Her gaze had a very direct purpose to it: between the woman and her witness something was happening, or was going to happen. Strictly speaking, her stare was already that happening: it was the conduit or the corridor; the black hole. Her face was wide, flat, with slits for eyes, and there was nothing else in it apart from the intensity of the stare. Her communication was intended for the bearer of the photo, but I had somehow taken his place, and this made the situation both tragic and absurd. It was so very obvious that The Lady On The Leather Sofa (unlike the whole of art and the whole of history, which was definitely intended for me and took me into account) didn’t have me in mind as a viewer, didn’t want me, and I knew with certainty that someone else should have been in my place, someone with a name and a surname, and possibly even a mustache.
The absence of this other viewer made the whole thing feel indecent, coitus interruptus in its most basic sense, and I was the one interrupting. I’d turned up at the wrong time, and in the wrong place, and I’d witnessed what I shouldn’t have witnessed: sex. The sex was not in the body or the pose, or even the surroundings (although I remember them well) — it was in the directness of the gaze, its lack of ambiguity, the way it paid no attention to anything beyond the scene. Strange when you think that even thirty years ago both participants were probably dead and most certainly are now. They have died and left the sex act orphaned in an empty room.
*
What do I have against images? Perhaps it is that they all have the same flaw: euphoric amnesia. They no longer remember what they signify, where they came from, who they are related to, and yet none of this bothers them. For the beholder (I no longer know whether to call her a reader or a viewer) the picture seems to do more, to serve better. It delivers its message quicker, without wasting words, never tiring of actively engaging with the message: to stun us, to grasp hold of us, to occupy our thoughts. The picture seduces with its illusion of economy: as text begins to unwind its first phrases, a photograph has already come, confounded, conquered — and then it graciously condescends to allow the text to speak, to add the inessentials of what happened, and where.
For a whole century now the overproduction of visual material has been called the problem of the age, and its defining sign: heavy carts of descriptive text, loaded with meaning, have been overtaken by the image’s swift sleighs. It’s doubtless true, even if the sleighs only appear swifter to begin with. It’s not just the dead who disappear in the mirrored corridor of reproduction — the living do, too. Siegfried Kracauer describes the process with photographic precision in his essay on photography: we can break down what our attention does to a photo of our grandmother into its various phases, how she literally disappears before us, vanishes into the folds of her crinoline, leaving only a collar, a chignon, and a skirt bustle on the surface of the image.
The same thing happens to us. With every new selfie we take, every group shot or passport photo, our lives become arranged into a chain of images, a history that is quite different from the one we tell ourselves and want others to believe. The line of was-and-will-be, a compendium of single moments, poses, mouths open to speak, blurry chins, none of which we chose ourselves. Balzac foresaw some of this and refused to have his photograph taken, reflecting that each new picture removed a layer of balzac, pared it away, and if you let it happen, soon nothing would be left of you (or what would be left was only a puff of smoke, the vegetable heart, and the very last layer, the thickness of a death mask).
The mechanics of photography never intended to preserve the essence. The project of photography better resembles those time capsules intended for our descendants, or for aliens from outer space, filled with evidence of humanity: an anthology of our greatest moments an attempt to define ourselves through our civilization’s crowning achievements — Shakespeare/Mona Lisa/cigar, or penicillin/iPhone/Kalashnikov. They remind me of Egyptian burial sites, expanding suitcases stuffed with life’s essentials. If we imagine our descendants or the aliens to be curious, and this curiosity to be unlimited by time, then it will only be satisfied by a bank of infinite images, a cupboard where everything is packed away, every last person’s every last moment. And if this terrifying documentary mass could be gathered and kept ready for use, it would hardly be different from the incomplete but ever-increasing mass of data kept somewhere in the shapeless pockets of the atmosphere and called into being by the twitch of a computer mouse.
Photography observes change first and foremost — and always the same change: growth becoming dissolution and disappearance. I’ve seen a few photography projects that have documented change over decades, they flash up on social media now and again, giving rise to a bittersweet tenderness, and the almost improper curiosity with which young, healthy people regard a future that hasn’t even dawned for them yet. A young Japanese man takes a photograph of himself with his young son. Time passes, the boy is one, four, then twelve years old, then twenty: it’s like speeded-up film — we watch one being fill with life, as a balloon fills with air, while the other being diminishes and creases; its light gutters. Or another: Australian sisters who take a picture of themselves every year over a period of forty years in the same room, same spot, and in every picture they age a little more, slowly resigning themselves to aging and to those tiny visible signals of their eventual demise. In this sense at least, art’s endeavor is diametrically opposed to photography: any successful body of text is a chronicle of growth, a thing that is not completely in line with the parallel chronology of the appearance of wrinkles and pigmentation spots. Photography is less compromising: knowing none of this will survive, it makes its best attempt at preservation.
