Aperture - May 2022

154 Pages·2022·104.8 MB·English

Guest edited by Alec Soth
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Summer 2022 Words & Pictures 74 Things Out of Place
Etienne Courtois hunts for images
Sleepwalking that already exist
Sara Knelman
22 Editors’ Note: Sleepwalking
84 Angel, Fiend, Surrealist
24 Song of the Open Road Lee Miller’s many lives
Guest editor Alec Soth on Lauren Elkin
photography’s lyrical potential
A Conversation with Siri Hustvedt 90 On the Silence of Myth
In the Swedish countryside,
38 Pictures for Dreaming Maja Daniels collapses time
From Alice Neel to Masahisa Fukase, Kristian Vistrup Madsen
the artists who have inspired Alec Soth
100 Her Own Private Iowa
48 Sideways Logic Nancy Rexroth’s 1970s experiments
Emila Medková’s wry Surrealism with a Diana camera
Olivia Laing Rebecca Bengal
56 The Narrative Artist 106 Where Cherries Blossom
Sophie Calle’s art of games and chance From Elliott Jerome Brown Jr.,
Aaron Peck visions of Black subjectivity
Harry Tafoya
64 Apparitional Automaton
Front
The figure of the sleepwalker in art 114 The Human Condition
Marina Warner Duane Michals on luck and fate
7 Agenda A Conversation with Jesse Dorris
Charlotte March, Pao Houa Her, 70 The Family
Bárbara Wagner & Benjamin In Gregor Schneider’s London-based
de Burca, Our Selves project, two eerily similar houses
Gesine Borcherdt
11 Day Jobs
Glen Helfand on Janet Delaney’s
fascination with everyday workers
13 Viewfinder
Phoebe Chen on the monumental
films of Wang Bing
17 Studio Visit
Juliana Halpert on Anthony
Hernandez and the streetscapes
of Los Angeles

20 Curriculum
Vasantha Yogananthan on Etel
Adnan, Jim Goldberg, and the
French rapper Laylow
Back
129 The PhotoBook Review
A conversation between Hiroko
Komatsu and Osamu Kanemura— Front cover:
Emila Medková, Vodopád
and a selection of recent photobooks
vlasů (Hair waterfall),
from the series Stínohry
141 Spotlight (Shadowplays) (detail),
1949–50
Kaelen Wilson-Goldie on Felipe
© Eva Kosáková Medková
Romero Beltrán’s series about young (See page 48)
immigrant men in Spain
Opposite:
Maja Daniels, Lorena,
Mervelier, 2021
148 Endnote
Courtesy the artist
Six questions for Jim Jarmusch (See page 90)

APERTURE SUMMER 2022
APERTURE SUMMER 2022
The Magazine of Photography and Ideas
Editor
Michael Famighetti
Guest Editor
Alec Soth
Senior Managing Editor
Brendan Embser
Assistant Editor
Eli Cohen
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The PhotoBook Review
Samantha Marlow, Lesley A. Martin
Copy Editors
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Minjee Cho
Production Manager
Andrea Chlad
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Art Direction, Design & Typefaces
A2/SW/HK, London
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[email protected]
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aperture.org
APERTURE SUMMER 2022
Robert Adams
Diane Arbus
Richard Avedon
Bernd & Hilla Becher
Elisheva Biernoff
Mel Bochner
Sophie Calle
Liz Deschenes
Lee Friedlander
Adam Fuss
Nan Goldin
Katy Grannan
Martine Gutierrez
Peter Hujar
Richard Learoyd
Helen Levitt
Christian Marclay
Ralph Eugene Meatyard
Wardell Milan
Richard Misrach
Nicholas Nixon
Alec Soth
CARRIE MAE WEEMS, If I Ruled the World, 2004
Hiroshi Sugimoto
Richard T. Walker
Carrie Mae Weems
Garry Winogrand
& others
FRÆNKEL

