I saw a wonderful exhibition this weekend, collecting work by Alex Prager combining photography and film in intricately staged hyper-real scenes. The collection that has been playing on mind since seeing it is Face In The Crowd. If you click on the screenshot below, it will take you to the website where you can see the work:
The accompanying notes described how these are “dynamic tableaus where individual characters are presented in equally sharp focus, seemingly lost in their own internal conversations”. It reminds me of Hannah Starkey’s work in its fascination with how interiority plays out in social scenes, showing how private experience nonetheless has a public existence.
However I found the staging of the scenes troubling, as much as I recognise the intention behind them. It feels like the relationality is washed out, as if collectivity is exhausted by the artefact of the social situation. There’s a strange emptiness between inner and outer, with interaction reduced to staging such that the bonds of social life appear as little more than fragile constraints.
Each of these scenes is a collage of individuals rather than a collective, creating images which are sociological in their intention but not in their enactment. Individuals are either lost in the reality of their own lives or looking forlornly through the artifice of shared reality, as is the case with the red-haired woman in the image above. It foregrounds that artifice but also inflates it, losing track of how it functions as a collective tissue which knits together individual lives in the mundane interactions throughout the day.
It is scaffolding which often fades into the background, facilitating the relationality which is lost in these scenes. It is a deliberately stilted vision of the social, hugely succesful in its staging and producing an aesthetic which I find immensely unsettling.
Mark Carrigan 