Again: provoking by poking at time-tested stereotypes.
- The mechanized quality of the black body/the black body as an object of labor.
- Keith Haring’s afro-inspired graffiti, paired with afro-inspired dress. Drawing reference to primitivism.
- Androgyny and play in Jean-Goude’s portrait of Jones. The masculine yet steamily sexual quality of black women, as depicted in many media.
- Display of the female body and itemizing of black female body parts, as conveyed through collage.
Had an impromptu shoot at Lakin’s studio a while back during some downtime.
Hat - Comme des Garcons Homme Plus
Top - Y’s for men
Pants - Y’s for men
Shoes - Cherevichkiotvichki
Gallery weekend, Berlin.
Some photos from the mini photography installation we had during my store’s pre-opening sale.
Photography: Lakin Ogunbanwo
Models: Kimmie Adams and Derek
Art direction & styling: Me
The entire album of photos is on the store’s Facebook page.
In the 1970s, Resnais published a collection of his photographs, taken between 1948 to 1971, in the country of his residence, France, as well as places in which he wanted to make films, among them England (for a film projectbased on Harry Dickson stories), the United States, and Hiroshima in Japan. Jorge Semprún, Resnais’s writer in La guerre est finie and Stavisky, wrote an introduction to the book. The publication was called Repérages (Chene, 1974), a title evocative of the volume’s searching nature.
What is so fascinating about these photographs is their deep relation with Resnais’ films, especially in the way in which the nature of photographic image is rejected, or as the Iranian-French philosopher Youssef Ishaghpour has observed, Resnais’ refusal to work with the camera as an instrument for the representation of reality, but as “the best means to approaching the working of the mind.”1
For Resnais, as you will see in these photographs, each space, regardless of its function and position within a broader urban setting, serves as a museum; a museum of time where the textures and signs of decay and aging become vital elements of each shot.
His photographs, like most of his early films, are filled with the uncanny silence and tranquility of the mysterious spaces, even if the subject is one of the busiest underground stations in the word, London’s Tube. It feels as if Resnais is observing the essence of a space, or what Juhani Pallasmaa, the Finnish architect and thinker, calls “the drama of construction silenced into matter, space and light.” In this regard, Resnais’ task in his still photography—parallel to his films—is decoding that “petrified silence” architecture has created.2
In Repérages, human beings are barely seen. Instead, dingy spaces, museums and architectural monuments, shot in the most untouristic manner, are the most repeated themes throughout the24 years the book covers. Nevertheless, Resnais is not in theleast interested in space and architecture as symmetric or geometric forms. He is examining the architecture as a living space, or to borrow from Pallasmaa, as the “Lived Space,” a space beyond the rules of physics and geometry that dreams, ideas, fears and desires are reflected into, whether a quiet alley in London or a deserted junction in New York City. If for Pallasmaa art is the act of giving mise en scène to memory, for Resnais evacuating that space from its inhabitants and studying it barefaced is the first step in recalling memories and rearranging them like an ingenious décorateur.
Ten examples you will see from the long out-of-print Repérages are some of the most enigmatic, haunting images ever created by Resnais in any format.