{"id":2097,"date":"2010-01-25T05:03:59","date_gmt":"2010-01-25T05:03:59","guid":{"rendered":"http:\/\/www.foto8.com\/live\/?p=2097"},"modified":"2010-01-25T05:03:59","modified_gmt":"2010-01-25T05:03:59","slug":"pernilla-zetterman","status":"publish","type":"post","link":"https:\/\/www.foto8.com\/live\/pernilla-zetterman\/","title":{"rendered":"Pernilla Zetterman"},"content":{"rendered":"<div><img decoding=\"async\" class=\"review_photo\" alt=\"\u00a9 Pernilla Zetterman\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2010\/01\/pz.jpg?w=1200&#038;ssl=1\" style=\"float: left;\" data-recalc-dims=\"1\" \/><\/div>\n<div>Over forty years ago sociologist Norbert Elias challenged what he described as \u2018the image of the individual as an entirely free, independent being, a \u201cclosed personality\u201d who is \u201cinwardly\u201d quite self-sufficient and separate from all other people [\u2026] a little world in himself who ultimately exists quite independently of the great world outside.\u2019 Instead, Elias proposed that the \u2018inside\u2019 and the \u2018outside\u2019 might not be so readily separated, that the unexamined assumption of a \u2018sharp dividing line between what is \u201cinside\u201d man and the \u201cexternal world\u201d\u2019 might mask a contingent and mutable process.<\/p>\n<p><img decoding=\"async\" alt=\"\u00a9 Pernilla Zetterman\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2010\/01\/zet1.jpg?w=470&#038;ssl=1\" data-recalc-dims=\"1\" \/><br \/><span class=\"photo_copyright\">\u00a9 Pernilla Zetterman, The Night Guard (Behave 26) <\/span><\/p>\n<p>Might it be possible to allude to these issues in a set of photographs? Perhaps so &#8211; Swedish photographer Pernilla Zetterman\u2019s first monograph Behave is an examination of the relationships between behaviour, the body, identity, discipline and control. Two images introduce the work: the first is of a nighttime mouthguard designed to prevent the damage that can ensue from the unconscious grinding of teeth during sleep; the second is a profile of a (female?) torso bound in a straitjacket. Both pictures address the \u2018external\u2019 means and implements by which \u2019internal\u2019 drives and expressions might be regulated.<\/p><\/div>\n<div><\/div>\n<div><\/div>\n<div><img decoding=\"async\" alt=\"\u00a9 Pernilla Zetterman\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2010\/01\/zet2.jpg?w=470&#038;ssl=1\" data-recalc-dims=\"1\" \/><br \/><span class=\"photo_copyright\">\u00a9 Pernilla Zetterman Mother&#8217;s Dill (Behave 16)<\/span><\/div>\n<div><span class=\"photo_copyright\"><br \/><\/span><\/div>\n<div><\/div>\n<div>Zetterman&#8217;s book is divided into two chapters, the first of which &#8211; <em>When<\/em> \u2013 collates a series of images in which the apparently &#8216;found&#8217; arrangement of household items might be read as resulting from an &#8216;internal&#8217; longing for order. So Zetterman photographs an electrical extension cable neatly bound with fastidiously knotted green string; and a neatly stacked pile of old newspapers \u2013 again tied \u2013 are pictured on the floor by a doorway, waiting to be thrown out presumably. &#8216;Grandmother&#8217;s Sheets&#8217; shows the pressed and folded contents of a linen cupboard; &#8216;Grandmother&#8217;s Napkin&#8217;, a pressed and folded serviette; and &#8216;Letters from Grandmother,&#8217; a&nbsp; carefully arranged collection of opened mail.<\/p>\n<p>As the chapter title announces, <em>When<\/em>, situates these seemingly insignificant still-lifes within a meditation on the passage of time \u2013 here most deliberately evoked by photographs of rotting fruit, dried flowers, discolouring vegetables, dead herbs, and the like. There are pictures too of chipped paintwork, scraped keyholes, and bubbling varnish. Further, two triptychs \u2013&nbsp; focusing on the feet and the navel \u2013 show three generations (grandmother, mother and daughter) of body parts. Zetterman is, possibly, describing the transfer of domestic protocols and values, a scheme of household ordering, across time and generations<\/p>\n<p><img decoding=\"async\" alt=\"\u00a9 Pernilla Zetterman\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2010\/01\/zet3.jpg?w=470&#038;ssl=1\" data-recalc-dims=\"1\" \/><br \/><span class=\"photo_copyright\">\u00a9 Pernilla Zetterman, Trollbacken Track No. 3<\/span> <\/p>\n<p>The second half of the work is entitled, wryly, Ground Rules, a play on the literal and figurative meanings of the phrase. Literally speaking, the chapter arrays a sequence of photographs showing the ruled lines laid down to mark out the tracks on the ground of an athletics arena. Some are graphic in their simplicity; others are photographed after snow has fallen on the area, the lines barely perceptible against a field of winter grey. Figuratively speaking, the title can refer to a set of fundamental limits and constraints, the basic measures necessary for discipline. This is the context for Zetterman\u2019s appearance \u2013 in the book\u2019s closing images &#8211; in two taut, lithe and studiedly posed self-portraits. They evince self-control and the rigours of physical training \u2013 or the \u2018internalisation\u2019 of those \u2018exterior\u2019 ground rules.<\/p>\n<p><img decoding=\"async\" alt=\"\u00a9 Pernilla Zetterman\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2010\/01\/zet4.jpg?w=470&#038;ssl=1\" data-recalc-dims=\"1\" \/><br \/><span class=\"photo_copyright\">\u00a9 Pernilla Zetterman, Conduct No. 1&nbsp; <\/span><\/div>\n<div>\n<p><em>Behave &#8211; Pernilla Zetterman<\/p>\n<p>Texts by Urs Stahel and Helene Bostrom<\/p>\n<p>Publ. Hatje Cantz, Euro 35.<\/em><br \/>&nbsp; <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<div>Guy Lane reviews Pernilla Zetterman\u2019s monograph <em>Behave<\/em>, an examination of the relationships between behaviour, the body, identity, discipline and control<\/div>\n","protected":false},"author":1,"featured_media":2092,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[22],"tags":[55,1101,1102,1103,46,1100,49],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Pernilla Zetterman - FOTO8<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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