Art and Crime
Architecture: Reset
1 Gennaio 2009
Out there – Architecture beyond building
1 Gennaio 2009A few months ago Milan's MICamera Gallery put on a show of work by Melanie Pullen called "High Fashion Crime Scenes-. Born in New York in 1975, Pullen creates works which reconstruct with meticulous precision scenes of vintage crimes that really happened, but instead of the victims we see models or actresses dressed by haute cou¬ture designers with matching accessories. These details divert the spectator's gaze away from the cruelty of the crime itself in order to dwell on the elements of glamour. "I started to recreate crime scenes because of their ability to tell an entire story: each scene is a perfect photograph, a snapshot that captures the final moment..." says Mela¬nie Pullen, adding: "I think that's why so many photogra¬phers in the '40s and '50s were fascinated by this subject. In recreating the scene of the crime I have inserted ele¬ments that distract — my aim was that the observer should look away, focusing attention on the details and only at the very end on the crime itself."To create each shot Mela- nie Pullen researched the police archives in Los Ange¬les, where she lives and works, spoke with the coroner, studied each individual case and built cinema sets.ln this way she created images that are a blend between fashion, crime reporting and art, but which are comparable neither with the crude crime shots nor the stylised treatments we get in adverts and movies. Melanie Pullen's is perfect¬ly consonant with reflections by the French intellectual Jean-Michel Rabate on modernity, homicide and mass culture, the subject of his recent essay: -Given: 1° Art 2° Crime. Modernity, Murder and Mass Culture" (Sussex Academic Press, Brighton, 2007 pp. 228 16.951. A pupil of Lacan and Derrida, since '1992 Jean-Michel Rabate has taught English and Comparative Literature at the Univer¬sity of Pennsylvania and is author of books on modernism, literary theory, psychoanalysis and contemporary art. He has written extensively on Beckett, Bernhard, Pound and Joyce. His study devoted to the latter, "James Joyce and The Politics of Egoism" (Cambridge University Press, Cambridge 2001), is a seminal text for a- in-depth appre¬ciation of the Irish writer's work. Rabate's latest book, "1913: The Cradle of Modernism" (Blackwell, Oxford 2007), is centred on 1913, a crucial year in the arts, economics and international politics. It is also the year that precedes the outbreak of World War 1, during the course of which a series of signals are registered in music, architecture, poetry and literature which clearly allude to the imminent birth of modernism. In Philadelphia, Jean-Michel Rabate is curator with Aaron Levy and Osvaldo Romberg of the Slought Foundation, Contemporary Art and Theory, whose gallery bears the motto "New Futures for Contemporary Life". For the wri¬ter, Philadelphia is "a place where something happened similar to what happened between Trieste, Joyce, Saba or Svevo. It is the city to which the French artist Marcel Duc¬hamp (1887-19681 bequeathed all his works. Indeed, his final works were conceived "for" the Philadelphia public (more easily impressionable than the cynical New York public). Hence the idea of an art gallery designed to be a beacon for both experimentation and theoretical analy¬sis." It is from this multiplicity of interests that the essay "Given: 1° Art 2° Crime: Modernity, Murder and Mass Culture" is written, a study that seeks to define the rela¬tionship between avant-garde art and crime. Its intention is to bridge the theoretical gap between high modernism and the products of mass culture represented by newspa¬per reports of unresolved homicide cases or unidentified serial killers. Rabate poses scabrous questions such as "how come we experience such pleasure in reading mur¬der mysteries?" developing a theory whereby art itself is a form of crime. To support his case, he calls to the witness stand the likes of Edgar Allan Poe, Marcel Proust and the Surrealists, and even quotes the bloodletting by the Au¬strian performance artist Hermann Nitsch.
