Filmen (Filming) 36-47 1942

Curator: Here we have Robert Frank’s “Filmen (Filming) 36-47”, a gelatin silver print dating from 1942. The work presents a series of smaller photographs arranged grid-like on a larger sheet. It seems to blend staged portraiture with candid documentary images. Editor: It’s like stumbling upon someone’s contact sheet, an accidental collage. I get a definite "behind-the-scenes" vibe, a fleeting glance into the messy realities behind some unnamed film production. I keep noticing all these subtle portraits emerging from this constellation. Curator: Yes, framing this as a series speaks volumes about Frank’s approach, hinting at narrative possibilities while refusing any singular viewpoint. Consider the context: a period of immense global upheaval and escalating conflict. Frank's eye seems drawn to moments of human interaction, even if ambiguous. There is this photograph with children marching to follow a man carrying an urn... The overall atmosphere is dense with implications. Editor: That somber march really caught my eye too. Then there’s that curious image of someone meticulously cleaning shoes. I’m struck by how easily these juxtaposed frames could lend themselves to countless interpretations depending on the viewer. What narratives resonate given these historical markers? I am compelled by the image showing somebody lying on what looks like a bed with an open alcohol bottle placed next to them. I would want to know who this is and what were they going through at this period of time. It almost feels like he intended to show more about life instead of about the process of filmmaking. Curator: Precisely. These contrasts encourage an awareness of the socio-economic contexts impacting individual experiences during the period. The images with many individuals seem more cheerful in comparison with other ones like this drunk person on the bed or somebody standing in front of an ominous light, like some sort of ghost. Frank seems keen on emphasizing these complexities, and on how human drama is shaped under pressure. Editor: It makes me wonder what stories hide within the margins of even the most grand, theatrical spectacles. I feel the power in this photographic approach as an artist. Robert Frank captures things beyond face value. Curator: Indeed, it’s about unsettling established narratives and finding the extraordinary within the ordinary. Thank you for being here. Editor: My pleasure. Always a conversation that continues.