Agenda
Exhibitions to See
Charlotte March
Celebrated for her mid-century fashion photographs
in Vogue and Vanity Fair—and for her portraits of
the Black supermodel Donyale Luna in the West
German magazine Twen—Charlotte March also
extensively captured the streets and daily life of
postwar Hamburg. As part of the city’s 8th Triennial
of Photography, Currency, which considers themes
of circulation and knowledge, March’s work is being
presented at the Falckenberg Collection. This
retrospective focuses on March’s sensitive portrayals
of Hamburg, where she lived throughout her life,
and Ischia, Italy, where she traveled in the 1950s and
1960s. “In their depiction of forms of simple work
and social life that were already disappearing at the
time they were taken,” say the curators Goesta
Diercks and Dirk Luckow, March’s images “can be
read as a reference to the humanist photography of
the time.”
Charlotte March at the Triennial of Photography Charlotte March, Untitled (Ischia), 1953
Hamburg, through August 21, 2022 © the artist and courtesy Deichtorhallen Hamburg/Falckenberg Collection
Pao Houa Her
Pao Houa Her was born in Laos and grew up in
Saint Paul, Minnesota, where a community of
Hmong refugees formed after the Vietnam War.
But Her rejects the chronological path from prewar
Laos to present-day Minnesota: “One challenge
of my photography,” she has said, “is to create a
narrative that does not require a beginning or an
end.” A solo exhibition at the Walker Art Center,
in Minneapolis, features portraits of familial
moments mixed with staged, performative
scenes and still lifes full of florals and greenery.
The artist’s photography can also be seen in this
year’s Whitney Biennial. Throughout her work,
history—of Laos, of the United States, of Her’s
family and community—emerges as a question
without an answer.
Pao Houa Her, Untitled, 2019 Pao Houa Her at the Walker Art Center, Minneapolis,
Courtesy the artist and the Walker Art Center July 28, 2022–January 22, 2023
AGENDA 7
Bárbara Wagner and Benjamin de Burca, Still from Swinguerra, 2019.
Bárbara Wagner &
Two-channel video, color, sound; 21 minutes, 16 seconds
Courtesy the artists and Fortes D’Aloia & Gabriel, São Paulo and Rio de Janeiro Benjamin de Burca
Music video or war dance? Rehearsal or showdown?
Bárbara Wagner and Benjamin de Burca’s electrifying
“documentary musical” Swinguerra (2019) draws
on a three-year collaboration with dance groups
from the Brazilian city of Recife and stars Black,
queer, and nonbinary performers staging routines
and competitions. As a photographer, Wagner
has long been captivated by Brazil’s music cultures.
Swinguerra, which premiered at the 2019 Venice
Biennale, is about “looking and being seen,” says
Anni Pullagura, a curatorial assistant at the ICA,
Boston, where the two-channel video is on view
in a dynamic exhibition. With their athletic grace
and fierce costumes, the dancers, Pullagura adds,
provoke a dialogue about contemporary politics
in Brazil, as dance becomes a way to “make the
periphery an active, elusive site of joy.”
Bárbara Wagner & Benjamin de Burca: Swinguerra
at the ICA, Boston, through September 5, 2022
Our Selves
“What is a feminist picture?” asks Roxana Marcoci,
curator of Our Selves: Photographs by Women Artists
from Helen Kornblum at the Museum of Modern
Art, New York. From this starting point, the
show navigates deftly throughout the history of
photography, from the early botanical cyanotypes
of Anna Atkins to the critical intersections of Black
and Indigenous artists such as Carrie Mae Weems
and Hulleah J. Tsinhnahjinnie. Though Our Selves
may not provide an explicit answer to its leading
question, the photographs speak for themselves
and, as a collective, make the case for an alternate
history of the medium, one that posits an inclusive
and politically active vocabulary. As Marcoci notes,
“These stories—who tells them, about whom,
through what lens—are relevant for our political
futures, and to our creative ones.”
Hulleah J. Tsinhnahjinnie, Vanna Brown, Azteca Style, 1990
Our Selves: Photographs by Women Artists from Helen © the artist and courtesy the Museum of Modern Art, New York
Kornblum at the Museum of Modern Art, New York,
through October 2, 2022
APERTURE 8