Picture Post #78 Human Loss

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be

neither will they become what they might appear to become.'

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Posted by Jeremy Dyer *

Prague, Czech Republic. Monument to the Victims of Communism

I have viewed this powerful, symbolic artwork in Prague, which also makes an arresting image. If asked to interpret the artwork, we might imagine it is depicting the misery of loss in some form—perhaps Alzheimers, loss of identity, or personal catastrophe.

Today it might represent alienation from society, as aspects of our literal and ideological worlds are constantly being buffeted around us. What are you busy losing? What parts of you have faded away, and how do you grieve for that? What things are gone forever and what might still be resurrected in your life? How do you mourn that which has been forgotten by you? Does it speak to your life? 

Officially, though, the installation represents the personal human cost brought about by the historical evil of Communism. And today, passers-by ignore it as they go about their daily business, even as a steady trickle of tourists take selfies there.

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* Jeremy Dyer is a psychologist and artist.

Picture Post #77: The Picnic

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be

neither will they become what they might appear to become.'

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Posted by Martin Cohen

 

Another image from another war. The 1999–2000 battle of Grozny saw the siege and assault of the Chechen capital by Russian forces, and left the city devastated. In 2003, the United Nations called Grozny the most destroyed city on Earth.

But pause to look at this image. There’s a bizarre juxtaposition of suburban normalcy and wartime horror here. For a start, the table set with four chairs. Who else will be coming to dinner? Notice at the moment the two soldiers are a man and a woman, again echoing many a more homely, family scene.

Of course, as with most picnics, it is the setting that makes the moment, but here it is a nightmare scene of blasted apartment blocks and grey, smoking ruins. Not the family car, but the “family tank” is parked nearby.

On the table, the actual food is rather meagre.which may explain why both figures at the table look, frankly, rather miserable.

Picture Post #76 Ancient Salt Marshes

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be

neither will they become what they might appear to become.'

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Posted by Thomas Scarborough

Remains of Cape Town's Salt Marshes (Thomas Scarborough, 2022)

In Cape Town, there are everywhere reminders of the Holocene ‘transgression’ which peaked around 3400 BC. At that time, most of the area on which the city now stands was invaded by sea and salt marshes. Then the sea retreated once more.

 

However, in this picture, railway lines, separating Cape Town’s suburbs of Milnerton and Rugby, reveal the remains of ancient marshes on either side of the tracks. One finds patches of these marshes all over: along freeways, on undeveloped properties, and surrounding remaining wetlands, in particular. Once one is aware of them, they seem to be everywhere. They are older than history, so often undervalued, and yet they are still among us.

The image reminds us us that another kind of history surrounds us everywhere. This is cultural history. I think in particular of the culture of thought. Richard Feynman once said, ‘History is fundamentally irrelevant.’ But is it? Where did today’s thoughts come from? Why? How much more would we better understand, if we were aware of the ancient remains among us?

Picture Post #75 The Calm of the Library

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be

neither will they become what they might appear to become.'

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Posted by Martin Cohen

What makes this image particularly striking to me, is the quiet and earnest way the figures regard the books even as they stand amidst a scene of utter devastation. The man on the right nonchalant, hands-in-pockets browses the shelves seemingly oblivious to the collapsed roof just behind him; while another visitor to the library (in the left background) is clearly lost in the pages of one of his finds…

So, what‘s the back story? And this is that on the evening of 27 September, 1940, the Luftwaffe dropped 22 incendiary bombs on London's Holland House - a rambling, Jacobean country house, dating back to 1605, destroying all of it with the exception of the east wing, and, incredibly, almost all of the library.

The picture was originally used to make a propaganda point about the British shrugging off the Blitz, and that’s fine too, but today, stripped of its wartime context, I think it contains a more appealing message about how books and ideas can take us into a different world.

Picture Post #74 The Swimmers

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be

neither will they become what they might appear to become.'

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Posted by Martin Cohen

La Grotte des Nageurs

OK this is not exactly about the image, as much as the context. But then, that’s often what we end up talking most about here at Pi with our Picture Post series. ‘La Grotte des Nageurs’, or ancient cave of the swimmers, contains these unmistakable image of people swimming.  It was discovered in Egypt, near the border with Libya,  in 1933 and immediately caused much bafflement as it was located in one of the world’s least swimmable areas. Could it be that, say ten thousand years earlier, the Sahara had been a bit more like the seaside?

