Zeitschrift Umělec 2004/1 >> Include Me Out - Daniela Rossell — "Ricas y Famosas" Übersicht aller Ausgaben
Include Me Out - Daniela Rossell — "Ricas y Famosas"
Zeitschrift Umělec
Jahrgang 2004, 1
6,50 EUR
Die Printausgabe schicken an:
Abo bestellen

Include Me Out - Daniela Rossell — "Ricas y Famosas"

Zeitschrift Umělec 2004/1


Dunja Christochowitz | full happiness | en cs

“The secret codes of home are not made of conscious rules, but rather spun from unconscious habits. What characterizes the habit is the fact that one is not conscious of it. The person without a home must first consciously learn the secret codes and then forget them, to be able to immigrate into a home. However, if the code becomes conscious, then its rules turn out to be not sacred but banal.”
Vilem Flusser, Taking Up Residence in Homelessness, 1984
Garry Winogrand’s famous saying “I photograph to see what things look like when photographed” perfectly describes photography which synthesizes documentary and artistic approaches to the technical image. However, photography itself seems incapable of depicting habits or exposing codes, though when applied to art it does profit from the critical distance given to its motifs. The photographer/artist discloses his or her habits and consciously lays open codes not yet conceived (which are then no longer sacred). This may be what things look like when photographed. Ricas y Famosas, a series of photographs by Mexican artist Daniela Rossell, portrays Mexican middle- and upperclass women who allowed the artist into their lives and were willing to pose in what seems their natural surroundings, among their belongings, in their homes.
When Rossell dropped out of the National School of Visual Arts in Mexico City, where she had been enrolled in painting, she engaged in the seven-year project. Starting with friends and acquaintances, in time she was given access to, it seems, most of Mexico’s upper-class living rooms, where no staging was ever necessary or called for. The wives and daughters (but rarely sons, as the male inhabitants of her “sets” obviously didn’t interest her too much — one exception was former President Carlos Salinas’ son Emilio, who, sitting up in a huge tree, seemingly defies his father’s notoriety as one of Mexico’s top ten most corrupt) of Mexico’s Oligarchs willingly arranged themselves amongst their belongings, merging with their property. These women never quite lose their air of dependence on their husbands and fathers. They seem innocent in their habits, mirrored in their luxury items and flush scenes of kitsch overload as they meander between colonial wannabe-grandezza and modern plush furnishings, rich with every sort of ruling class iconography selected for apparently no other reason than to display their notion of power and wealth. The background gallery of family pictures, sometimes happy family snapshots of the American graduation-vacation-holiday type, sometimes airbrushed portraits of the depicted person and/or her relatives, quickly grabs the viewer’s attention. Rossell’s photos seem to merely add yet another dimension to the already dreamy cosmos of these women’s idea of self representation.
Barry Schwabsky writes in the catalogue Ricas y Famosas (Hatje Cantz): “Rossell’s subjects reveal themselves as they are or would like to believe they are, and it’s perhaps their elision of the distinction that gives the pictures the air of barely contained madness. Just as their wealth allows them to spoil themselves physically, (...), it defends them against having to face an antagonistic worldview. The idealized peasant women in drawings by Zuniga, seen in one photograph, are perfectly suited to banish any thoughts of rebellious peasants in Chiapas.” And any thought about their backward idealization of home, a strange and yet familiar medley of (Western) society’s traditional codes, the preservation and multiplication of media images and a loneliness that under no circumstances will fit into any “Golden Cage” fairy tale. Rossell states, “Most of these women live in the hair salon. They really want to look American, like what they see on TV, and they go to a lot of work to accomplish that. It’s a kind of hell. There’s so much unhappiness among the people who supposedly have everything.”
Daniela Rossell herself seems to pity her models for exactly that loneliness, which she is at loss to depict in her photos, other than through abiding to the concept of home, and ignoring the banality she has just added to it. For a very brief moment, her photos surprise you with a stunning ugliness, followed by the urge to pacify, just before you dismiss them into your overcrowded mental freak pigeonhole. There may be an underlying “money can’t buy me love” claim, the boldness of their exploiters’ naiveté notwithstanding, but Rossell’s main achievement is beyond showing a contemporary version of power’s ambivalences.
By introducing her series with the statement: “The following images depict actual settings. The photographic subjects are representing themselves. Any resemblance with real events is not coincidental.” She poses as a documentarian and gets caught in the mercurial effect of image-making. If anything, Rossell’s Ricas y Famosas are helpful in comprehending the artistic struggle when using photography to rearrange imagery. They may not contain too much news about “concepts of happiness” or systems of corruption, but there is something there about the relation between beauty and habit, about the challenge the photographic medium has to face when confronted by its purpose to multiply. Is it conceivable that Rossell’s photos will soon decorate the very living rooms she worked in? One easily becomes accustomed to the pictures, but it’s impossible to forget the underlying codes, so even Daniela Rossell could not forget to start anew.


