REVIEWS

Robert Hutinski - Infinity


When we think about photographic series by Robert Hutinski titled Infinity, we can't of course circumvent the philosophical concepts with which we think the relationship between the finite human beings and infinity. The photographer has not by chance chosen such a title of the series, as it is.

He is not a philosopher but, nevertheless, we must be concerned about the relationship between art, which includes photography, and philosophy.

In doing so, we distinguish two ways of interpretation, because the photos are not intended just for watching; much more they are intended for thinking.

Gilles Deleuze called the first way of seeing and interpreting systematic reading. So when looking at photos, we read, therefore we think.

The systematic reading of images from the series Infinity first tells us that there are solely women in the photos. Not one alone, but different women, which means that there are many. Systematic reading is necessary to figure out which is the general idea of what we read.

The photographer is photographing ideas, not the objects. This is axiom. When Robert is photographing women who are almost always naked or at least stripped down, he is photographing the idea. These are not the acts but the ideas.

Ideas are associated with other ideas; none can exist for itself, and none has meaning, if it stands alone. Photos are taken by the male, and this fact is not insignificant. It is not very important fact, but important certainly is.

Women, then. They represent what Jacques Lacan called not-all. Exactly because of this has the series title Infinity. If it were not so, the title should be different.

Men and women are committed to infinity as the finite, mortal creatures. Reading or interpretation has, therefore, always a definite goal which is: relationship. This means that we are not standing before the photos and finding out whether we like them or not, but we are entering into relationships, relations with pictures, photographs and in particular with ideas.

So, what does the photographer want from us?

He definitely wants something, because he cannot avoid relations or the relationship. He already wants with the title of the series. This is important, because we're the finite creatures. And women are also finite creatures. They are not anything different from the men. However, there are only women in the photos of this series. Why aren't there men?

Second way of reading and interpreting is called by Deleuze affective reading. This is the reading that triggers at least two impacts.

First. Get in the movement the very object of reading, which is in our case a series of photos. In fact, the series itself already means a movement; it is typically for Robert that he creates the series as are created by the directors. So he creates movement. The photos are therefore not static. When we look at the series, we observe the movement and we are already part of it.

Second. We are becoming part of the movement. Affective reading is getting us as viewers and interpreters in the movement. The movement shakes us and it triggers in us emotions and feelings, which makes us care about what we see and what we think.

What emotions are therefore triggered in us while we are watching and reading the series Infinity? In what kind of relations we enter with the women that are displayed? What ideas arise?

The symbols with which they are associated, on the photos they are displayed very systematically and with love of order, can only be black or white geometric forms, but at the same time they can be ways of connecting women to Jesus Christ and his representation of the infinite god on the finite planet.

It is not necessarily that Robert speculated about such links when he first created the series, but affective reading may connect us with the products in such a way that the author is not aware of it and that he might not even want it.

The idea is definitely important, because there are two more ways of reading and interpreting photos. The first is imaginary and this means that it is also confused and opencast. People largely interpret the photos and other art product at this level, and because of that they are satisfied with the findings what they like and what they don't like.

The second way of reading and interpreting is able to produce adequate knowledge of an object which is interpreted.

Now we can put the cards on the table: Robert Hutinski is expressing with a series of photos, there are only women, the intellectual love of god which is infinite. His artistic expression is therefore paradoxical: the love of the infinite is without the object. We can feel the proximity of the infinite, but we cannot come close to the infinite.

We can only persist in the openness.

Women are therefore always already there, addressing us with silent questions which, as a rule, we do not know how to answer, because we can't even think them; this doesn't mean that they can answer them themselves. Among these questions are also questions about our own identities, which always occur in the infinite field and are final.

In relation to the infinite we are always necessarily disappointed. The world is always different than we believe. Women, though not all, are privileged, and they unconsciously know that.

This is another paradox: women are always already there, the art is always already there, but in the main we have no idea how to behave to infinity and eternity.

We can also say like this. Photos from the series Infinity are the photographer's expression of that which is beyond mimesis, beyond this, which is called imitation.

So, what we see in the photos? We see exactly the imitation of the effects of the truth. And Robert is really the master of this. We can put his approach to capturing an image in the order of what we call Plato's polemics with mimesis.

The norm of his photos is comparable with the norm of each art which is education. And because the norm of education is philosophy, his series directly connect art, philosophy and education. A select few photographers succeed in something like this.


DuĊĦan Rutar