I am in down-town Geneva. I call in at that mine of beautiful stuff, Galerie Cimaise. And what a seam of gold I find! It is the last days of Katrin Benninghoff’s “HORS(ES)”. The gallery’s walls are tastefully hung with large format, striking, close-up photographs of horses. The whole is wonderfully easy on the eye. Each image is intimate, intriguing and technically accomplished and yet there is something at once confusing and troubling at play. The viewer is tricked by his or her own subliminal recognition of the clichéd style of “glamour” photography. But this is a show about neither eroticised beauty nor cosmetic ads in a fashion magazine. This is about horses. At least, I think so.
Katrin Benninghoff’s life has been dominated by a proximity to horses. Here, she has created an exhibition that is born of her sensitivity to equine power, elegance, fragility and intelligence. She has achieved this by a manifest determination not to portray a whole specimen of equus caballus; her compositions ensure that homo sapiens is never far from the viewer’s mind. I’d go so far as to bet that her influences would lean more towards Robert Mapplethorpe than to George Stubbs or Alfred Munnings. It comes as no surprise when I am told that Aline Kundig, – one of this town’s most daring photographers – has had a hand here.
I stand in the middle of the gallery and turn full circle taking in this work in its entirety. I have never seen anything quite like it. I pull out my iPhone and google images using key words “horses art” and “horses photographs.” Nothing comes up that in any way resembles what surrounds me. Am I looking at something totally original? Will this exhibition prove to be an important beacon in contemporary photography? Two photographs stand out in this regard.
The close up of a horse’s buttocks and vulva predictably recalls the human form and if this was the human form, might even be labeled pornography (with little chance of exhibition at Galerie Cimaise!) The image tickles up a prickle of discomfort. But then, I am sure that this is precisely what Ms Benninghoff intends.
Why is such a distasteful image of a horse’s mouth so arresting and why does it work in this context? Because this is not a veterinarian’s perspective. This is quite simply the mouth you wouldn’t want to kiss!