Alcuni mesi fa la galleria MICamera di Milano presentava "High Fashion Crime Scenes", un progetto di Melanie Pul¬len. Le opere di quest'artista, nata a New York nel 1975, ricostruiscono minuziosamente "scene vintage" di delitti realmente accaduti, ma al posto delle vittime ci sono modelle o attrici vestite con abiti e accessori d'alta moda. Questi dettagli costringono l'osservatore a distogliere lo sguardo dall'efferatezza del delitto per soffermarsi sui particolari glamour dell'immagine. "Ho iniziato a ricre¬are scene di delitti per la loro capacità di rappresentare un'intera storia: ogni scena è una foto perfetta, uno scatto che coglie il momento finale ..." dichiara Melanie Pullen e aggiunge: "Credo sia la ragione per cui negli anni '40 e '50 così tanti fotografi sono rimasti affascinati da questo sog¬getto. Nel ricreare la scena del crimine ho inserito degli elementi di distrazione — mio obiettivo era che Uosser,a¬tore deviasse lo sguardo, focalizzando l'attenzione sui det¬tagli e solo in ultimo sul delitto in sé". Per la realizzazione di ogni scatto Melanie Pullen si è documentata agli archivi della polizia di Los Angeles, dove vive e lavora, ha palato con il coroner, ha studiato ogni singolo caso e ha allestito poi veri e propri set cinematografici, dando vita a imma¬gini tra moda, cronaca e arte, che non possono essere paragonate né alle crude tele-foto dei delitti e neanche alle stilizzazioni della pubblicità e del cinema. L'operazio¬ne artistica di Melanie Pullen rientra perfettamente nella riflessione dello studioso francese Jean-Michel Rabaté sulla modernità, l'omicidio e la cultura di massa, che è oggetto del suo recente saggio: "Given: 1° Art 2° Crime. Modernity, Murder and Mass Culture" (Sussex Academic Press, Brighton, 2007 pp. 228E 16.95). Allievo di Lacan e Derrida, Jean-Michel Rabaté dal 1992 insegna inglese e letterature comparate alla University of Pennsylvania ed è autore di libri sul modernismo, la teoria letteraria, la psi¬coanalisi e l'arte contemporanea. Ha scritto ampiamente su Beckett, Bernhard, Pound e Joyce al quale ha dedicato il saggio "James Joyce and Politics of Egoism" (Cambridge University Press, Cambridge 2001), testo basilere per la comprensione dell'opera dello scrittore irlandese. L'ultimo libro di Jean-Michel Rabaté è '1913: The CradIe of Mc)der¬nism" (Blackwell, Oxford 2007), centrato sul 1913, un anno cruciale per le arti, l'economia e la politica internazionali, anno che precede lo scoppio della Prima Guerra Mondiale e nel corso del quale si registrano nella musica, nell'ar¬chitettura, nella poesia e nella letteratura, una serie di se¬gnali che alludono all'imminente nascita del modernismo. A Philadelphia, all'insegna del motto "New Futures for Contemporary Life'', Jean-Michel Rabaté è curatore con Aaron Levy e Osvaldo Romberg della galleria d'arte Slou¬ght Foundation, Contemporary Art and Theory. Philadel- phia rappresenta per lo scrittore "un luogo in cui è acca¬duto qualcosa di simile a quanto è successo tra Trieste, Joyce, Saba o Svevo. È la città alla quale l'artista francese Marcel Duchamp (1887-1968) ha lasciato tutti i suoi lavori. Infatti le sue ultime opere d'arte furono pensate "per" il pubblico di Philadelphia (più facilmente impressionabile del cinico pubblico newyorkese). Da qui l'idea di una gal¬leria d'arte che vuol essere un punto di riferimento sia per la sperimentazione che per l'analisi teorica". Da questa molteplicità di interessi per l'arte e la lette-ratura nasce dunque il saggio "Given: 1° Art 2° Crime: Modernity, Murder and Mass Culture" che cerca di definire i termini del rapporto tra l'arte d'avanguardia e il crimine, nell'intento di colmare un vuoto teorico esistente tra l'alto modernismo e i prodotti della cultura di massa rappre¬sentati dai reportage giornalistici su casi irrisolti di omi¬cidi o di serial killer mai identificati. Nel suo libro Rabaté pone al lettore domande scabrose come "perché proviamo tanto piacere nella lettura di storie d'omicidio?" e lancia una teoria secondo la quale l'arte stessa è una forma di crimine, portando a sostegno della sua tesi anche le opere di Edgar Allan Poe, di Marcel Proust, dei Surrealisti, fino ad arrivare alle sanguinarie performance dell'artista austriaco Hermann Nitsch.
