Ta Nea (2002)
Thoughts on the photo exhibition of the American Andres Serrano in Thessaloniki
Andres Serrano's reputation, based on the provocativeness of his subjects, extends beyond the world of photography and visual arts. His twelve large photographs displayed at the "Kalfayan" gallery in Thessaloniki cover, in addition to his famous theme "The History of Sex," also "Nomads" (simple colored portraits) and "Interpretation of Dreams" (staged portraits with fantastic compositions). The addition to the exhibition of a "Warning" that "Some works may offend the sensibility of the audience" and that "The exhibition is not suitable for persons under 18" contributes to the spread of the photographer's fame and perhaps to the audience's attendance. In reality, no photograph of Serrano can offend any sensibility, and those under 18 are familiar with much more provocative works.
When a few years ago the name Andres Serrano was first heard, it was linked to a provocation and a scandal due to his photograph titled "Piss Christ," which associated the Crucified with urine. The best thing, therefore, to start the career of a contemporary artist. This was followed by a series of interviews that attributed the photographer's sexual-religious provocativeness to his reaction against the strict Catholic upbringing he had as a Hispanic-American. This explanation gave a psychoanalytical hue to his artistic work, impressing critics.
To maintain his sudden fame and claim high sales, the clever photographer needed to move in two directions. On one hand, maintaining provocations that would ensure journalists' interest and headlines in specialized magazines, and on the other, producing pleasing decorative images that would adorn the large spaces of collectors' houses or offices without any problem. In the first direction, there are photographs like "The History of Sex," showing simple acts of autofellatio (proving that although difficult, it is not impossible), girls masturbating horses, erotic encounters of people fifty years apart, fist fucking, etc. In the second direction are themes related to sperm, menstrual blood, corpses, etc., with the photographs being painless but, worse, utterly meaningless. However, there is also a third category, like Ku Klux Klan portraits, Nomads, etc., that merely draws prestige from the fame of the other two, while in reality, they are common and simplistic photographic captures. The significant difference from the generally common and simplistic photos is that Serrano's are very large (finally, those who claim that size matters might be right), sell for very high prices, and are excessively praised by various exhibition curators. For example, the notable curator of the Greek exhibition notes in the program that "Serrano's inspiration is very close to the modern period of painting of Malevich or Mondrian."
However, Serrano is nothing more than a clever product of artistic marketing. His provocation lies on the surface and not in the essence. It's a harmless, academic, "politically correct" provocation. The combination of either a provocative subject matter or a decorative chromatic surface, with a pompous title and a supportive psychoanalytical and academic article, can work wonders and impose the emptiness of these photographs on every credulous and innocent viewer.
There is no real danger to our sensibility from displaying such photographs, and a slight annoyance may rather do good than harm. And no resistance is needed. Anyway, these photographs over the years will find their place in the history of photography and will remain in our memory as funny interludes. The only question is whether and how many in the meantime will see that the emperor is naked.
Plato Rivellis