There is something about David LaChapelle's photography that despite seeming strange, appears to be nonetheless familiar. In his most characteristic images, an unlikely configuration of characters and elements interact on an unusual landscape. It looks as if in his photographs, as occurs in the uncanny, the familiar has become strange.
On this occasion, the Museum of Contemporary Art in Lima exhibited a selection of photographic series ranging from 1984 to 2013, in which the artist shows a critique of pop culture of the XXI century.
We can see David LaChapelle doing a tour of the exhibition.
In his words: "I met Andy Warhol at clubs in New York... I talked to him and said I was a photographer and if could I show him my pictures and he said 'Sure'. He gave me my first extended place to work as a photographer at Interview magazine. It was my schooling."
The strangeness of the picture concerns the disproportion in size between Cameron Diaz and the setting of the photo. Regarding the dollhouse, Diaz evokes Alice -the one from Wonderland- after eating the cake which makes her grow.
David LaChapelle's work is influenced by his relationship with magazines, fashion and the icons of contemporary culture, while he shows his own world view.
The main objective of LaChapelle for this series was to help dispel the trial of the fundamentalists by placing Jesus in nowadays, not surrounded by samaritans or lepers or people possessed by demons, but instead, with today marginalized people.
Michael Jackson is portrayed as the Archangel Michael defeating the devil in the midst of a sea cliff. While classic religious iconography shows the Archangel Michael in armor.
Here Jackson wears his typical attire making the singer immediatly recognizable as himself.
These photos belong to the series "The Kingdom Come".
The famous transexual icon Amanda Lepore poses as Marylin Monroe but in the version of the portraits of the actress made by Andy Warhol. The beauty ideal exceeds the limits of a beauty salon, as it demands a surgical production of the body, a complete reinvention of the person.
This picture shows the armless torso and face of Madonna, wearing lipstick, and including her characteristic mole and crucifix earing. The importance breasts have in the picture suggests that the iconic nature of the character is inseparable from its sexualization.
Shows Michael Jackson's face fractured at the level of the eyes, a severed and bandaged forearm and a few cut-off fingers. The mask's artifice is patent. Is a commentary ont he nature of fame, where the reproducibility of the image occurs at the expense of its fragility, where icons are based on their artificiality.
Museum of Contemporany Art of Lima.
Communication: Alicia Bisso.
Exhibition curator: LaChapelle Studio, Greta Hint.