Seriously, it is thought that at this time, the area was indeed very different, a humid savanna replete with all sorts of wild animals, including gazelles, lions, gireaffes and elephants!

But back to the humans, and what I like about this picture is the way it conveys that curious lightness of being that can only be obtained by plunging into water while maybe holding something like a float, or catching a current. It’s a simple painting, by any standard, yet a curiously precise and delicate one.

The Grotte was portrayed in the novel The English Patient by Michael Ondaatje, and in a film adaptation starring Ralph Fiennes and Kristin Scott Thomas – and the two diminuitive swimming figures.

Picture Post #73 The Children's Hospital in Ukraine

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be

neither will they become what they might appear to become.'

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Posted by Martin Cohen

This is actually a still from a video, which is partly a matter of practicality – I was looking for a particular image to sum up the futility and horror of the Russian ‘Special Operation’ in Ukraine – but also a small aesthetic statement too. For today war-reporting, and news is seen more through moving images than still ones.

The trouble with that is that our attention is constantly distracted. We see terrible scenes but barely absorb them before (perhaps mercifully) the camera has moved on.

Anyway, this scene that creates this still image, is rather hidden in the video, which generally pans around the courtyard of the Maternity and Children’s Hospital in Mariupol, Ukraine. Indeed, most of the photographer’s attention is on several burning wrecks of cars and this sad figure just appears to the side, walking slowly with a body in wheelbarrow. I don’t know if the body is alive or dead – I assume the former from the care being taken with the sheets, but within such a tragic scene it hardly seems to matter.

Picture Post #72 Steerage

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be

neither will they become what they might appear to become.'

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Posted by Martin Cohen

The Steerage | Photogravure 1907

‘I stood spellbound for a while. I saw shapes related to one another—a picture of shapes, and underlying it, a new vision that held me’.

So wrote Alfred Stieglitz, 24 years after he had taken the photograph – counted as one of the conic moments in both photography and the 20th century. He was not a neutral observer, he was also part of the scene, as he had wandered down from the first-class deck to ‘survey the jumbled scene’ of passengers in the steerage, or economy class, section, which contrasted sharply with ‘the mob called the rich’ that he had left behind. 

He also described what appealed to him aesthetically in the scene:

‘The scene fascinated me: A round straw hat; the funnel leaning left, the stairway leaning right; the white drawbridge, its railings made of chain; white suspenders crossed on the back of a man below; circular iron machinery; a mast that cut into the sky, completing a triangle. I stood spellbound for a while. I saw shapes related to one another -- a picture of shapes, and underlying it, a new vision that held me...’

One of the most influential photographers of the 20th Century, Stieglitz argued that photography should be taken as seriously as an art form. His work helped to change the way many viewed photography while his galleries in New York featured many of the best photographers of the day.

This image, simply called ‘The Steerage’, not only encapsulates what he called ‘straight’ photography – offering a truthful take on the world – but also tries to give us a more complex understanding by conveying abstraction through shapes and their relationships to one another.

Picture Post #71 Melting Away

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be

neither will they become what they might appear to become.'

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Posted by Martin Cohen

Photo by Luca Bravo, via Unsplash  

Luca Bravo, this month's photographer, is an Italian web developer whose portfolio of photographs is, he says, inspired by ‘silent hills, foggy mounts and cold lakes’. However, most of his photographs are of cityscapes because he is also interested in what he describes as ‘the complex simplicity of patterns and urban architecture’. Many of these images are of modern buildings, and many are striking – visually impressive. They use a limited palette of colours and feature geometrical extravagances created in steel and concrete. 

But I liked this photograph best. It is of a rather modest building - only captured in a clever way. As our rubric for Picture Posts has it: here is something that isn't quite what it seems to be… 

Picture Post #70: Civilisation!

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be

neither will they become what they might appear to become.'

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Posted by Tessa den Uyl

Rooftop Madrid. 2021. 

The last two picture posts did regard a certain idea of decay, and as a threesome, this picture might enhance that subtle fascination that surrounds those layered surfaces.

