with apologies to Joseph Kossuth
Day: November 23, 2022
Al Zoe Leonard: Al río
The day after we went to Paris Photo we went to the Musée d’Art Moderne de Paris and got tickets to the Zoe Leonard exhibit, Al río / To the River, recommended by classmates who had seen it the day before. It’s an immense show that goes on and on for rooms and rooms, vast expanses of white space, perhaps conveyed by the images above. We arrived late morning and were, initially, the only ones there, other than the guards. I was almost more impressed at the opportunity to wander through the vast, empty white space of the museum (reminiscent of my trips to NY’s Metropolitan as a kid, when it was often so empty you could go bowling without disturbing anyone) than I was by the photographs.
The images look at the US/Mexico border area, as loosely defined by the Rio Grande/Bravo. On each wall is a series of pictures, looking at a particular scene, over the course of time (seconds, or minutes, I would guess). Some of these are very affecting; cumulatively, they certainly are. But I was unable to guess at the reason for some of them. One entire room was dedicated to pictures of the swirling water taken, perhaps, over the side of a bridge. While they are far from identical, they are all the same. Another follows a man on horse from a distance, behind, as he travels a short way. The final room is a series of color pictures of a laptop showing security footage of people crossing a barbed-wire-surrounded bridge. No indication of whether this is a public website, or if she’d been granted access to a security control room. Beyond the brochure materials about the exhibit (shown at the link above) there are no placards, captions or other text to explain what you’re looking at or why – which is, in itself, a kind of statement, I suppose. I confess, I didn’t quite know what to make of it. Of course, the same might be said of my series of images of the exhibit.
As always, click any image to see them all full-size.
Pillar, Shadow, Moto
These pillars link the Palais de Tokyo to the Musée d’Art Moderne de Paris. I was struck by the strong light behind them, the wide shadows they were casting and how the shadows linked to the row of all black motorcycles but I couldn’t quite find the angle I wanted.
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