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It is Antonin Artaud's Theatre of Cruelty transposed Haitian sluts videos to Haitian sluts videos streets of Jacmel, and shot though with elements of Vodou ritual and scabrous political satire as well as often extraordinarily inventive self-expression. Unlike, say, the bacchanalian carnival festivities in Rio de Janeiro, Jacmel's celebrations are truly weird and often genuinely frightening, their participants, as another essayist in Kanaval, Donald Cosentino, puts it, like "characters in some commedia dell'arte from hell". The problems of photographing such an event are myriad and, by now, well-documented: Gordon, I think, has managed to circumvent many of these problems of representation and commodification by making her photographs neither one thing nor another: Formally, the photographs are powerful, not least because Gordon opted to capture the wild and colourful celebrations in black and white, a choice that makes the end results seem timeless, almost restrained.
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Initially, Gordon's images reminded me most of Irving Penn's equally extraordinary, but Haitian sluts videos superficially similar, photographs of the Asaro Mudmen of New Guinea. Penn did with the Mud Men what he did with everyone Haitian sluts videos photographed, from French working men to Parisian fashion models: In the images that result, you get the sense that, like those working men and models, they were simply another set of specimens for his tyrannically democratic photographic vision. Gordon's Kanaval characters are captured in situ, but, more often than not, she convinces them to leave the main procession for a moment and follow her down a side street or into a doorway for what might be called a performance portrait.
Put bluntly, she colludes in their performance, and they collude in her portraits. How exactly, though, do we, as viewers, participate in that ongoing conversation? What is it about the images that allows us to be curious onlookers rather that cultural voyeurs? Again, it's that fluent space they occupy between reportage and portraiture, the neither-here-nor-there quality. What is intriguing, too, about Gordon's photographs is the sense of stillness they often exude. For all the grotesquery, the surrealism, the constant intimations of the vividness, movement and madness of the carnival, the photographs are oddly quiet. Often, we are looking at a heavily made-up face or a mask that is looking, inscrutably, implacably, back at us.
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