Résonances (part II), Aglaia Konrad, Undecided Frames

Aglaia Konrad

Aglaia Konrad

Aglaia Konrad
Undecided frames, 2016 (Porto 2011) colors photography, 41 x 54 cm.Edition 1/1

Aglaia Konrad

Aglaia Konrad

Aglaia Konrad
Undecided frames, 2016 (Creteil 1999) colors photography, 41 x 54 cm. Edition 1/1

(…) In refusing to choose, Konrad also reclaims her position as an intermediary between image and viewer. Bringing the differences between the two images (however small they might be) to the notice of the viewer, she makes clear that every photographic image is the result of her subjective choices. Moreover, by naming these double takes « undecided » she manoeuvres the viewer into a situation he normally never has to deal with, the moment of choosing being a solitary moment, safely hidden from the prying eyes of the public. Now the question of choosing becomes our problem: are we supposed to make the choice Konrad didn’t want to make? Maybe, but for us, this idea of choosing is even more senseless than it was for her, because we have no stake in this choice. The only option we are left with is to nod our head from left to right (and back again), searching in vain for a way out of this either/both/neither dilemma. We find ourselves forever stuck in the impossible logic of the photographic system. (…)