Whitewall: Art, Design, Fashion, and Luxury Lifestyle

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Go inside the worlds of art, fashion, design, and lifestyle.

Barbara Probst, "Fashion," 2021, courtesy to the artist and Monica de Cardenas.

Installation view of Barbara Probst, "Exposure #136: New Canaan, Connecticut, The Glass House, 04.18.18, 4:11 p.m.," 2018, Ultrachrome ink on cotton paper, 7 photographs, di!erent dimensions, courtesy to the artist and Monica de Cardenas.

Barbara Probst, "Exposure #140.5: Brooklyn, Be Electric Studios, 352 Troutman Street, 10.29.18, 3:04 p.m.," 2018, Ultrachrome ink on cotton paper, 3 photographs: each 92,5 x 92,5 cm; 36,4 × 36,4 inches, courtesy to the artist and Monica de Cardenas.

Barbara Probst, "Exposure #137.2: N.Y.C., Broome & Crosby Streets, 05.01.18, 12:23 p.m.," 2018, Ultrachrome ink on cotton paper, 2 photographs: each 62,5 x 62,5 cm; 24,6 × 24,6 inches, courtesy to the artist and Monica de Cardenas.

Milan, Porta Garibaldi

Barbara Probst: Fashion

Monica de Cardenas presents a solo exhibition of Barbara Probst’s fashion photographs, on view through September 25.

May 14, 2021 - September 25, 2021

Monica de Cardenas presents a solo exhibition of Barbara Probst’s fashion photographs, on view through September 25. Each work by the German artist is composed of a group of photographs mysteriously connected as they show the same subject from different vantage points. With the help of a remote control, Probst activates multiple cameras to fire and capture simultaneous shots of the same scene. Each angle conveys a different reality, disclosing the relativity of every single image. Probst uses this technique to explore conventions and typologies of surveillance, portraiture, still life, and fashion photography.

The exhibition begins with a triptych in which models wearing Versace dresses aim their cameras towards a naked man. Each model, with its own lens, creates one image that is displayed. Through this inversion of roles, the artist highlights the importance of perspectives on themes of gender, authority, and power. The final room interrupts the strict compositional order of the previous ones with seven photographs of models that seem to float on the wall. The irregular arrangement is contrasted by a scene set up inside the iconic Glass House by Philip Johnson.