I’m talking about a particular kind of photography here. It’s no coincidence that it’s the most widespread, tracing its chalk circle around both professional photojournalists, amateurs with their mobile phones, and much that lies between these extremes. These photographers (and their viewers) are united by an unwavering belief in the photograph as document, witnessing reality, grasping it as it really is, without any kind of literary ornamentation: a rose is a rose is a rose. Art photography, in its aim to bend and reconstruct the visible world in the name of individual perception, interests me only at those points when reality unintentionally overcomes intent, flattering the viewer who notices the seam: the rough boots peering out from underneath the carnival silk.
The claims, if not the actual possibilities, of documentary photography are extraordinary: to see and hold the existing and what has existed — a task perhaps reserved for the Being who conservat omnia, as it says on the gates of Fontanny Dom in St. Petersburg. Still technology makes its best efforts; it shaves off time’s natural build-up of lint — and there are many mansions in its virtual house.
*
Many of the qualities of the camera induce a sense of dumbfoundedness. You might say it gives us a reason to quote a person, an animal, or an object as a single entity, as a unit of text — stripping reality of its little halo of signifiers, and at the same time ignoring the signified entirely. The camera places an equals sign between person and image for the first time — all that’s needed is enough images to complete the outline.
A century or so ago, the portrait was exhaustive proof of a person’s life, and with a few exceptions, the only thing you left behind. The portrait was the event of a lifetime, its focal point, and the very nature of the craft demanded the participation of both artist and sitter. The phrase “everyone has the face they deserve” was a literal truth in the age of painting; and for those whom class gave the right to be remembered as a singular face, that was the face of their portrait.
Or perhaps, even more importantly, the face on their correspondence. The greatest part of any legacy was textual: diaries, letters, memoirs, and the balance between the textual and the visual shifted only from the mid-nineteenth century onward, as the pile of photographs accumulated. These presented themselves to the memory not as “me, as I am,” but “me on Saturday i
n my black riding habit.” The number of photographs a family owned depended solely on their financial means and their social position, but even my grandmother’s nanny, Mikhailovna, had three photos in her keeping.
The old lady of painting (for brevity’s sake that’s what I’ve named the ability to depict the living, by one’s own hand, in any medium) is haunted by the impossibility of resemblance, and yet she becomes increasingly obsessed by the task of producing an exhaustive image, but a single image; an exact image, but an image that does not resemble the sitter; to present to the sitter in his concentrated form, not him-now, but him-forever, a bouillon cube of his vital parts. This is what lies behind the stories about Gertrude Stein becoming with the years more and more like her portrait by Picasso, or the story about Oskar Kokoschka’s subject, who (it is said) subsequently went mad and came to look exactly like his image.
We are the permanent subject of the old lady’s interest, and we know all too well that in place of resemblance she sells us a horoscope: a template interpretation, and we can either agree with it — the mirror flatters me — or refuse it. Once the photographic image appears, Madame Bovary is free to say c’est moi for the first time, as she picks out the most attractive of the thirty-six negatives. Life offers her a new mirror and it reflects fervently, demanding nothing, insisting on nothing.
Painting and photography go their separate ways at this point. One rushes to its inevitable end, its dispersal, and the other toward its vast proliferation. When the inheritance is divided up, one gets the house and garden, the other gets a pig in a poke. Martha takes reality, Mary is left to talk in the language of abstraction and installations.
*
With the invention of digital photography, yesterday and today have coexisted with unprecedented intensity. It’s as if the waste chute in a building has been blocked off and all the trash just keeps piling up forever. There’s no need to save film, just press the shutter release, even the deleted pictures remain in the computer’s long memory. Oblivion, the copycat of nonexistence, has a new twin brother: the dead memory of the collector. We look through a family album with a sense of affection — it contains a little, perhaps just what remains. But what should we do with an album containing everything, without exception, the whole disproportionate volume of the past? Photography is directed at an endpoint, where the volume of life fixed in images is equal to the actual length of life. The printing press keeps turning, but there are no readers left.
I imagine the piles of images. Huge diggers shovel at them, scooping all the waste into their buckets: the underexposed pictures, the duplicates and triplicates, the tail of an out-of-frame dog, a picture of a café ceiling taken by mistake. We get a vague sense of the vast mass from social media, where thousands of mediocre pictures are posted, pinned like butterflies with “tags.” For these images the future is just one more cemetery, a huge archive of human bodies we know nothing about for the most part, except that they existed.
This immortality is terrifying, but even more terrifying is the fact that it is imposed on you. What photography now registers is nothing other than the body of death: the part of me that has no personal will or choice, which anyone can claim, which is fixed and preserved without effort. It is the part that dies, and not the part that remains.
In the past immortality was a matter of choice, though you could reject it and choose what everyone was offered as a matter of course: “to be laid in a narrow cell forever.” Now that forever narrow cell of “Gray’s Elegy” has been withdrawn and we have accepted the impossibility of simply disappearing. Whether you want it or not, you are facing the strange extension of your existence, your outward form preserved for all time. All that disappears is what made you yourself.
It is a luxury permitted to very few to vanish entirely, to disappear from the radar.
