---

Makellos und ritualisiert die Darstellung des Körpers in Nadav Kanders Serien Bodies. 6 Women, 1 Man und Bodies. On Black and On White

---

Weiß bemalte, nackte Körper, die Gesichter vom Betrachter abgewendet, so fotografiert Nadav Kander (geb.1961 in Israel) die Modelle seiner jüngsten Serie. Die Accessoires sind spärlich, die Ästhetik ist reduziert, gleichwohl erscheint das Arrangement der meist üppigen Körper barock. Man denkt an Porträts von Elizabeth I. mit bleiweißer "Maske". Auf Kanders präzise ausgeleuchteten Bildern von exquisiter Farbigkeit laufen weiße Mäuse über weiße Haut, ein Vögelchen hockt winzig neben einer Odaliske. Rotes Haar spielt eine Rolle, ergießt sich wie lebendig über puppenhafte Körper. Trotz der dargebotenen Fleischlichkeit wirken die Fotografien nicht vordergründig erotisch. Der fehlende Blickkontakt und die weiße Schminke fungieren als Barriere, und die Massigkeit der präsentierten Gliedmaßen erinnert an Arbeiten von Hans Bellmer oder Lucian Freud. Wie sie bietet Kander Simulakren von Sinnlichkeit und hinterfragt unser Körperbild wie Schönheitskonzept.

---

Nude bodies painted white, faces turned away from the viewer: this is how Nadav Kander ( 1961 in Israel) photographed the sitters in his latest series. Accessories are minimal, as is the aesthetic, yet at the same time the arrangement makes the mostly voluptuous bodies seem baroque. One is reminded of the portraits of Elizabeth I with their white lead masks, . In Kander s precisely lit images, with their exquisite colors, white mice run across white skin, a small bird seems tiny perched next to an odalisque. Red hair plays a role, flowing down over doll-like bodies, as if it had a life of its own. Despite the abundance of flesh on display, the photographs do not have a superficial sense of the erotic. The lack of eye contact and the white makeup function as barriers, and the massiveness of the limbs recall the works of Hans Bellmer or Lucian Freud. Just as they do, Kander offers simulacra of sensuality and questions our images of the human body and beauty itself.

---

Nude bodies painted white, faces turned away from the viewer: this is how Nadav Kander ( 1961 in Israel) photographed the sitters in his latest series. Accessories are minimal, as is the aesthetic, yet at the same time the arrangement makes the mostly voluptuous bodies seem baroque. One is reminded of the portraits of Elizabeth I with their white lead masks. In Kanders precisely lit images, with their exquisite colors, white mice run across white skin, a small bird seems tiny perched next to an odalisque. Red hair plays a role, flowing down over doll-like bodies as if it had a life of its own. Despite the abundance of flesh on display, the images do not have a superficial sense of the erotic. The lack of eye contact and the white makeup function as barriers, and the massiveness of the limbs recalls the works of Hans Bellmer or Lucian Freud. Like them, Kander offers simulacra of sensuality and questions our images of the human body as well as the concept of beauty itself.

---

Nadav Kander, geboren 1961, ist Träger des renommierten Prix Pictet und einer der international erfolgreichsten Fotografen.

---