{"id":7750,"date":"2014-01-06T12:48:00","date_gmt":"2014-01-06T12:48:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=7750"},"modified":"2022-12-17T12:57:06","modified_gmt":"2022-12-17T12:57:06","slug":"absent-pleasure-taryn-simon","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/absent-pleasure-taryn-simon\/","title":{"rendered":"Absent Pleasure: Taryn Simon"},"content":{"rendered":"\n

Taryn Simon<\/strong>: A Living Man Declared Dead and Other Chapters: I-XVIII<\/a><\/strong><\/p>\n\n\n\n

UCCA<\/strong><\/a> <\/strong>(798 Art District, No. 4 Jiuxianqiao Lu, Chaoyang District, Beijing, China 100015) Oct 15, 2013\u2013Jan 5, 2014<\/strong><\/p>\n\n\n\n

Peter Schjeldahl once delivered a lecture asking \u201cCan we speak sensibly about what we like about art?\u201d (1) Taryn Simon\u2019s work to date has attracted international acclaim, high-profile exhibitions (including at the Guggenheim, Tate Modern, MoCA LA, MoMA New York and Neue Nationalgalerie in Berlin) and related texts by the likes of Salman Rushdie, Homi Bhaba and Hans Ulrich Obrist. As her project \u201cA Living Man Declared Dead and Other Chapters\u201d arrives in Beijing, one wonders: can one talk sensibly about what people like about Simon\u2019s work?<\/p>\n\n\n\n

Simon herself doubts that she has ever enjoyed making <\/em>it; for her, it is a labor. The first impression on encountering \u201cA Living Man Declared Dead\u201d is of a systematic method and unwavering effort. The project took four years of globetrotting work\u2014a great depth of research and hard-won access which is distilled into a final cut on the gallery walls, and offered in its entirety in a huge book edition. In the exhibition are groups of panels or \u201cchapters\u201d in slim black frames of equal height but widths to accommodate their content. Each chapter, from left to right, first contains small, uniformly sized photographs of people through generations of the same bloodline\u2014usually the relations of a \u201cpoint\u201d subject selected for their particular story. The titular man declared dead is Shivdutt Yadav in Northern India, whose relations bribed officials to register him as dead in order to assume inheritance of his Father\u2019s land. If someone is unavailable to be photographed or declines participation, they are nonetheless given a blank space in the grid, becoming conspicuous by their absence; sets of clothes or bodily artifacts also serve to represent some names. The central panel is given over to a column of text relating the details of each case (due to particular conditions in Beijing, it is not, of which more later). The last offers fragments of visual context or evidence arranged in a less formal way\u2014letters, old polaroids, images of unrecovered paintings.<\/p>\n\n\n\n

\"\"<\/a>
Exhibition view
\u5c55\u89c8\u73b0\u573a<\/figcaption><\/figure>\n\n\n\n

The first appeal of this project could then be the visual satisfaction of its acutely designed and ordered presentation, and the approach which generates it. Simon\u2019s endeavor can be loosely connected with the so-called \u201carchival turn\u201d of the end of the 20th<\/sup> century, wherein the archive broke free from closed historical record to touch the desires and attention of society at large. (2) Later, in 1929, August Sander (whom Simon cites as an inspiration) produced his \u201cFace of Our Time.\u201d This backdrop lends Simon\u2019s project an air of authenticity and longevity. The field of negative space around the photographs is important\u2014to order, augment, aestheticize, isolate or perhaps even to doubt them. Its off-white or yellowed tone also evokes the passage of time. But more than this, her project is inspired by and inspires in its turn that same sort of curiosity about the people who share \u201cour time.\u201d Here is a kind of constellation which helps to affirm the diversity and depth of human experience, marking an urge to document it. This documentation is presented with obsessive precision, and one is grateful for its level of quality.<\/p>\n\n\n\n

