| Popis: |
Reviewing Tarrah Krajnak’s exhibition at Huis Marseille in Amsterdam, I observe how for Krajnak, distorting Ansel Adams’ photography is an act of appreciation as much as it is an act of questioning the process of archiving and preserving his art. Rather than trying to preserve the intentions or essence of the art, Krajnak’s series challenges the very idea of an essential, immutable spirit that belongs to an artwork, opting instead to document how interacting with art dissolves the possibility of its fixed condition and involves an act of co-making. Moreover, as I will show, by bringing her videos into circulation on social media such as Instagram her work enhances the performativity of documentation through the audience’s (potential) engagement, but it also destabilizes documentation as a window into the past and hints toward how preservation has instability built into it. |
