I See You in Everything
I See You in Everything, the first solo exhibition at the gallery of the artist duo, Inez van Lamsweerde and Vinoodh Matadin, better known by their collaborative name Inez & Vinoodh. Without a singular theme or period, the exhibition will comprise of an array of work selected from a colossal career that sprawls over thirty years including photographs made for Vogue Paris, New York Times Magazine, Purple and The Face.
Such a myriad of work is emblematic of Inez & Vinoodh; unrestricted by a fixed aesthetic and allowing their approach to be determined by those in front of the camera, the idea behind each photograph always take precedence. Each work is authored by their collective name and by eschewing further information of their individual roles, we are reminded of their devotion to the image and the person, rather than to context and expectation. And whilst their methodology is constantly responding and fluctuating, it is a persistent duality (both in their artistic work and in life as partners) that creates their unifying and unmistakable character. As Inez says herself, “there’s always a tension between the beautiful and the grotesque, the spiritual and the mundane, high fashion and low fashion, male and female”. Indeed, this duality can be seen in many of the photographs included in the exhibition. In Lucy Fer, the Estonian supermodel Carmen Kass is transmuted into a mythological three-headed creature; a vast flood of wiry haired faces sits atop her naked body and here the elegance and realism of the human form is pitted against monstrous fantasy.
Their maverick ways of working have facilitated a new perception of fashion photographs in the context of art, seeing their work grace the pages of fashion magazines and the walls of museums in equal measure. Thirty years on, Inez & Vinoodh still taunt the temporality of much modern fashion, trading trends for timeless photographs, some which are re-contextualised decades later, just as this exhibition intends to do. At the Ravestijn Gallery, the works are hung to form triptychs, inviting the viewer to look at the works in a new context. In some cases, one image becomes the sum of the two works next to it. And in others. formal or human relationships are highlighted by this new hanging order.