Simon\u2019s subject-matter, which is both international in scope and particular in character and detail, conjures a collective portrait. Each chapter here is a concentration of disparate knowledge. Chapter 1, for example, incorporates the names of ascendants and decedents, a letter to the judicial magistrate of Azamgarh (in Uttar Pradesh), the socio-economic threat to income from land in the area and the cultural practice of cremating the dead and throwing them into in the Ganges. The aggregate of chapters amounts to something like a humanist panorama\u2014a form of perspective which in itself has a certain primal appeal. In order to grasp this import, \u201cA Living Man Declared Dead\u201d seems to ask of its audience only eyesight, and literacy. Refreshingly in our age of chatter, no artist\u2019s statement is required to elucidate this work because everything\u2014down to a description of the system for ordering the photographs\u2014is self-contained in the exhibition. This is a project and presentation that needn\u2019t rest on art history for effect, even as it finds support there.<\/p>\n\n\n\n

Close to the core of this project must be a certain kind of fascination. \u201cA Living Man\u2026\u201d is not unlike a picture book of hard tales and their protagonists\u2014in chapter order: the living dead, Kenyan spirit doctors, body doubles, abductees, lab rabbits, massacre, hijacking, Nazism, reincarnation, propaganda, murdered albinos, orphans and homosexual repression. It\u2019s a grisly catalogue which, even accepting Simon\u2019s penchant for the hidden and untold, is startling in its exposition of human brutality. The artist\u2019s compulsion and commitment sanctifies our own compulsion to look, consuming faces and narratives. There is humor, too\u2014albeit black. In the reincarnation chapter (XIV) a young Lebanese man, Ribal Btaddini, is apparently his grandfather reborn. Ribal is therefore both father and son to his own father; his portrait recurs again and again, its deadpan expression and the resultant confusion of the line growing more comical with every repetition.<\/p>\n\n\n\n

\"\"<\/a>
Taryn Simon, \u201cExcerpt from Chapter XVI, A Living Man Declared Dead and Other Chapters I\u2013XVIII\u201d
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There are also fugitive paradoxes around this project which are seductive. Photography is a mortal and immortal medium in that it both preserves and robs the presence of its subjects. The images of these persons will circulate now, and beyond their deaths (3), witnessing and ignoring their lives. The apparent stability of Simon\u2019s purpose\u2014rendered almost forensically and with the multiple facets of portrait, text and image in objective grids\u2014is in friction with this wavering relationship. Photographs also reflect a desire to fight the vanishing of memory. (4) Yet these stories never entered the memories of their audience at first hand\u2014only though these images which, along with their texts, request one\u2019s belief. The work therefore becomes a site in itself; it is the only location of encounter with these spectral records. But as such, it is really a form of non-place\u2014itinerant and unclaimed by any of its \u201coccupants.\u201d The emotional neutrality with which the project seems to have been undertaken only contributes to this ambiance. These are all ghost stories: the living declared dead, and, as the project continues into the future, the dead will be delivered in these photographs as if they are still alive. This conflation of testimony and commemoration makes the show both a live transmission, and a monument. And before these effects even emerge, one has these strong photographic portraits\u2014hundreds of them.<\/p>\n\n\n\n

Schjeldahl in his lecture remarked \u201cA test of success in a work, in the mind of the artist who has created it, is that it feels strange.\u201d (5) Under conditions of censorship in China, this well-voyaged exhibition was unexpectedly affected. The central text panels in each chapter were not submitted to the censors in order to shield the photographs for exhibition (Phil Tinari, the director of UCCA, was concerned that the texts would provide a \u201creading\u201d of the photographs, and therefore make them more liable to be barred). Instead, the text panels appear in full alongside their flanking images in a specially produced, bilingual catalogue with every exhibition ticket. Photographs that were censored are there too\u2014including, ironically, some from the chapter (XV) on a Chinese family selected by the State Department as a suitable subject for Simon, and the entire chapter about a South Korean abduction. All of these missing panels are represented in the exhibition, however, as black silhouettes on the wall where they should be\u2014literally like the marks of the censor\u2019s block. This interrupted version of the show carries it into a contemporary context that would seek to restrict it. In a manner that aptly mimics the approach intrinsic to the work of still including absent or uncooperative persons with an allocated slot, so the walls of the space here have blank slots that enact what is missing. In this sense, the work makes unexpected progress of its own; it is able to evolve in contact with new conditions. For Simon, this strange experience and the changes that result from in in the format of presentation mean that the work\u2014which she had deemed finished, \u201cstill feels very alive.\u201d (6)<\/p>\n\n\n\n

