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Too much, too little

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digital print on archival paper
format: 67x90 cm
edition of: 8+2 AP

 

Too much, too little

Jane Štravs: Too much, too little
30.9. - 6.11. 2010

Opening: Thursday, September 30th at 8pm


The exhibition by Jane Štravs, master of candid and visually purified portraits, features his photographic production of the last five years, focusing primarily on portraits of known and less known personalities.
The author has been involved in portraiture ever since his first engagement in photography. The 1980s, when he was portraying the Ljubljana underground scene, are marked by black and white portraits, only roughly sketched, unrefined, at times almost graphic and taken out in the field. These last were the result of the author's urge to express this scene, with which he had a genuine affiliation, which allowed him up-close insight into and characterization of its protagonists. In the 1990s, his photography became imbued with glamour. This was the epoch of fashion campaigns that had a strong auctorial concept. He brought into fashion photography the story of personal points of view, while eliciting from the models, apart from their nice faces, also their character. Štravs used fashion industry, which usually grinds down its promoters, to show to the world of glamour stories from the margins of society, speaking at the same time and in an engaged manner about refugees, grim neighborhoods of social housing, ruins of the decayed economy and lovely, tailored dresses made for all those who are spared from such meager conditions.The portraits from this period are distinguished for their black and white aesthetics, brought to their utmost perfection. Portraits of known personalities, protagonists of the cultural life of a young country, are studio made. Štravs places them into the stories of themselves, most often with the attributes of their own activities, tearing the masks off their faces for the uninitiated.

In what direction is Štravs's photography evolving since, in terms of form and content, he has tried himself both in the rough, instant image as well as in its opposite?
The portrayed people of the exhibition Too Much, Too Little are those who are leaving their trace in the photographer's world - but not only in his world. These are more or less characters that differ from the "mainstream". And this is typical of Štravs. If the portrayed people in the 1980s "rearticulated life at the margins of a totalitarian society"*, the portraits of the last five years rearticulate the postmodern consumerist society of people with equal desires and goals. These are the people with whom Štravs "lives", people that inspire him with their work. As a result, these are not only portraits, but also the portrait of the author himself, of his affinities and of the social areas in which he moves. Among them there are a few who, with their attitude, lay down the guidelines.
The evolution of his photographic gaze has taken on colour, and studio portraits have given way to "field" work. The insightful portraits, in which the portrayed collaborates and is aware of the fact that s/he is being portrayed, in which the author almost entirely decides upon the final image, have been joined by photographic portrait "sketches", captured unstaged moments that have a lot in common with the portraits of the 1980s in terms of form and content. The portrayed are placed in their usual environment, in their familiar space, and the photographer's presence can hardly be noticed.

However, Štravs is distinguished for duality, antagonism, passages between the opposites: from periphery to centre; from the moment in which everything is staged for the foreign gaze to intimacy; from the well-thought-out to the instinctively perceived image; disengaged and engaged at the same time - reality is the matter that Štravs transforms into an auctorial statement.

Renata Štebih

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*Marina Gržinić: Štravs' photographic incarnations; Jane Štravs: Photographic incarnations, ZRC SAZU, 2003.