The abstract has often been criticized as either easy art or difficult thinking. Even when we became used to abstract ideas and turned them into what is called: rational thinking. Do we not mostly accept what is convenient in some way or other, no matter how illusory things are, and all the rest we prefer to discard? 

We overlap thoughts with actions and emotions; overlapping is our strength and our misery. Continuous overlapping sketches the picture we live in, and so, rather unawares, we shake a cocktail that we define as ‘our life’. 

What we can apprehend simply by viewing even trash, so complicated by its nature for refuse(d), and often wished unseen, is that everything traces into something else, and transforms. 

Symbolically, when we look at ourselves, we might find a trashy landscape far worse than this rooftop. Although the terror of seeing the veritable junkyard from within also shows the many forgotten things that we touched and related to during our life. And we’re all that, not just a part. 

The picture we prefer to see cannot match the reality we imagine. How real can we truly be?

Picture Post #69: The Wallpaper

by Martin Cohen

Robert Polidori, Hotel Petra, Beirut, Lebanon, 2010

If there was something ‘a little spooky’ about last month’s Picture Post, on the face of it there should be too with this abandoned hotel room in a, to some extent, abandoned city, Beirut. 

And yet, that’s not my own reaction to it. On the contrary, the emptiness of the room creates the palette, and the symmetry of the disappearing doorways provides all the action the scene needs.

The colours too, seem to have been chosen by a master artist, as well, in this case they evidently were by the photographer, Robert Polidori. Unlike many of our other photographers, Polidori is well-known for his images of urban environments and interiors with his work exhibited at the Metropolitan Museum of Art (New York), Musée d'art contemporain de Montréal, Martin-Gropius-Bau museum (Berlin), and Instituto Moreira Salles (São Paulo and Rio de Janeiro) to mention just a few. 

Polidori has photographed the restoration of the Château de Versailles since the early 1980s and recorded the architecture and interiors of Havana, and this portrait of the Hotel Petra, once one of the most popular hotels in Beirut,  located in the city centre adjacent to the Grand Theatre seems to me to show that, for an artist, all buildings are equally valid as canvases.

Picture Post #68 The Sitting Room

by Martin Cohen

Photo credit: Micelo

There's something a little spooky about this picture, emphasised by the face in the mirror above the fireplace – but there too in the ‘empty chairs’. Where are their proud occupants? What did they talk about or do those long evenings in their high-ceilinged castle? For this is a room carefully restored (if not quite brought back to life) by some French enterprise or other.

Indeed the French – and English too – do seem to live in an imaginary past, of posh families in big chateaux / country houses with not much to do except count their silver cutlery. I think it's rather a sad way to live, and so perhaps it is appropriate that this picture seems to me to speak only of a rather forlorn and empty existence.

Picture Post #66 What a Can Can Do

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be

neither will they become what they might appear to become.'

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Posted by Tessa den Uyl

Malaga, Spain  2021

Unlike randomly dropped trash, this Coca Cola can seems to have been placed in cardinal Ángel Herrera Oria's hand very carefully. Tiny gestures, what thoughts do they provoke? The photo seems to conjure up three phases in time:

• Materially, the alloy metal of the bronze statue and the aluminium can link together. The originally clay molded figure reveals striped structures on the cloak of the statue—and somehow striped movements are very human gestures indeed. These connect to the stripes of the bar code on the industrial can.  

• The deformed horizontally placed can offers more dynamism to the inclined direction of the Cardinal’s hand. The sky, a stone church in the background, the bronze statue, the can and the bar code together offer a kind of idea about a tangible timeline. So far, we can follow it.

• But lately, when thinking of algorithms, or something like crypto currencies, digital data creates ‘new images’ which are mostly only comprehensible to programmers, and for a vast majority of people remain invisible. No tiny tangible innocent gestures can interfere there, and perhaps we’ve come to the time in which: what a can, cannot do…

Picture Post #65 The Cell

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be

neither will they become what they might appear to become.'

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Posted by Martin Cohen

‘Cellular landscape cross-section through a eukaryotic cell’
by Evan Ingersoll and Gael McGill. 