You step into another photograph, it is as inevitable as stepping out into sudden summer rain. Who will actually look at all these images and when will they do it? Our outward form is scratched from us by a thousand CCTV cameras at stations, streetcar stops, in shops and underpasses — like the fingerprints left everywhere by humanity before forensics were invented. It has no alphabet, only the new (old) multitudinous nature of leaves in a forest.
Since we began recording and archiving sound, the unreproducible has disappeared from life. How Mademoiselle George acted on the stage and how Angiolina Bosio sang was described to us, and demanded time and passion of the curious: you had to imagine, flesh it out, recreate something in your head. Now there is nothing between you and what has been. The longer we keep recording the more people will fall into the zone of the undead. Their physical form keeps on walking and talking, their earthly voice resounds whenever you want it to. They still have it within their power to charm, to arouse desire, or to disgust (the body and the name separate, like film credits). The culmination of this is pornography from the distant past, nameless dead bodies performing their mechanical duties long after their owners are ashes and dust.
Still, the physical body cannot be handed down in this way — it carries no caption with its name and description. It has no distinguishing features. It is divested of all memory retrospectively, of any trace of what has happened to it: its history, its biography, its death. This divestment makes it obscenely contemporary. The more naked it is, the nearer it is to us, and the further from human memory. We know only two things about these people: that they are dead and that they had no interest in bequeathing their bodies to eternity. What once had a basic function, like the sparkwheel of a cigarette lighter, rotating between desire and satisfaction without any wish to become yet another memento mori, continues to function like a mechanism. But on this occasion, for me at least, it is a mechanism for compassion.
All the laws laid out by Barthes and Kracauer are in operation here. The punctum (a reproduction hanging over the bed, long black socks drawn up the skinny calves of a man) wants to be an alphabet, wants to turn events into a history — in this case to recount how time is constructed, its tastes and its sensitivity. But in fact all we see is the nakedness, which unexpectedly proved to be their last nakedness: these people, their thighs and potbellies, the mustaches and hair fringes of a time when they were contemporary, are left to the mercy of the viewer. They have no names, no future. All of it came to an end in the twenties-thirties-forties, those decades that still lie ahead of them. We can stop them in their tracks, speed them up, make them start over with their simple activities, again and again they’ll lift their former legs and arms, and lock the door as if they were all alone and still alive.
*
A Russian collector bought a box of family photographs in Sri Lanka; they impressed her in some way, so much so that a year later she returned to buy the whole archive, and began a search for the vanished family. She even found documentary traces of them, although none of them had lived into the new century. She then did everything she could to give them the strange immortality sometimes possessed by objects that have lost their owners. What was it about the photographs that made them stand out from the common crowd? Perhaps that which sets the museum exhibit apart from its more ordinary siblings, a subtle quality that gives it the right to preferential attention. None of the photographs in the archive (the father Julian Rast was a professional photographer) serve the utilitarian purpose of the mere preservation of existence. A visual perfection gives each image the magnetic and enchanting sheen of an exhibit: a family in the snow under the pine fronds; a child on a sledge with a baby faun; bathers; horse riders; German shepherd dogs. All the pictures look just like film stills and the viewer is drawn in, waiting for the scene to change and new scenes to appear, he needs to find out what happened to the subjects of the photos.
There is such injustice in the way that people and their portraits cannot escape an immediate and basic inequality: the difference between the interesting and the not so interesting, between what draws our attention and what doesn’t.
Everything is in silent sympathy with the tyranny of choice, always on the side of the beautiful and the charismatic (to the detriment of everything that has no claim on our attention and so remains on the dark side of this world), especially our bodies with their entirely pragmatic agenda. Our preferences have nothing to do with age or upbringing, even three-month-old babies vote for beauty, health, and symmetry.
And this is unjust. Just as the dictatorship of the viewer or “watcher,” with his unfounded demands on the image, is an unjust one. The word “watcher” in Russian has a second, less obvious meaning. In the language of prisons, camps, and the criminal underworld, known by a significant proportion of all Russian-speakers, the watcher is the one who sets the rules and makes sure the others follow them.
So perhaps we could characterize the relationship between the watcher and the photograph, the reader and the text, and the viewer and the film as small episodes of power, like ticket sellers in the museum halls of random access memory. Both the rules and how they are followed depend on this relationship, but let’s not pretend that the “watcher” is a righteous judge. His rules and his choices are not God-given, they are human. Worse than that, they are criminal. He is intent on the acquisition/absorption of the foreign body: his taste is based on the rights of the strong when surrounded by the weak, or the living when surrounded by the dead (who are deliberately denied all their rights).
Maybe that’s why I love photographs that need no interlocutor and have no desire to engage with me. They are, in their own way, rehearsals for nonexistence, for life without us, for the time when the room is no longer ours to enter. A family is drinking tea, the children are playing chess; the general bends over the map; the baker’s assistant lays out the cakes — and we can satisfy our ancient and enduring desire to gaze into every one of the windows of the house of a thousand windows. The point of this dream is surely to be someone completely different for a short while, to escape ourselves. Most old photographs can’t answer this need — all they can do is insist upon their own integral selves. Their identity is theirs, but this world is ours.
In Memory of Memory Page 6
