Rineke Djikstra
16 Mar - 19 Jun 2011
RINEKE DJIKSTRA
16 March - 19 June 2011
One of the two films in Rineke Dijkstra’s exhibition I See A Woman Crying shows a group of children from a primary school interpreting Picasso’s painting Weeping Woman from 1937. Together, the children devise stories about the woman in the image – how she feels, where she has been and where she is going.
We never see the painting, but the children’s imagination triggers our own. In the second film, we see how the school girl Ruth, who is deeply concentrated and at the same time slightly distracted, tries to capture Picasso’s motif in her sketchbook.
Rineke Dijkstra had the idea for the two films in 2008, when she was artist-in-residence at Tate Liverpool, whose collection includes Picasso’s painting, and was fascinated by the museum’s educational work with local schools. She was particularly interested in the ‘work in focus’ sessions, where children studied works for a prolonged time and then were encouraged to discuss them.
With a practised hand, Dijkstra guides me through a whole complex of questions about identity. In other words, how we as human beings become independent individuals, and how we can exist in the world. Camilla Larsson, curator Bonniers Konsthall.
16 March - 19 June 2011
One of the two films in Rineke Dijkstra’s exhibition I See A Woman Crying shows a group of children from a primary school interpreting Picasso’s painting Weeping Woman from 1937. Together, the children devise stories about the woman in the image – how she feels, where she has been and where she is going.
We never see the painting, but the children’s imagination triggers our own. In the second film, we see how the school girl Ruth, who is deeply concentrated and at the same time slightly distracted, tries to capture Picasso’s motif in her sketchbook.
Rineke Dijkstra had the idea for the two films in 2008, when she was artist-in-residence at Tate Liverpool, whose collection includes Picasso’s painting, and was fascinated by the museum’s educational work with local schools. She was particularly interested in the ‘work in focus’ sessions, where children studied works for a prolonged time and then were encouraged to discuss them.
With a practised hand, Dijkstra guides me through a whole complex of questions about identity. In other words, how we as human beings become independent individuals, and how we can exist in the world. Camilla Larsson, curator Bonniers Konsthall.