I was struck by the artificial, even ‘mathematical’ nature of this image, which is, on the contrary, a glimpse into something entirely natural and, if it is mathematical, it is a very strange kind of mathematics. It is in fact, a human cell at some fabulous magnification (maybe the colours have been added). It is, in other words, something both quite natural and yet completely unnatural – for human beings were never supposed to see such details. Or were we? There the philosophers might wrangle…

For what it's worth, the creators of the image used “X-ray, nuclear magnetic resonance, and cryo-electron microscopy datasets” for all of its “molecular actors”. And it is apparently less complex than a real cell. And one other detail is interesting about the image: it was inspired by the stunning art of David Goodsell, an Associate Professor in the Department of Integrative Structural and Computational Biology, where he says that he currently divides his time between research and science outreach… the outreach centred on the power of these other-worldly images.

Picture Post #63: The Audience

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be 

neither will they become what they might appear to become.'

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Posted by Martin Cohen

Girl Dancing In Front Of Her Teddy Bear. Paris, 1961

I like this image. Obviously, it's gentle, charming, and fun too. But beyond that, there is a touch of magic, in that the little girl is dancing, yes, but the bear is watching and waving. The bear becomes the active element in the composition, the girl a mere puppet, seemingly held up by invisible strings.

Not that it matters, I think it is a still from the film Gigot, that was set in Paris, so that's where this dance takes place and it was directed by Gene Kelly. However, the little girl – Nicole, in the film – is played by Diane Gardner. I believe this was her starring role!

Picture Post #63: Paradise Lost

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be 

neither will they become what they might appear to become.'

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Posted by Tessa den Uyl

Italy 1960's .  Picture credit: Antonio Borrani

A nude man seems to sprout out of the earth, just like the vegetation. And in a way there is not much to say, except that most often people focus on people, and more so when these people are naked. 

The spectator’s interpretation depends on how they consider the naked body. Even when the nude figure has inspired general acceptance in the Western world, especially in forms of art, we might think it a bit strange if we would see an undressed person walking on the street. The quintessence of humankind certainly is undressed, although we are used to seeing the body covered up. 

Turning to the decade of the sixties when some of the younger generation longed for freedom from the conservatism at that time, the exaltation of the uncovered body symbolised that quest for freedom. No wonder the pureness of nudity is similar to taking off a mask. To live without pretence is nevertheless not an easy goal to set. 

Indeed, almost sixty years ahead, particularly at the beach and also on the streets, bodies are surely covered up less than they were. Although that progress of freedom seems to have translated itself rather into an imposed fashion these days, than the acquisition of a free spirit, as some were looking for when this picture was taken. 

In the West, nudity belongs to private atmospheres to this day, and the naked body, most often, is conflated with sexuality. To exploit nakedness is an optional which does not withstand the fact that we are all born naked. Yet somehow we seem to have trouble owning that nakedness, in which we become unspoiled by structures, and can accept ourselves not as objects or art-forms, but simply for what we are. To put it a bit crudely: for one of those standing upright animals. 

Picture Post #61: Outside the Image

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

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Posted by Tessa den Uyl

Picture credit: Robert Saltzman ‘La Fe’, 2017.

It might take a while to see that the creative feeling in this picture moves beyond the representation of a worshiper who touches the depiction of a Maria. The movement within the sobriety of this picture is of such subtlety that it exposes itself as a feeling rather than a seeing.

The eye immediately selects the strong vertical upward movement of the man with his arm against the painting, accentuated by the stick that the worshiper keeps in his right hand. Instead, the upper left of the frame of the painting, to the lowest forms one diagonal. Repetitive diagonals in opposed direction are drawn by the lower point of the angles of the pews' end-panels to the highest, with the upper right angle of the painting in its midst. In the picture, the vanishing point is to the left (imagine the benches as the floor), which brings us outside of the picture.

Within this classical framework of more- and less-visible lines, exalts the shadow of the man that is cast directly below the Maria. It is this shadow which accentuates the ascendance of the depicted Maria, visually and symbolically.

When one imagines this picture just with the man and the painting, without the shadow, and not in this room, the ‘inexplicable’, the ‘something more’ to life does not show. The eye focuses on a specific form, which the mind elaborates, and hands existence to the selected subject. Though it is not in the main subject but in the space, through the tension and the affinities between things of the surroundings, a subject receives empathy.

