An Army of Light and Shade
Adi Nes is a photographer in the vein of Jeff Wall.
Every image is the outcome of a sophisticated
stratagem, deconstructing the idea of the snapshot
and the frozen slice of (real) life that has been,
and still is, so widespread, as far as photography
is concerned. Western civilization has now been
obsessed by image for over a century. And image is
still exercising an irrevocable pull on it. The data
have changed, historically speaking: it's not the
picture that makes the image any more, it's the
photograph that makes the picture - constantly
showing that it's to do with detail, layout, framing and
shots. The eye does its work by skimming along the
surface of the image, then dissecting it, examining
it, and detailing it.
How come Adi Nes's photos have such a powerful and
irresistible pull?
This essay will try to answer this question, even
though the task is less obvious than it might seem.
Faced with the re-creation of a scene that seems
familiar to anyone who's done their military service,
based on personal experience and a sociological
fix, we can read the image like a reflection of this
experience transformed by the artist's own eye.
But Adi Nes works on discrepancy and lag, as it
were. He doesn't show what you think you're seeing.
In the series that has earned him a name, and even
fame, the Israeli artist presents soldiers in the
Israeli army, a military organization that is
generally reckoned to be no ordinary army. When each and
every member of Israeli society, man and woman
alike, comes of age, they become part of the social
superstructure known as Tzahal. Someone even put it
that every Israeli citizen is a soldier with eleven
months' holiday a year. Fifty years after it was
introduced, this paramount social melting-pot has come
to a crucial point in its history, marked by a
far-reaching identity crisis. Civilian society can no longer
see this phenomenon in abstract terms. Today, it
has accordingly resolved to take a good look at itself
and even deep-plough this terrain that has been
only superficially tilled for so long. Taboos are crumbling
one by one and basic myths are being challenged,
for the enemy without is no longer the same
historical threat that has, in past years, been so
clearly and unswervingly outlined. The assassination
of Prime Minister Yitzhak Rabin in 1995, the
political changes that have occurred since, and the
message has changed tacks. Artists, as ever, have
been among the first to tackle the cultural bedrock
of the Israeli army, with its long-established stereotypes and its painstakingly maintained
image, by
adopting differently critical stances and extremely
subtle positions. The success ofAdi Nes's works
can right away be explained by his accomplished
know-how as a director, and his ability to use soldiers
to express the whole ambiguity existing in the
relationships that underpin Israeli society today.
By using photography to produce rich and complex
images, Adi Nes involves himself with works which
have a very powerful identity, resulting from a
sound knowledge of composition achieved by using a
presentation technique belonging to the realm of
advertising. This approach, incidentally, has made
him one of the distinctive figures in the Israeli
contemporary art scene, and one of the most significant
representatives of the new photography.
Adi Nes's works immediately show a shrewd and
meticulous stage-work, based on direct references
to well-known works in art history, such as The
Last Supper and the paintings of Caravaggio. What
is essentially involved is an iconographic and
theoretical re-interpretation of original subjects, which
are transposed into a contemporary setting and
environment. But Nes's eye focuses especially on
pictorial typologies. Rather than referring to any
specific work, the artist's work tends to highlight
general features and methods of spatial organization
in painting.
Like the painter who defines his composition and
distributes in it the various elements it will contain,
Nes plans and, in a way, constructs each one of his
images. Be it an outside site or an inner space,
he spends a long time pinpointing the appropriate
setting. The choice of figures, their clothing, where
they are placed, and their attitudes and postures
are all patiently worked out. The very smallest objects
are chosen, and a close eye kept on every detail,
to such a degree that the artist's approach is akin
to the film director's work. Nes does in fact very
closely study and rehearse the scene, and the facial
expressions are worked on over several working sessions with the people involved.
The goal is to
create an effect of tension in the image to be
produced, or alternatively reflect a key moment which
encapsulates the whole action. Faced with an image
of this sort, the viewer is unfailingly pulled into
it. In most instances, this "suspended
moment" is put across just by little movements and gestures,
and the facial expressions. The images thus
actually seem to waver more openly between pose and
movement. Nes thus clearly tends to inform his
photographs with cinematographic effects. With their
format and powerful presence, amplified by the way
they are presented, the images also develop a
tremendous impact.
What is distinctive about Adi Nes is the
intelligence he applies in juxtaposing the intensity of the film
image with classical compositions drawn from the
history of painting, in photographs which offer us
his view of contemporary life. This work is neither
pure stylistic exercise nor a demonstration of any
kind of virtuosity. Quintessentially, it reveals
the critical eye of a young man surveying both his day
and age and his peers, among whom he has an
undeniable place. By in turn perusing pictorial models,
which have actually become archetypes, Nes resorts
to the deja-vu effect as a crucial way of describing
reality. The places, situations and characters we
find in Nes's images may well appear familiar, and
even, at first glance, seem somewhat commonplace,
especially for the Israeli audience, but this is
really because all this also resembles what people
may come upon in everyday life. But the eye is
never indifferent, for it is engaged by a detail or
expression which suddenly turns out to be unexpectedly
significant.
