By Christian Viveros-Fauné
By Miriam Felton-Dansky
By Tom Sellar
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By Jessica Dawson
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By R. C. Baker
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With wall-to-wall teenagers doing little more than dancing, staring, or standing, Rineke Dijkstra's 26-minute split-screen video projection, The Buzzclub, Liverpool, UK/Mysteryworld, Zaandam, NL (1996-97), should be generic. It turns out to be one of the best videotapes made by an artist.
When I first saw it, in London three years ago, I couldn't take my eyes off its rhythmic, left-right, minimalist structure, its lingering looks at club kids as they groove to the sounds of house music and DJs barking out salutations. The form is simple: a juvenile on the left, another on the right; sometimes one screen is blank; occasionally, two kids are in one frame. All are posed in front of the same white backdrop. Buzzclub may peter out at the end, and bog down here and there, but the whole thing's like a superlong version of that ecstatic split second at a party when your eyes lock onto a stranger's.
Buzzclub reminds you how great it is to watch other people dance. If you're of a certain age, it can trigger prelapsarian pangs, the remembrance of things past. The tape, although made over the course of two years in England and in Holland, seems to encapsulate a single night. Starting slowly, it picks up speed, gets going, keeps going, and goes a little further. Anticipation is followed by reverie. Beer gives way to harder drinks, intimations of E and coke, then bleary-eyed spaciness and early hangovers. Things mellow out. It ends with the dual projection of a lone woman trying, one last time, to find the beat. Buzzclub passes over you like a meteorological event.
In the first scene, a fresh-looking girl in a white dress sips a beer, waiting for the party to begin. On the right, another girl dances slowly. Things warm up when a couple starts kissing; it's fabulous to watch this intricate, intimate dancethe girl firmly yet subtly in control as she guides the boy's hands from her chest back down to her hips, turning the kiss into something more than copping a feel. Next, a classic typethe sexy, hipless English girl in a satin dresslanguidly swivels left and right. All the while, a pent-upness beats beneath the surface.
About 10 minutes into Buzzclub, Dijkstra lights a time bomb. A blond girl, soft of face, wearing a white dress with a diamond cutout midriff, appears. Initially, she looks shy, dopey, enticing but unsure of herselfjust another mall rat. She sways slowly. She's not really moving much, but seems to be going deep into herself. Her eyes are half closed, and a faint smile forms on her lips. Over the course of five extraordinary minutes, she loses consciousness of the camera. Then, just as the music ups its tempo, her handswhich had been clasped behind her backrise; she lets loose and explodes, and you realize this gosling is part goddess. She's completely in control of her body, its movements, and its effects.
Watching these ardent adolescents as they try on the masks of sex, seduction, adulthood, and cool, or stare you down with smoldering looks, is like a glimpse into a molten core. For me, Buzzclub was a conversion experience: In 26 minutes, Dijkstra went from being an engaging photographer to an avatar of the exquisite. Seeing it in its New York debut only confirms this feeling.
Unfortunately, the eight new photographsof youngsters standing in parksthat accompany Buzzclub aren't as mesmerizing or evocative. They're flawless but familiar, even enervating taken together. Dijkstra, 41, from Holland, presents a complicated case: Not only is she a subscriber to photography's convention-of-the-moment, she's one of its inventors and livelier practitioners. Cool and stately, her best pictures are triumphs of taste. Her virtues are negative ones, her photos, successful for what they are not: not voyeuristic, simplistic, manipulative, or melodramatic.
In the way that Andreas Gursky transforms the act of looking at photographs into the experience of movies, and Thomas Struth enlarges photography to philosophical proportions, Dijkstra attempts to convert the medium that was supposed to overturn painting back into an almost painterly practice. Many of her pictures trigger afterimages of Manet's Fifer or Cézanne's Bather (as was seen in MOMA's recent rehanging of its collection). A formalist at heart, she's interested in the almost-monochromatic, allover, single-surface background. In her great pictures of young bathers posed at the beach, the sea plays that part; laterin her startling portraits of nearly naked young mothers holding their infantsthe hospital corridor stands in for the ocean. In Buzzclub, whiteness was the setting. In these new photographs, she's gone Barbizon: All the pictures are suffused with this glimmery greenness.