Presenting her first exhibition in Scotland, the influential photographer reflects on her craft and her experience as a woman in the “boys’ club” of Japanese post-war photography
Tag: Frida Kahlo
Behind a shop vitrine, a human skull, wearing a helmet adorned with a swastika, grins. Next to it, an animal – apparently taxidermic – stands rigid on the floor. The silhouette of a pair of legs belonging to a passer-by on the street reflects in the glass. Above this desultory display, a banner stuck to the top of the window reads, “Mexico… ¡quiero conocerte!”. In this single photograph, taken in 1975 in Chiapas, Graciela Iturbide projects her vision of Mexico: a country of political, religious, social, cultural and economic pluralities and tensions. A place where contrasts present themselves at every turn – sometimes harmonious, sometimes tense.
It is this multilayered image of Mexico that Iturbide has slowly peeled back and revealed through her photography over the last five decades. She has travelled extensively across her own country, between urban and rural landscapes, living with different communities, and moving from the physical to the transcendental, the ancient to the contemporary, witnessing and experiencing the juxtapositions intertwined in Mexican culture.
“From the 1890s through to just after the Second World War, modern artist couples forged new ways of making art and of living and loving,” Jane Alison, head of visual arts at London’s Barbican, says. She’s putting the final touches to Modern Couples: Art, Intimacy and the Avant-garde – a mammoth endeavour that examines how the work of individual artists and writers was shaped by the relationships they embarked on with each other.
The show spans painting, sculpture, literature, dance, music, architecture and photography, and includes ephemera such as personal photographs and love letters alongside artworks. It’s also far from a cursory look at the history of art’s favourite romantic pairings. The likes of Virginia Woolf and Vita Sackville-West, or Frida Kahlo and Diego Rivera, have their part to play here, but so do lesser-known affiliations, from Claude Cahun and Marcel Moore to George Platt Lynes, Monroe Wheeler and Glenway Wescott, whose enduring ménage à trois turned their travels around Europe into an intensely fruitful creative experience.