\"\"<\/a>
Taryn Simon, \u201cExcerpt from Chapter XVI, A Living Man Declared Dead and Other Chapters I\u2013XVIII\u201d
\u6cf0\u4f26\u2022\u897f\u8499,\u300a\u4e00\u4e2a\u88ab\u5ba3\u544a\u6b7b\u4ea1\u7684\u6d3b\u4eba\u53ca\u5176\u4ed6\u7ae0\u8282\u4e00\u81f3\u5341\u516b\u300b<\/figcaption><\/figure>\n\n\n\n

But beyond the aspects highlighted here\u2014among them its aesthetic quality, archival bent, panoramic reach, guilty fascination, knowledge, stories, humor, paradoxes, photography and successful evolution in the Chinese context\u2014\u201cA Living Man Declared Dead\u201d is finally more than the sum of its parts. This is a project replete with thought and engagement at more than the level of art. The exhibition is a slow one in terms of its preparation and digestion, so that time and absorption do justice to it. Hours could be spent trying to puzzle out the relationships between the people photographed and feeding on the social, political, historical and personal threads gathered in these twelve Chapters.<\/p>\n\n\n\n

Ultimately, however, this project is not about what is made visible here. Withholding all personal emotion, Taryn Simon has erected a highly elaborate stage. The irony of this acute, deeply researched and detailed site, in which even missing things are included, is that it defines negative space. In this un-delineated space, imagination, empathy, curiosity, suspicion, relief, horror, awe\u2014indeed all potential reactions\u2014play out. Like a perfectly prepared surface, the exhibition awaits the human contact that can transcend its form and ignite its content. The transition from system to imagination is seamless and shuttling, and from a point of minimum expression, arbitrary and unexpected effects are made possible. The artist says that her interest for this project is in Fate. \u201cA Living Man Declared Dead\u201d is finally about the space around and in between life, present in absence and left unrecorded\u2014unthreatened by fact.<\/p>\n\n\n\n

Endnotes:<\/strong><\/p>\n\n\n\n

(1) Peter Schjeldahl, \u201cCan we speak sensibly about what we like about art?\u201d (lecture, School of Visual Arts, New York, NY, November 18, 2010<\/em>).<\/p>\n\n\n\n

(2) Adina Arvatu, \u201cSpectres of Freud: The Figure of the Archive in Derrida and Foucault,\u201d Mosaic (Winnipeg)<\/em> 44, no. 4 (2011): 141.<\/p>\n\n\n\n

(3) Gerhard Richter, \u201cBetween Translation and Invention: The Photograph in Deconstruction,\u201d in Copy, Archive, Signature: A Conversation on Photography<\/em>, by Jacques Derrida, ed. Gerhard Richter, trans. Jeff Fort (Stanford, CA: Stanford University Press, 2010), xxxiii.<\/p>\n\n\n\n

(4) Ibid., xxviii.<\/p>\n\n\n\n

(5) Schjeldahl, \u201cCan we speak sensibly about what we like about art?\u201d<\/p>\n\n\n\n

(6) Julius Purcell, \u201cHow artist Taryn Simon and curator Philip Tinari are tackling censorship in China\u201d, Financial Times, November 15, 2013, accessed December 5, 2013, http:\/\/www.ft.com\/cms\/s\/2\/1066e5ea-4c6e-11e3-923d-00144feabdc0.html#axzz2nzs5MKZm<\/p>\n\n\n\n

\"\"<\/a>
Exhibition view
\u5c55\u89c8\u73b0\u573a<\/figcaption><\/figure>\n\n\n\n
\"\"
Taryn Simon, \u201cExcerpt from Chapter XVI, A Living Man Declared Dead and Other Chapters I\u2013XVIII\u201d
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\"\"
Taryn Simon, \u201cExcerpt from Chapter XVI, A Living Man Declared Dead and Other Chapters I\u2013XVIII\u201d
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