or films, evoking the life of the mind as<br />
well as the incessant accumulation and arranging of material and information that it<br />
frequently requires.<br />
Smaller, fuzzier pictures depict more plebeian pleasures: a quaint roadside hot-dog stand<br />
and film stills of a man eating by himself on an ocean pier. Somewhere in between these<br />
extremes of consciousness are smaller bits -- ticket stubs and photographs of ticket stubs<br />
to various popular movies.<br />
The continual zigzagging between what might be called cultural sustenance and the other<br />
kind gives the work a slightly snobby, even classist undercurrent, but in the end so many<br />
different aspects of life, thought and knowledge are called forth that the invitation to<br />
browse and muse is very hard to resist.<br />
Also good, in the gallery's office, are three small black-and-white photographs of camera<br />
store displays, which underscore Ms. Davey's penchant for self-reference and also bring<br />
to mind Walker Evans.<br />
ROBERTA SMITH