Der Artikel ist bisher nicht kommentiert worden

Neuen Kommentar einfügen

Empfohlene Artikel

No Future For Censorship No Future For Censorship
Author dreaming of a future without censorship we have never got rid of. It seems, that people don‘t care while it grows stronger again.
Nick Land, Ein Experiment im Inhumanismus Nick Land, Ein Experiment im Inhumanismus
Nick Land war ein britischer Philosoph, den es nicht mehr gibt, ohne dass er gestorben ist. Sein beinahe neurotischer Eifer für das Herummäkeln an Narben der Realität, hat manch einen hoffnungsvollen Akademiker zu einer obskuren Weise des Schaffens verleitet, die den Leser mit Originalität belästigt. Texte, die er zurückgelassen hat, empören, langweilen und treiben noch immer zuverlässig die Wissenschaftler dazu, sie als „bloße“ Literatur einzustufen und damit zu kastrieren.
Contents 2016/1 Contents 2016/1
Contents of the new issue.
Im Rausch des medialen Déjà-vu. Anmerkungen zur Bildnerischen Strategie von Oliver Pietsch Im Rausch des medialen Déjà-vu. Anmerkungen zur Bildnerischen Strategie von Oliver Pietsch
Goff & Rosenthal, Berlin, 18.11. – 30.12.2006 Was eine Droge ist und was nicht, wird gesellschaftlich immer wieder neu verhandelt, ebenso das Verhältnis zu ihr. Mit welcher Droge eine Gesellschaft umgehen kann und mit welcher nicht und wie von ihr filmisch erzählt werden kann, ob als individuelles oder kollektives Erleben oder nur als Verbrechen, demonstriert der in Berlin lebende Videokünstler…
04.02.2020 10:17
Wohin weiter?
offside - vielseitig
S.d.Ch, Einzelgängertum und Randkultur  (Die Generation der 1970 Geborenen)
S.d.Ch, Einzelgängertum und Randkultur (Die Generation der 1970 Geborenen)
Josef Jindrák
Wer ist S.d.Ch? Eine Person mit vielen Interessen, aktiv in diversen Gebieten: In der Literatur, auf der Bühne, in der Musik und mit seinen Comics und Kollagen auch in der bildenden Kunst. In erster Linie aber Dichter und Dramatiker. Sein Charakter und seine Entschlossenheit machen ihn zum Einzelgänger. Sein Werk überschneidet sich nicht mit aktuellen Trends. Immer stellt er seine persönliche…
Weiterlesen …
offside - hanfverse
Die THC-Revue – Verschmähte Vergangenheit
Die THC-Revue – Verschmähte Vergangenheit
Ivan Mečl
Wir sind der fünfte Erdteil! Pítr Dragota und Viki Shock, Genialitätsfragmente (Fragmenty geniality), Mai/Juni 1997 Viki kam eigentlich vorbei, um mir Zeichnungen und Collagen zu zeigen. Nur so zur Ergänzung ließ er mich die im Samizdat (Selbstverlag) entstandene THC-Revue von Ende der Neunzigerjahre durchblättern. Als die mich begeisterte, erschrak er und sagte, dieses Schaffen sei ein…
Weiterlesen …
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
Weiterlesen …
Wer hat Angst vorm Muttersein?
Wer hat Angst vorm Muttersein?
Zuzana Štefková
Die Vermehrung von Definitionen des Begriffes „Mutter“ stellt zugleich einen Ort wachsender Unterdrückung wie auch der potenziellen Befreiung dar.1 Carol Stabile Man schrieb das Jahr 2003, im dichten Gesträuch des Waldes bei Kladno (Mittelböhmen) stand am Wegesrand eine Frau im fortgeschrittenen Stadium der Schwangerschaft. Passanten konnten ein Aufblitzen ihres sich wölbenden Bauchs erblicken,…
Weiterlesen …
Bücher und Medien, die Sie interessieren könnten Zum e-shop
From series of rare photographs never released before year 2012. Signed and numbered Edition. Photography on 1cm high white...
Mehr Informationen ...
220 EUR
247 USD
Transcendental story of mz’s in the real world that is just a little different from the way we know it and in the world of...
Mehr Informationen ...
4,02 EUR
Limited edition of 10. Size 100 x 70 cm. Black print on durable white foil.
Mehr Informationen ...
75 EUR
84 USD
2004, 30.5 x 23 cm (5 Pages), Pen & Ink Comic
Mehr Informationen ...
894 EUR
1 003 USD


Divus and its services

Studio Divus designs and develops your ideas for projects, presentations or entire PR packages using all sorts of visual means and media. We offer our clients complete solutions as well as all the individual steps along the way. In our work we bring together the most up-to-date and classic technologies, enabling us to produce a wide range of products. But we do more than just prints and digital projects, ad materials, posters, catalogues, books, the production of screen and space presentations in interiors or exteriors, digital work and image publication on the internet; we also produce digital films—including the editing, sound and 3-D effects—and we use this technology for web pages and for company presentations. We specialize in ...

Zitat des Tages Der Herausgeber haftet nicht für psychische und physische Zustände, die nach Lesen des Zitats auftreten können.

Die Begierde hält niemals ihre Versprechen.



Arch 8, Resolution Way, Deptford

London SE8 4NT, United Kingdom
Open on appointment


7 West Street, Hastings
East Sussex, TN34 3AN
, United Kingdom
Open on appointment

Ivan Mečl
ivan@divus.org.uk, +44 (0) 7526 902 082

Kyjov 37, 407 47 Krásná Lípa
Czech Republic
+420 222 264 830, +420 602 269 888

Open daily 10am to 6pm
and on appointment.


Potsdamer Str. 161, 10783 Berlin

berlin@divus.cz, +49 (0) 1512 9088 150
Open on appointment.




Divus New book by I.M.Jirous in English at our online bookshop.