Nadav Kander’s latest landscape series “Dust” is exhibited at Flowers, Kingsland Road, London until 11 October 2014.
All photographers make an aesthetic decision when they choose a viewpoint and frame a photo, but aetheticisation goes beyond this to making “pleasingly beautiful” or “idealised”1 landscapes. It’s a sliding scale, with photographers like Daido Moriami and his snapshot approach at one end to the over-saturated pointless sunset at the other. In between there are professionals and amateurs emulating masters of the past, copying masters of the present or genuinely exploring and pushing forward photographic landscape aesthetic.
Artists making a living by landscape photography are restricted by their market; they tend to photograph in a way that will sell. This frequently results in the commodification of a mythic landscape using lowest-common-denominator aesthetics. So as a professional artist/photographer Nadav Kander has a difficult path to tread with “Dust”. In this work he chooses to document a “dirty” landscape – radioactive ruins on the border between Kazakhstan and Russia where atomic bombs and missiles were tested – in his characteristic quiet light reminiscent of the Dusseldorf School (Gursky, Ruff, Struth et. al.). Sometimes he chooses a camera position that only shows one side of a building, giving a static 2-dimensional impression but more commonly he shows us 2 sides, giving perspective, a little more dynamism and a greater sense of reality. He gets in there and shows us individual buildings or at least what’s left of them after an atomic blast or quake. Thankfully there are no aerial photographs, which I find too distant and abstracting to get me involved. Kander’s landscapes are under-stated, controlled and consistent but not so consistent that they become boringly repetitive. They engage the viewer intellectually and emotionally without bludgeoning them with a message. Given the subject, I find his images err on the too-comfortable aesthetic side, but like all good art the work poses questions rather than provides answers so I can forgive his tendency to over-aestheticise. Having said that, he stays safely within his own photographic aesthetic to great effect: the viewer can almost hear the Geiger counter clicking away in the background. If you like Kander’s previous work you should be impressed with this new one. If you don’t know his work I highly recommend seeing Dust.
There’s an interesting interview with Nadav Kander on Vimeo and there’s a (slightly expensive) book. If you can’t get to the exhibition, do check out the book.