Fra Contemporary Art Daily har vi lånt disse billeder fra Elad Lassry’s udstilling på Kunsthalle Zurich i foråret 2010.
I pressemeddelelsen står der bl.a.:
Elad Lassry’s photographs – everyday and design objects, fruit and vegetable still lifes, human and animal portraits, landscapes and cityscapes – allude to visual features and image constructions that have been used in photography, advertising, magazines and illustrated books, and in films. What interests him in this context is analogue source material and duplication methods and the development of different types of images in the history of the image before they were incorporated into the digital flood of the now omnipresent archive of available images. His photographic works, which do not usually exceed the format of a magazine or printed material, comprise either collages of acquired printed matter or newly-composed photographs. The collages consist of found illustrated single and double-page spreads from magazines which Lassry either reworks by heightening their design elements or reuses them several times for individual works as duplicated printed products.
In terms of their visual appearance, they differ through the nature of their use, and have already undergone, so to speak, additional anonymous and temporal “applied design” as the alteration of their form. The artist contrasts these unique specimens, in which he makes direct use of products of analogue duplication methods, with his far more frequent photographs. He plays here with the relationship between analogue and digital methods of producing images and, using well known images, questions the image itself by testing the omnipresence of images for the possibility of singularity. For example, the numerous portraits of the actor Anthony Perkins which Lassry manipulates digitally originate from analogue photographic archives. In treating them in this way he shines the spotlight on the specific nature of the individual portraits of Perkins and, at the same time the typological nature of the film industry’s publicity portrait. Other images used by Lassry are based on publicity shots, illustrated design books and animal photographs – found images which he restages in the studio using elaborate processes and which initiate and implement multiple processes of the complexification of interpretation, composition, production, original and reproduction on their way to becoming a new image.
Lassry’s photographs make use of the attractiveness of the familiarity of these images. However, they are almost too intensely coloured, too abstract, too staged. In addition this process of visual emphasis, they are presented in matching coloured frames which, on yet another level, thematicise critically the relationship between the image and the “picture” as a utilitarian object, refer to the history of the presentation of objects as art and the aestheticization of perception, and prompt distortions, and therefore, ruptures in the stereotype and the customary – in both temporal and interpretational terms – process of our perception of the images.