The unnoticed is deeply rooted in human being. The synthesis of every creative process is to verify this transpersonal union with the personal, within the contingent, transitory reality in which everything would become insignificant, remaining only personal or only eternal.

If in this picture we would see solely a religious man in a church, we would harm ourselves. Being moved is through the transformation of what we see and feel, and depends on an intrinsic secret of invisible images.

Picture Post #60 The Teapot

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

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Posted by Martin Cohen

    

The magic teapot… Or is it an Aladdin’s lamp? 

The shape so familiar, but here given a different quality… 

The photographer is Jindřich Brok, a Czech photographer born 20 January 1912 and who died in 1995. He’s not very well-known, or indeed successful. So for more than that, you have to go to the Czech Republic itself where one website confirms he was the son of salesman in Kutná Hora, where he began photographing in 1929. After the death of his father, he took over the business, which he expanded to include a photo department and studied a particular kind of photography - the photography of glass. And then came the Nazi occupation, during which time he was interned in the Terezín concentration camp. 

Perhaps that is why there is a bleak aspect to these images, almost spectral, or ghostly?

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Picture Post #59 Proscenium

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

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Posted by Martin Cohen

      

To me, this image has a theatrical quality, almost a grotesque aspect. Look at the man's hand, on his leg, like a dead thing… the awkward tilt of his head. And how thin and sickly the whole body, in this seedy room with the dirty backdrop. 

Yet, at the time, this was modernity, and sophistication. This image represented new technology: think 'Steve Jobs' and iPhones.

The photo was taken exactly 127 years ago, that man could be my great great grandfather, which is to say not so incredibly a remote relation. Yet something has changed, and a certain innocence has been lost even in our celebration of sophistication.

Oh, and why did I call this post ‘Proscenium’? I came across the term reading about the new, trendy visual presentations. It's a term describing the part of a theatre stage in front of the curtain.  The two figures are thus playing out a very ancient routine - that also points to a very different future.

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Picture Post 55: Making Assumptions

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Martin Cohen

A Twitter friend of mine posted this image with the comment: “Believe in your limitations”.

I wasn’t sure what to make of that, but he explained that he was being “quietly subversive” which I took to meaning gently mocking religious iconography. That aside, though, I think the image does illustrate something important about the way our minds process images. The traffic lights are not, in fact, the Buddha's eyes, yet the impression that they might be is so compelling that it makes us re-evaluate the Buddha himself.

I say ‘himself’, as Buddhas are traditionally male, indeed in some cultures being female is formally an inferior state and an obstacle to following the Buddhist philosophy. Of course, being male or female might not actually have any implications for the ability to transcend this world and reach ‘nirvana’ – yet for centuries such quick assumptions have prevailed.

Which brings me back to this image, because it illustrates nicely the way that we link things that in reality are completely unconnected, due to them fitting a strongly preconceived ‘pattern’. Such assumptions are not necessarily good or bad. But perhaps we should be on guard against them. Which maybe fits with my friend‘s cryptic comment after all.

Picture Post #53 The Courage to Stand Alone

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl

Florence Airport, January 2020

How we perceive images depends on how much we ‘cut out’ of them, or ‘cut in’ to them. When things get isolated in an image, the reading we attribute to it, changes. Still, we may want to make a distinction between an image that has a so-called ‘life of its own’ and images that purely illustrate. What is the difference?

In these current weeks, in regard to the quarantine of the COVID-19 virus, we can clearly see that the interpretation of images depends on what our mind perpetuates. We read images in regard to a situation and laugh, cry, or skip intrepidly to the next one. They serve as a momentum to a specific state of mind.

The above image of the lonely girl with a suitcase at a big airport might illustrate many situations. If we would write COVID-19 below the photo, we would grasp it. Alike the slogan: stop child-abuse, or ‘we do not leave anyone behind’, serving as a slogan for an air company. The picture of the little girl is therefore adapting to our purposes.

If we see and understand solely what we want to see, do we mostly fail to see, or understand? Maybe, for pictures and videos whose purposes cannot be exchanged, are rare. With a vast cybernetic landscape to attain to, how come the illustrative production is so high, while images that take a life of their own seem to lack?

Then are we ourselves merely illustrative, rather than unique to situations?