I felt as if I had found the postcard by luck. Image: Claude Cahun, Self-portrait, 1927 . Claude Cahun, Self-Portrait (as weight trainer), 1927. The German artist surveyed advertisements, reportage. I saw the postcard of Cahun on the shelf and grabbed it immediately. Claude Cahun was a Surrealist photographer whose work explored gender identity and the subconscious mind. 1927© Jersey Heritage and courtesy Jersey Heritage Collections. Skip to Main Content. “Wearing, like Cahun, conceives of gender as multivalent,” Jennifer Blessing writes in an introduction to a portfolio of Wearing’s previously unpublished early work. I am in training, don't kiss me is a Photography Photographic Print created by Claude Cahun in 1927. Exciting, In Buffalo, the photographer finds imaginative, Drake's photographs reveal the textures of. I am indebted to many women over the years who have achieved change for other women through feminist art, politics, and writing. I classify them all as my spiritual family. In the shoot I wanted to create a pose similar to her original one, with the head tilted down, the legs crossed. This is contrasted with the weights that sit across her lap, the boxer shorts, her seemingly flat chest. Wearing: Like a lot of people, apart from my scant knowledge of her in the ’90s, I didn’t really have much exposure to Cahun until the last fifteen years, when quite a few books have been published on her life and work. Her photography often shows her in a state of metamorphosis or transition, blurring the line between femininity and masculinity, hiding or revealing oneself from behind a mask (metaphorically and literally). The photographs seemed very playful, and also very apt for that moment, something that has not gone away over time. Click here to see an interactive timeline which details the history of Aperture. Gillian Wearing, Self-portrait as my brother Richard Wearing, 2003 © the artist and courtesy Maureen Paley, London. I can track my own sensibility to this from my teenage years onward; I felt compelled to take photographs of myself posing in order to crystallize a perfect image of myself, and mainly for my consumption only. I get the same feeling, as though I shouldn’t take for granted the fact that I have this postcard in my hand and am looking at her. 1927). In the photograph Self-Portrait (as weight trainer), Cahun is dressed in a leotard, boxer shorts and tights with a scarf around her neck. I got my postcard of Cahun’s Self-Portrait (as weight trainer), 1927, from Pallant House Gallery in Chichester, when I was visiting for the press view of their exhibition Radical Women. In analysis of the photograph, people have said she has a coy, almost seductive look on her face, as though inviting attention and the viewer’s gaze, both of which are rebuffed with the words “I am in training don’t kiss me” written across her chest. I am thinking specifically about the various stories of women being prayed on by men because of the way they are dressed, for example, as though they are inviting the male gaze consciously and provocatively. Rediscovered in the 1990s, Cahun was known for her gender bending, theatrical photography. Claude Cahun, I am in training don’t kiss me, ca. Gillian Wearing, Self-portrait of me now in a mask, 2011© the artist and courtesy Maureen Paley, London. Ver más ideas sobre Movimiento surrealista, Surrealismo, Fotografia. You could say the terminology is the vehicle. However, to me, Cahun doesn’t look overtly seductive in this picture, and she doesn’t seem as though she is trying to be. A lot of this is captured in my series My Polaroid Years, which look very much like selfies but were all taken with a Polaroid camera between 1988 and 2005. 2015-09-16 - Explore Anna-Maria Karczmarska's board "Claude Cahun" on Pinterest. I shoot with film rather than digitally, and it was a ten-hour shoot. 4145: Cahun, Claude: Self-portrait of Claude Cahun with - Nov 30, 2011 | Galerie Bassenge in Germany Self-portrait of Claude Cahun with Solange Roussot in … In photographs taken from the 1920s to 1940s, French artist Claude Cahun often portrays herself in male clothes and hairstyles, contemplating her own transformed image as she experiments with the fictions of gender. With very little to guide us, a lot of what we can say and think about Cahun and her photographs is only conjecture. Claude Cahun, Self-Portrait, 1927. Approaching the doors, I noticed the gallery shop and decided I had enough time to make a very quick visit. Wearing has referenced Cahun overtly in the past: Me as Cahun holding a mask of my face is a reconstruction of Cahun’s self-portrait Don’t kiss me I’m in training of 1927, and forms the starting point of this exhibition, the title of which (Behind the mask, another mask) adapts a quotation from Claude Cahun’s Surrealist writings.