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Empire of the Sun artwork
Different conflicts also reappear from multiple points in time throughout the exhibition, whether as rarely-seen historical images or recent photographic installations. The Second World War for example is addressed in Jerzy Lewczyński’s 1960 photographs of the Wolf’s Lair / Adolf Hitler’s War Headquarters, Shomei Tomatsu’s images of objects found in Nagasaki, Kikuji Kawada’s epic project The Map made in Hiroshima in the 1960s, Michael Schmidt’s Berlin streetscapes from 1980, and Nick Waplington’s 1993 close-ups of cell walls from a Prisoner of War camp in Wales.
While the images allow increasing passages of time between events and the photographs that reflect on them – “made moments after the events they depict, then those made days after, then months, years and so on” – there settles in the pit of the stomach some unremitting melancholy, some unholy dread as to the brutal facticity and inhumanness of war. The work which “pictures” the memory of the events that took place, like a visual ode of remembrance, are made all the more powerful for their transcendence – of time, of death and the immediate detritus of war.
Conflicts from around the world and across the modern era are depicted, revealing the impact of war days, weeks, months and years after the fact. The works are ordered according to how long after the event they were created: images taken weeks after the end of the American Civil War are hung alongside those taken weeks after the atomic bombs fell on Japan in 1945. Photographs from Nicaragua taken 25 years after the revolution are grouped with those taken in Vietnam 25 years after the fall of Saigon. The exhibition concludes with new and recent projects by British, German, Polish and Syrian photographers which reflect on the First World War a century after it began.
Different conflicts also reappear from multiple points in time throughout the exhibition, whether as rarely-seen historical images or recent photographic installations. The Second World War for example is addressed in Jerzy Lewczyński’s 1960 photographs of the Wolf’s Lair / Adolf Hitler’s War Headquarters, Shomei Tomatsu’s images of objects found in Nagasaki, Kikuji Kawada’s epic project The Map made in Hiroshima in the 1960s, Michael Schmidt’s Berlin streetscapes from 1980, and Nick Waplington’s 1993 close-ups of cell walls from a Prisoner of War camp in Wales.
While the images allow increasing passages of time between events and the photographs that reflect on them – “made moments after the events they depict, then those made days after, then months, years and so on” – there settles in the pit of the stomach some unremitting melancholy, some unholy dread as to the brutal facticity and inhumanness of war. The work which “pictures” the memory of the events that took place, like a visual ode of remembrance, are made all the more powerful for their transcendence – of time, of death and the immediate detritus of war.
Cinematic artwork
The movie Personal Shopper from 2016 far surpasses the limits of the fashion industry. Olivier Assayas offers a film that considers loss and the lengths someone will go when faced with its intensity. Kristen Stewart plays Maureen, the main character and personal shopper who has recently lost her twin brother.
Many great artists succeeded in immortalizing mundane scenes of everyday life or fictive portraiture through their paintings. What they do not know is that later on, their work was integrated into a different genre – film! Let’s take a look at 7 scenes from well known movies that were directly taken from works of art!
Color also became a powerful tool for storytelling in both film and painting. With the advent of color film, directors like Alfred Hitchcock and Stanley Kubrick used color palettes strategically to evoke specific emotions and themes. This cinematic use of color inspired painters to think more critically about their color choices, using vibrant or muted tones to set the mood and enhance the narrative quality of their work.
The Pre-Raphaelite painter John Everett Millais had already depicted a similar scene in his work “Ophelia” (1851-1852). Ophelia, an iconic character from Shakespeare’s tragedy “Hamlet,” peacefully floats on the water, giving rise to a moment that is both gentle and mortuary. Surrounded by lilies, Justine (like Ophelia) already appears distant—has she already departed this world?
