A posthumous dialogue: Testino and van der Elsken at Annet Gelink Gallery
Mario Testino and Ed van der Elsken come from different backgrounds – different continents – and are of different eras. They found renown in different photographic fields. Yet there is something similar in the approach to their work that suggests kindred spirits.
Testino has been an admirer of van der Elsken since the 1980s, and earlier this year MATE (Museo Mario Testino) in Lima, Peru, put the late enfant terrible of Dutch photography centre stage with a show entitled 'Sin Censura' ('Uncensored'), the second exhibition in the museum's annual series, 'Maestros de la Fotographia' ('Masters of Photography').
‘When you are trained as a photographer, you are often told to look for perfection – but in Ed's work I discovered the opposite,’ Testino explains. ‘Photography can be anything; good images exist because you create an emotion and you see something other people don't see, and you put it out there. I notice a lot of my work is like that.’
For Testino, a photograph exists as much to capture a moment in time as to demonstrate high art. ‘We are both curious about many things that are just there – maybe not the most perfect thing or the thing most sought after by society, but something that just caught our eye. And we are the people who can make others look differently, and maybe change their perception of things,’ he adds.
The idea of 'Me and You' developed from the MATE exploration. For this new exhibition, Testino chose images from his ouevre that had never before been exhibited, and likewise selected lesser-known photographs from the van der Elsken Archive of Amsterdam's Annet Gelink Gallery. The juxtaposition of the two photographers’ works suggesting a posthumous dialogue.
The exhibition is also a rare opportunity to see Testino's work in such an intimate situation. The exhibits have been brought directly from his immense archive in London and are personal works created with no specific purpose (in contrast to his fashion commissioned works, with which we are more familiar). It is refreshing to see a more private, unofficial manifestation of Testino's marvellous artistic soul.
INFORMATION
'Me and You' is on view until 5 March 2016. For more information, visit Annet Gelink Gallery's website
ADDRESS
Annet Gelink Gallery
Laurierstraat 189
1016 PL Amsterdam
Wallpaper* Newsletter
Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox.
Yoko Choy is the China editor at Wallpaper* magazine, where she has contributed for over a decade. Her work has also been featured in numerous Chinese and international publications. As a creative and communications consultant, Yoko has worked with renowned institutions such as Art Basel and Beijing Design Week, as well as brands such as Hermès and Assouline. With dual bases in Hong Kong and Amsterdam, Yoko is an active participant in design awards judging panels and conferences, where she shares her mission of promoting cross-cultural exchange and translating insights from both the Eastern and Western worlds into a common creative language. Yoko is currently working on several exciting projects, including a sustainable lifestyle concept and a book on Chinese contemporary design.
-
Alaïa’s secret new London café and bookstore is inspired by the art of hosting
Housed on the third floor of Alaïa’s London flagship, the intimate space – inspired by Azzedine Alaïa’s famed hospitality – includes a Violet Cakes bakery and a bookstore by Claire de Rouen
By Jack Moss Published
-
Is it really possible to stage a Shakespeare play inside the game Grand Theft Auto?
Grand Theft Hamlet, a documentary debut written and directed by Pinny Grylls and Sam Crane, is about two out-of-work actors attempting to mount a full production of William Shakespeare’s Hamlet, inside the violent world of Grand Theft Auto, shot entirely in game
By Billie Walker Published
-
Arlo NoMad hotel makes the American diner officially cool again
The NoMad Diner NYC’s interiors and menu offer an elevated take on an American classic
By Dan Howarth Published