There are solitary voids and a sensual yearning to be exactly the person the partner is looking for. To have not read Proust, among certain couples, can be a divisive issue, but here it functions as a mere symbol for the concept of void. Lurking behind the somewhat schizophrenic and terrifying ‘dance’ between voids and complicity, intimacy and estrangement there is the fear of not belonging to a similar wavelength or gravitating on the same orbit. The fear of almost touching each other, but not quite. FC
Elinor Carucci graduated in 1995 from Bezalel Academy of Arts and Design with a degree in photography. Her work has been exhibited in galleries around the word including, among others, James Hyman, Gagosian, The Museum of Modern Art and The Photographers’ Gallery. Carucci has been awarded The Guggenheim Fellowship (2002), the International Center of Photography Infinity Award for Young Photographer (2001) and the NYFA (2010). She has published two monographs: Closer (Chronicle Books, 2002) and Diary of a dancer (Steidl/Mack, 2005). Currently she is a faculty member of the graduate program in photography at the School of Visual Arts in New York and is represented by Edwynn Houk Gallery.
Alejandro Zambra is a Chilean writer. He is the author of My Documents, which was a finalist for the Frank O’Connor International Short Story Award, and three previous novels: Ways of Going Home, The Private Lives of Trees, and Bonsai, now a major motion picture. His books have been translated into more than ten languages and have received several international prizes. His stories have appeared in the New Yorker, the Paris Review, Harper’s, Tin House, and McSweeney’s, among others. In 2010, he was named one of Granta’s Best Young Spanish-Language Novelists, and he is a 2015–16 Cullman Center fellow at the New York Public Library. He teaches literature at Diego Portales University, in Santiago, Chile. You can read a short story from his acclaimed collection My Documents on VICE.
This feature was first published in The British Journal of Photography, in the December 2015 print issue, as part of the Photocaptionist’s guest editing of the Endframe column. It was crafted to launch the exhibition Feminine Masculine, which took place in January 2016 in London. It is now published here to coincide with the collective, intimate, undisciplined and experimental event entitled Genre: Unique! curated by Annakarin Quinto of leboudoir2.0 on genre dynamics, identity confusion, freedom of expression and respect towards diversity and difference, as part of Photo Saint Germain on 16 November, 2017. The Photocaptionist is delighted to be part of Genre: Unique! with an intimate corner that reinterpretates our exhibition Feminine Masculine: On the Struggle and Fascination of Dealing with the Other Sex.