DICKERING Talia Chetrit Hannah Hoffman Gallery June 19 – Aug 14
Talia Chetrit: Pearls and Baby from DICKERING at Hannah Hoffman Gallery 41″ x 27″ archival pigment print
From the Hannah Hoffman press release:
Talia Chetrit’s latest images bring the camera home. Created over the last two years, the works in DICKERING unfold in the spaces where we loosen up and allow the coherent personas we craft for the outside world to melt away. Chetrit trains our attention on the intimate sites where personal boundaries dissolve, roles are negotiated, and power fluctuates moment-to-moment.
In Chetrit’s portraits of domestic life the cast of characters includes herself, her boyfriend, their child, cat, and a selection of props that intermingle with the quotidian routines of child rearing and the home. In Untitled, (Family #1), 2021, her boyfriend, dressed in women’s designer clothes, feeds their child without breaking his piercing gaze. And in Untitled (Family #2), 2021, wearing nothing but a blousy vest, he smiles cheerily at the camera while their child pokes at an uncovered electrical outlet. Despite the pretense of self-exposure in these and so many of Chetrit’s images, few of her works disclose much about the actual structure of her life, the nature of her habits, or her internal sense of self. Even in her self-portrait, in which Chetrit poses pregnant and draped only in a white button down shirt, the vulnerability of the image is undermined and refracted by her distorted face, covered with smeared makeup and a nylon stocking.
The power of Chetrit’s latest images hinges on an odd ambivalence between their banal settings and the presentations adopted by the adults within them. The characters’ gender contrivances and charms shift circumstance to circumstance and image to image, adding intrigue to the trappings of a middle-class life that serve as background. The posed postures and direct stares assumed by Chetrit and her boyfriend are less clues to their inner natures and more regular reminders of the camera’s presence, as well as the person behind it. These images revel in the fact that they are constructions, and as such they beg the question: who’s calling the shots in this drama? We imagine conversations about clothing, props, choreography, lighting, and setting, and the dialogue about what is presentable when first looking at the film. These works present a new set of negotiations between photographer, camera, and subject.
Talia Chetrit:Pregnant (Corey Tippin Make-up #1) from DICKERING at Hannah Hoffman Gallery. 40″ x 60″ archival pigment print
Talia ChetritUntitled (Family #2) from DICKERING at Hannah Hoffman Gallery. 40″ x 60″ archival pigment print
Talia Chetrit:DICKERING at Hannah Hoffman Gallery. June 19 – Aug 14
This is the first exhibition of Chetrit’s work we’ve helped produce for the Hannah Hoffman Gallery. We’ve been working with Talia since 2009.
Joke Talia Chetrit Kaufman Repetto Oct 16 – Nov 25
From the Kaufman Repetto press release:
kaufmann repetto New York is pleased to present JOKE, a solo exhibition by Talia Chetrit.In the year AD 79, Mount Vesuvius erupted, ending all life in the surrounding area nearly instantly. Notably frozen in the moment of death and destruction is the city of Pompeii, with seemingly all signs of life preserved under ash. What remains offers a glimpse of Roman life at the time. This extraordinary example of destruction—and the modern archaeologies that allowed future generations to uncover its past— brings the inevitable reminder that all life rises from dust and will return. Mortality is precisely the leitmotif present in Talia Chetrit’s latest exhibition of photographs, perhaps most clearly illustrated in the work Anonynmous Guys, which depicts the mummified figures of an adult and child lay ingside by side in Pompeii. This photograph is contextualized within other works:moments of the artist’s life and surroundings which date as far back as 1995 (when Chetrit was only thirteen years old), through to this year, which witnesses her pregnancy and first year of motherhood.
Over the past decade, Chetrit has gained a reputation as a rigorously conceptual,feminist photographer, with a radically autobiographical approach. From her position behind the lens, Chetrit has brought us deep into her intimate life by expanding self-portraiture beyond her own body, involving family members in both cooperative and invasive scenarios. At times her subjects are willing participants, fully agent in their poses; at other times, they are unknowing.This selection of photographs includes many modes of taking pictures: city pictures, travel photography, studio portraits, and quotidian family snapshots. Despite the atemporality of the work presented in JOKE, which disorients any sense of chronological narrative, the installation enacts the most human story of all: that of the cycle of life and death. While the birth of a child is of course new life, it is also the excavation and disruption of the female body, and motherhood symbolizes the ultimate transformation. In this new role as a parent,some photographs in this series depict herself and her child’s father with a healthy dose of humility and the absurd. While high humor and high seriousness are close cousins throughout the exhibition, with parenthood comes the constant reminder that one day we will all perish. Echoing this sentiment, the exhibition depicts memento moris seen in the image of the birthday of Chetrit’s elderly grandfather, and images of the two towers of the World Trade Center before they fell, and back again to Pompeii.
‘ Other images in the series toe the hard to define line between farce and fear, such as the shoot-from-the-hip documentation of the Carnival festival in Cologne. The annual festival known as “the crazy days” encourages outrageous masquerades, excessive consumption, and ceremonious uproar (perhaps harking back to pagan holidays of Roman times). This highlights other themes of disguise, masking, role-playing, and costume that recur throughout the exhibition. In this particular contemporary version of the festival, small effigies are thrown into a large bonfire as a supposed sacrifice. While the ceremony itself may intend merriment, Chetrit’s record of this moment depicts a more complicated undertone.’
From an anthropological point of view, the Carnival festival is a ritual where social roles are reversed and norms are suspended. What was once bad is now good. What was once dead is now alive. Everything is a joke.
Corey, Donna, Jane, Daphne, Giuliana, Ever, Jochem, Eric, Chris, unknown, and myself is an exhibition of portraits taken from 1995-2019 by Talia Chetrit. Spanning several decades these eight photographs move us across an uncanny breadth of staged and unstaged portraits— a test photo from a fashion shoot, a portrait of a body-cast from an ancient archeological site dated 79AD, self-portraits in the artist’s home, legendary muses backstage. The edit of these photos for the participatory space of the gallery functions as an analog to the contemporary conditions of image-making and image-viewing, a grouping for which a single time-stamp can open our curiosity, and also lay flat against a network of unrelated meanings, both within the exhibition itself and within photography itself.
Talia Chetrit: from Corey, Donna, Jane, Daphne, Giuliana, Ever, Jochem, Eric, Chris, unknown, and myself, Sies + Höke, 2019/2010 L: Self Portrait (Mesh Layer) 2019: 32 x 48 archival pigment print / dibond mounting R: Ever, Cory Tippin Make Up, 2018: 10 x 14 archival pigment print / dibond mounting
This is the forth exhibition of Chetrit’s work we’ve helped produce for Sies + Höke. We’ve been working with Talia since 2009.
For more on our projects with Talia click here For more on Talia with Sies + Höke click here
MAXXI BVLGARI Prize Talia Chetri MAXXI – Museo delle Arti del XXI secolo Rome May 30th—Oct 28th, 2018
MAXXI – Museo delle Arti del XXI secolo Rome
Talia Chetrit was chosen as a finalist in the MAXXI BVLGARI Prize, the museum’s project supporting and promoting young artists in partnership with the iconic Italian luxury brand, Bulgari. In October 2018, the jury will select the winner, whose work will be acquired by the museum.
Talia Chetrit: MAXXI BVLGARI Prize, installation views MAXXI – Museo delle Arti del XXI secolo Rome, 2018