Nes re-creates events and situations which soldiers
experience day in day out - perhaps because
they are too much a part of the private daily round
- in order to display the signs of hidden human
manners, symptoms of an evolution of society and a
necessary updating. By way of the various
issues raised by social, psychological and sexual
issues, subtly depicted by the imagery used, Nes
highlights the alienation of the individual in
today's world and the loss of a Utopian ideal.
There is another set of issues that hallmarks Adi
Nes's approach, which are, per se, more radical,
and likewise managed in a shrewd way. They have to
do with the homosexual identity, and what we
might call a perfectly tempered gay aesthetic.
Confronted by the common and, need it be said,
mistaken accepted sense, introducing standard
factors into the military organization of a regular army,
and dictating the image of a claimed and assumed
group identity with clearly defined boundaries,
Adi Nes one by one imbues the ingredients with an
open and indescribable identity. And hey presto!
the breach is made. In this artist's photos, the
privates are all characters with confused identities and
ambiguous attitudes, captured by Adi Nes in poses
which, at first glance, are part of the warrior's
repertory: relaxing, exercising, brotherhood,
friendship, partying and sharing, and hierarchy. But at
the same time the transgressive character of
homosexual dispositions gives the individuals concerned
a certain number of features in common. What
directly emerges is a specifically homosexual sensibility,
which, first and foremost, reflects a lucidity
stemming from this permanent role-playing, and the
removal from self which results from the
secretiveness invariably marking these circles, though it is
never pronounced. One of the most striking features of the "homosexual condition"
seems to be its
unspeakableness and, as a result, the fact of
having to learn how to deal with an unspeakable identity.
In tandem, what Adi Nes reveals is a logic of
emancipation, even if this logic here has a contradictory
form. These days, the readjustment of the image of
homosexuals proceeds essentially by way of its
masculinization. So, just when oppression is
slackening off, we are witnessing a movement of
redefinition that is shattering the caricatural
image imposed by the majority on the minority, and thus
forging a liberated group identity. It refers to a
process of winning an identity, inseparably individual
and collective. The situation of oppression and
social rejection which still faces many homosexuals
(if only because
of the mum's-the-word stricture that is their lot in most social situations)
helps to
create a kind of fateful community. Adi Nes's
approach directly introduces a homosexual community
which is organized, claims rights, and is keen to enact deeds affirming a public identity.
The recent development of Adi Nes's work reveals,
more than ever, the complexity and distinctive
features of his artistic project. By incorporating
the principles of painting, photography and film all at
once, this work, which is one of the most coherent
and relevant bodies of visual expression, defies
any kind of restrictive categorization. From a
strictly photographic viewpoint, however, Nes's work is
conspicuous for the outstanding way it reconciles and works the basic aspects of photography - both
in terms of its direct grasp of reality, otherwise
put, its objective character, and the personalized view
of this reality, otherwise put, its subjective
character. This, moreover, is one of Nes's main concerns:
to give us hints, through various details, about
the tricks he uses, while showing us intense events
and moments with the greatest possible realism.
When, as viewer, you look at Adi Nes's images, you
get a sense of enjoyment. The mainsprings of
this impact reside as much in the photographic
paraphernalia as in the revelation of the confusion
that works its way into this paradoxical area made
up of a compression of time and a form of delayed
action or movement. It results from a wavering
between snapshot and pose which is conveyed either
by images which are steeped in photography (he
excels in genre scenes), or by a setting in which
each element is selected, designed to make up the
"photographic picture", so dear to the Canadian
master. This is when different, separately
photographed split seconds can be incorporated on a
backdrop which, as a result of image manipulation,
is stratified, but never thickens.
The photograph comforts and reassures the onlooker
when he realizes that what is involved is a tiny
sampling in time. It intrigues when it re-creates
or conjures up the actual conditions of life - effect of
verisimilitude, blur of a moment almost impossible
to document or hang on to as such. Adi Nes's
images have this ambivalent presence: they have
this link to the instant and then to a longer period.
Everything in them is caught in a fraction of a
second and artificially suspended, or even immobilized
for a long time.
The area in which Adi Nes works and thinks, and the
zone he tries to encompass, is definitely very
small. An aside, we might say. The impact of this
artist's images, and their powerful spell, lies here,
in this interstice where various ways of reading,
framing, interpreting, constructing and seeing the
real meet and merge.
In front of this world and this reconstructed
atmosphere, we become detached onlookers - an
unexpected role because the subject has to do much
more personally with the viewer. The viewer
feels this straightaway and is greatly indebted to
the artist.
Ami Barak. Montpellier,2001.
(Translated from
the French by Simon Pleasance(