Exhibition view:
“How to work (More for) Less”, Kunsthalle, Basel, Switzerland, 2011

Photo: Gunnar Meier

On view is a suite of four framed photographs, each accompanied by four titles. Each of the four works appears to have their own diarist captions as titles, respectfully, Nina coloring her hair; Berlin, Wed June 1 (kitchen); In bed, after the party; A normal day in the city: coffee. Although discontinuous, these snippets do amount to a loose if not quotidian itinerary. In so doing, we have returned to a kind of domestic tourism as the reader of these titles is apparently being let into the personal life of the titular or implied subject. Yet, unlike descriptive handwritten notes on the back of old pictures, there is very little correspondence between image and text as here, “Nina coloring her hair” features a c-print of an obscured breast pocket. Eschewing the idea that these captions only function as non sequitur, they do, like the logics of the photo content and their hanging, appear to follow some kind of specific, categorical system. And although none of these topics match, each in their own way follows a similar spirit of discontinuity and submission to order. As such, in total, these pairings may point to the larger question implied by the exhibition’s title, Why Sex Now? [sic].
(Adam Kleinmann, “Empty Inside”, Texte zur Kunst, 2011)

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