Paolo Roversi chu Galliera-a musée de la mode de la ville de Paris-ah a awm a

Hei hi Paolo Roversi kutchhuak pholanna lian ber – a lian ber, a nihna takah chuan – chauh a ni lo va, a ni bawk a hmasa ber chu Paris-ah a ni a, kum 1973 khan fashion photographer hna a thawh tanna khawpui a ni a, he exhibit hi Paris fashion museum Palais Galliera-ah hawn a ni. Inbuatsaihtute hian thlalak 140 an khawn khawm a, heng zingah hian mipuiin an la hmuh ngai loh ṭhenkhat pawh an tel a, magazine, lookbook, Roversi footage nena sawmna, leh thlalaktu Palaroid te ang chi thil an dah belh bawk. Heng zawng zawng hi museum-a thlalak dahkhawmna head curator Sylvie Lécallier-a’n a khawlkhawm a ni. Roversi-a’n thlalak lama kum 50 a tlin lawmna atana a vawi khat nan an rawn hlan dun a, tlawhtute hnenah a art-a thil lut leh a hnathawh dan an entir a ni.

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Roversi-a kutchhuak tam zawk hi a tlangpuiin, leh he exhibition-ah hian a bik takin, thlalak (portrait) a ni (a camera duh ber thlalak leh ui pakhat pawh a duh ber pawh a ni mai thei, mahse anmahni pawh hi an ni portrait chi hrang hrang). Tin, a hnathawh dan bik avang hian portrait-a thupui tam zawk hi model an ni a; kum 30 kalta chhung khan fashion model lar zawng zawng nen an thawk dun tawh a, mahse milar thlalak erawh a shoot tam lo hle. Mahse model lar tak takte a shoot lai pawhin mipui hriat lar tak clichés chu a siam chhuak ngai lo: a subject-te chu sexy goddesses, flirty girls, androgynous androids emaw, stereotype lar dang emaw angin a typecast lo. A interview pakhatah Roversi chuan a art chungchang hi hetiang hian a sawi a, “technique” ti mah se, “art” ti lovin: “Kan zavaiin mask of expression chi khat kan nei vek a. I thlah a, i nui a, i hlau bawk. Heng mask zawng zawng hi lak bo vek ka tum a, tlem tlem chuan thil thianghlim i neih hma loh chuan ka paih chhuak thin. Abandon chi khat, awm lohna chi khat. Absence ang maiin a lang a, mahse a nihna takah chuan he emptiness hi a awm hian interior beauty hi a chhuak niin ka hria. Hei hi ka technique a ni."

Kate Moss hi heroin chic lalnu angin a lang lo a, Natalia Vodianova hi fawn hlauhawm tak angin a lang lo a, Stella Tennant pawh Virginia Woolf’s Orlando ang a ni lo. An zavaia chunga thil thleng hi Roversi sawi ang chiah a ni: heng mask zawng zawng hi thil thianghlim chauh a awm hma loh chuan a la bo vek a ni. Thil mak tak mai chu, a camera-in a siam disengagement hian entu leh model-te inkar hlat zawng chu a tizau lo va, a tihtlem zawk a, an mihring nihnaah, an mimal idiosyncrasies zawng zawng nen, min hnaih tir zawk a ni. Hei hi Nudi series-ah hian a langsar hle a, kum 1983 khan Vogue Homme tana Inès de La Fressange-i saruak thlalak aṭanga ṭan a ni a, a career sang ber lai khan a shoot a, chumi hnuah a private project angin a chhunzawm leh a, chutah chuan thlalak lar tak tak leh lar vak lo tak tak a la a ni model hrang hrang a awm. Chutiang bawkin – saruak, full-size portrait, camera chhunga direct-a en, direct full light hnuaia shadow awm lo, black and white-a shot, chutah 20x30 Polaroid-a re-shot – leh he distancing leh unifying effect ang maia lang hian a nei a ni thuk tak leh sawi chhuahna bik a siam a ni. Exhibition-ah hian room hranpaah an khawn khawm a – hei hi a rilru khawih ber pawh a ni mai thei, a chhan chu heng taksa saruak te hi sexualization engmah nei lo an nih vang a ni.

A tlangpuiin Roversi hian 8x10 Polaroid camera hmanga hnathawh hi a duh a, chu film siamna tur chu siam a ni tawh lo a, a sawi angin thlalaktu hian a hmuh theih zawng zawng a lei vek tawh bawk. He camera hi a style danglam leh hriat hlawh tak, painting effect siam nan color leh light hmanga a style nen a inzawm ta a ni. Tin, camera dang a hman lai pawhin a effect chu a awm reng bawk. Mi tam tak chuan he effect hi copy an tum a, copy an tum mek a, mahse a rah chhuah chu AI hnathawh hriatrengna thil a ni tlangpui. Roversi-a original magical realism chu exhibition-ah hian chipchiar takin kan hmu thei a – Vogue France, Vogue Italia, Egoïste, leh Luncheon-a a shoot-naah te, Yohji Yamamoto, Comme des Garcons, leh Romeo Gigli-te tana a campaign-naah te. Exhibition-a scenographer Ania Martchenko-i kutchhuak, a signature trompe-l’œil engemaw zat chu window emaw, kawngkhar inhawng deuh, êng chhuah thei ang chi emaw siamin, master-in êng a hman dan chu metaphorically leh literally-ah a dah pawimawh hle.

| Amah ngeiin a sawi angin: “Thawmhnaw hi fashion picture-a thil pawimawh tak a ni. Thupui lian tak a ni. Ka tan chuan fashion thlalak zawng zawng hi thlalak ang mai ni mahse – thlalak zawng zawng hi thlalak angin ka hmu a, ka enkawl bawk a, hmeichhia emaw mipa emaw mipa emaw thlalak angin ka hmu a – mahse thawmhnaw chu a awm reng a, chu thlalak hrilhfiahna chu nasa takin a siam thei a ni harsa zawk.”

Paolo Roversi

atanga lak a ni

Thuziak: Elena Stafyeva

tih hi a ni