"The idea for the book," Rabate explains, "came from two contrary suggestions. The first was Marcel Duchamp's installation "Etant Donnes", a work dating from 1966 in which the observer peeps through a hole made in an old door at a naked woman, or maybe it's a corpse. The second suggestion came from the famous killing in 1947 of Elizabeth Short, the young woman known as "Black Dahlia", which inspired James Ellroy's novel of the same name and a film by Brian De Palma. Hence my stu¬dy revolves around both the "Black Dahlia" crime, which is closely connected with the artistic/cinema environment of America in the '40s in which Marcel Duchamp and Man Ray were lead players, as well as other unresolved ho-micides such as the Jack the Ripper cases. It concludes by drawing a series of parallels between the works of the artist and those of the murderer. All of this was prompted by my reading of a book by Patricia Cornwell, "'Portrait of a Killer: Jack the Ripper", in which the thriller writer sug-gests that Jack the Ripper was in reality the artist Walter Sickert, a conviction I don't share, but which led me to toy with the idea that many serial crimes might have been committed by artists.'" The Courtauld Gallery in London has just devoted a retro-spective to Walter Sickert (1890-1940), the peintre maudit: -Walter Sickert. The Camden Town Nudes" (25.10.07¬20.1.08). It is the first exhibition entirely devoted to wor¬ks the Anglo-German artist produced during his stay in North London between 1905 and 1913, works radically innovative for their time. The paintings exhibited at the Courtauld Gallery portray a series of realistically execu¬ted female nudes, the bodies of prostitutes reclining on unmade brass beds in squalid, poorly lit (if at all) interiors. The exhibition included the four paintings that Sickert provocatively entitled "Camden Town Murder" and which first suggested that he might have had some criminal involvement in the series of killings. His painting, which is reminiscent of that in the recent nudes by Lucian Freud (1922 - ) depicts a despairing humanity, where the brutal exposure of naked flesh suggests that the last remaining hope of redemption may lie in death. In "Given: 1° Art 2° Crime. Modernity, Murder and Mass Culture'', Jean-Mi¬chel Rabate reflects whether (and to what extent) moder¬nism has made use of the crime theme and, by extension, of literary genres such as the detective novel, thriller and murder mystery. The author then focuses on the work of a number of late 19th and 20th century writers who represent the bridge between the history of the avant-garde and the aesthetics of crime. According to Rabat& the loss in the work of art of what Walter Benjamin calls "aura" was at times replaced by crime, or rather by the crime aesthetic, and this phenomenon asserts itself in post-modernism and in expressions of mass culture. Consider, for exam¬ple, two best-selling novels whose plots draw on the worlds of art and crime like "The Da Vinci Code" by Dan Brown or "Girl With A Pearl Earring" by Tracy Chevalier, both transferred to the big screen. To develop this new concept of the crime aesthetic, Rabate calls on the literary theories of Edgar Allan Poe, a writer seriously interested in the real-life crimes of his age, such as the celebrated "Rue Morgue" murder or the killing of Marie Roget.
"L'idea per il libro — ci spiega Rabaté — è nata da due sug-gestioni contrapposte: la prima è rappresentata dall'in¬stallazione di Marcel Duchamp: "Etant Donnés", un'opera del 1966 in cui l'osservatore spia da un foro praticato in un vecchio portone una donna nuda, forse un cadavere, e la seconda suggestione proviene dal famoso omicidio del 1947 di Elizabeth Short, la giovane donna nota come "Black Dahlia" che ispirò l'omonimo romanzo di James Ellroy e il relativo film di Brian De Palma. Quindi il mio studio ruota sia attorno al delitto della "Dalia Nera" stret tamente collegato all'ambiente artistico/cinematografico della fine degli anni '40 negli USA, di cui Marcel Duchamp e Man Ray erano protagonisti, sia attorno ad altri casi d'omicidio rimasti irrisolti, come quelli di Jack Lo Squar¬tatore, per arrivare a tracciare infine una serie di paralleli tra l'opera degli artisti e quella degli assassini. Tutto ciò è scaturito dalla lettura di un libro di Patricia Cornwell, "Portrait of a Killer: Jack the Ripper", in cui la giallista americana suggerisce che Jack lo Squartatore fosse in realtà l'artista Walter Sickert, una idea che non condivi¬do, ma che mi ha spinto a giocare con l'ipotesi che molti crimini seriali possano essere stati commessi da artisti". Al pittore maudit Walter Sickert (1890-1940) la Courtauld Gallery di Londra ha appena dedicato la retrospettiva: "Walter Sickert. The Camden Town Nudes" (25.10.07¬20.1.08), la prima esposizione interamente dedicata a opere per l'epoca radicalmente innovative, che l'artista anglo-tedesco aveva prodotto durante la sua permanenza a nord di Londra tra il 1905 e il 1913. I quadri che sono stati esposti alla Courtauld Gallery ritraggono una serie di realistici nudi di donne, corpi di prostitute su disfatti letti d'ottone, in squallidi interni poco e male illuminati. La mostra includeva i quattro dipinti che Sickert intitolò provocatoriamente "Camden Town Murder" e che hanno dato adito all'ipotesi che potesse essere coinvolto nelle attività criminose del serial killer. La sua pittura — che ri¬corda i più recenti nudi di Lucian M. Freud (1922) — rappre¬senta un' umanità disperata, dove la brutalità dell'esposi¬zione della carne nuda suggerisce che l'ultima possibilità di riscatto può essere solo la morte. In "Given: 1° Art 2° Crime. Modernity, Murder and Mass Culture", Jean-Michel Rabaté si chiede se, e come, il modernismo abbia fatto uso del tema del delitto e — per traslato — di generi lette¬rari come il romanzo giallo, il thriller o la detective story. L'autore mette poi a fuoco l'attività di un certo numero di scrittori e di artisti di fine '800 e del '900 che rappresen¬tano un ponte tra la storia dell'avanguardia e l'estetica del delitto. Secondo Rabaté infatti, nell'opera d'arte la perdita di ciò che Walter Benjamin chiama l'aura, è stata a volte rimpiazzata dal crimine, e più precisamente dall'estetica del crimine. Un fenomeno che si afferma nel post-moder¬nismo e nelle espressioni della cultura di massa, basta pensare a due best seller che utilizzano per i loro plot il mondo dell'arte e del crimine come "Il Codice Da Vinci" di Dan Brown o "La ragazza con [orecchino di perle" di Tracy Chevalier, entrambi tradotti anche per il grande schermo. Per sviluppare questo nuovo concetto di estetica del crimine, Rabaté utilizza tra l'altro le teorie letterarie di Edgar Allan Poe, uno scrittore seriamente interessato a reali crimini dell'epoca, come il famoso assassinio della "Rue Morgue" o quello di Marie Roget e che, in "Philoso¬phy of Composition" del 1846, suggerisce [applicazione delle tecniche d'investigazione dei detective allo studio filologico dei testi (un precursore dei moderni "genetic studies"!)
“...mio obiettivo era che l'osservatore deviasse lo sguardo, focalizzando l'attenzione sui dettagli e solo in ultimo sul delitto in sé”
In "Philosophy of Composition" (1846), Poe suggests applying forensic techniques to the philological study of texts (a forerunner of modern "genetic studies"!). Rabate also devotes extensive space to the writings of Thomas De Quincey, in particular "Murder as one of the fine arts" (1827) in which the English humorist distinguishes betwe-en the ethics of homicide (of concern to the judiciary and the clergy) and its aesthetics: "The victim has been killed and cannot be resurrected," writes De Qunicey, "and thus we can do no more than see if we are looking at an in-teresting spectacle or otherwise." And it is the element of show or spectacle that provides the vital link between the modern serial killer, mass culture and their repre-sentations in modern art. The title of Rabate's book is, of course, taken from the title of Duchamp's installation "Given 1° The Waterfall, 2° The Illuminating Gas" in which the artist refers to the concept of the "fait-divers" (the newspaper column that reports local news). According to Roland Barthes it is the common-or-garden, random nature of the "fait-divers- (disasters, killings, rapes, fires etc.) that confers on them the status of mass art icon. In this sense, once again we are struck by the pertinence of Walter Benjamin's comments on the photographs of Eugene Atget (1857-1927), an artist whose pictures of de¬serted Parisian streets are described as "Passagenwerk", exemplary representations of the "scene of the crime". Atget (the "Busoni of photography") shows a predilec¬tion for streets, architectural details, crumbling facades, quarters photographed in the early hours of the morning when they are destitute of living beings. At the opposite end of the spectrum are Atget's photographs of naked prostitutes, which call to mind the immediacy of Sickert's paintings. To mark the 150th anniversary of the French photographer's birth, the Berliner Festspiele devoted an extensive retrospective exhibition to Eugene Atget at the Martin-Gropius-Bau. Between 1897 and 1927, Atget immortalised the old Paris as no one else has done before or since. His photos reveal all the facets of the city: narrow alleyways, the courtyards of ancient buildings, some of which he captured shortly before they were demolished, bridges, the quays along the Seine. Photos of stairwells and facade details, apartment interiors: all of them "sce¬nes of the crime". In the mid 20s, Atget was discovered by avant-garde artists. Man Ray, who lived with him in Mon¬tparnasse, bought about 40 photos and in 1926 published some of them in the review "La Revolution surrealiste". Berenice Abbott also bought some, and on Atget's death she acquired 1500 negatives and 10.000 prints. She took them to the United States and vowed to bring this unique work, now conserved at the Museum of Modern Art, New York, to the attention of a wider public. Man Ray's interest in Atget's possible "scenes of the crime" is therefore hardly surprising. Rabate reports that - on the basis of research carried out by Steven Hodel and recently published in the book "Black Dahlia Avenger" - Man Ray seems to have been seriously implicated in the killing of Elizabeth Short. The crime was suggested to him by his friend Marcel Duchamp, whose posthumous work "Etant Donnes" would thus appear to have been a delayed admission of guilt.
Rabaté dedica ampio spazio anche agli scritti di Thomas De Quincey, in particolare "L'assassinio come una delle belle arti" (1827) in cui lo scrittore umorista inglese opera la distinzione tra gli aspetti morali dell'omicidio (di competenza di giudici e sacerdoti) e quelli estetici. "La vittima è stata uccisa e non può essere risuscitata — scrive De Quincey — e allora stiamo semplicemente a guardare se abbiamo di fronte uno spettacolo interessante o meno". E l'elemento dello "show", dello spettacolo, diviene il trat¬to d'unione imprescindibile che lega i moderni serial killer alla cultura di massa ed alle loro rappresentazioni nell'ar¬te moderna. Il titolo del libro si ispira naturalmente all'in-stallazione di Duchamp "Given 1° The Waterfall, 2° The Illuminating Gas" in cui [artista fa riferimento al concetto di "fait-divers" (l'usuale titolo di rubriche giornalistiche che riportano notizie locali). Secondo Roland Barthes è la natura banalmente casuale, non politica, dei "fait-divers" (disastri, omicidi, incidenti, stupri, incendi etc) che fa di loro una sorta di icone dell'arte di massa. In questo senso sono di nuovo pertinenti i rimandi a Walter Benjamin e ai suoi scritti sull'opera fotografica di Eugéne Atget (1857¬1927), un artista le cui immagini delle strade deserte di Parigi sono per l'autore dei "Passagenwerk" esemplari rappresentazioni della "scena del crimine". I soggetti preferiti di Atget, il "Busoni della fotografia", sono scorci di strade, dettagli architettonici, edifici fati¬scenti, quartieri fotografati alle prime ore del mattino, quando appaiono come abbandonati da uomini e cose, o — al polo opposto — nudi di prostitute che ricordano l'im¬mediatezza dei dipinti di Sackert. In occasione del 150° anniversario della nascita del fotografo francese, le Berli-ner Festspiele hanno dedicato a Eugéne Atget una grande retrospettiva al Martin-Gropius-Bau che si è chiusa il 6 gennaio 2008. Tra il 1897 e il 1927, Atget ha immortalato la vecchia Parigi come nessun altro, le sue foto mostrano la città con tutte le sue sfaccettature: vicoli stretti e cortili nel centro storico con edifici antichi, alcuni dei quali colti poco prima della loro demolizione, ponti, banchine sulle rive della Senna. Foto di trombe delle scale e dettagli di facciate, interni di appartamenti: tutte scene del crimi¬ne". A metà degli anni '20, Atget fu scoperto dagli artisti dell'avanguardia. Man Ray, che viveva come lui a Mont-parnasse, gli comprò circa 40 foto e nel 1926 ne pubblicò alcune su -La Révolution surrèaliste". Anche Berenice Ab-bott ne acquistò diverse e alla morte di Ataget si assicurò 1.500 negativi e 10.000 copie di foto, li portò negli Stati Uniti e si dedicò a rendere nota quest'opera unica, oggi conservata al Museum of Modern Art di New York. Non stupisce dunque [interesse di Man Ray per la collezione delle immagini di Atget di possibili "luoghi del delitto". Rabaté riporta che — in base alle ricerche effettuate da Steven Hodel e pubblicate recentemente nel libro "Black Dahlia Avenger" — Man Ray sembrerebbe essere stato seriamente implicato nell'omicidio di Elizabeth Short, un delitto suggeritogli dall'amico Marcel Duchamp, e la cui opera postuma "Etant Donnés" apparirebbe quindi come una tardiva ammissione di colpevolezza
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