A statement almost forgotten, that photography creates difficulties, might be a good reason for me to say something about Kevin Abosch, a photographer who treats photography as the remains of the past, or uses it as a random sample of someone’s spirit, or it is unimportant to him. Countless theories which are opened with these questions represent a complete corpus of content which can be ascribed to Kevin Abosch. The topic of this short text, which aspires to be a contribution to an artist by an artist, is Kevin Abosch, and not his photographs! Why?
In the projects, FACES OF "some" town, for example Paris, there is a structural play by which Kevin Abosch tautologically sets various people in front of a black canvas and in front of himself, goes behind “the sign” and its meaning, creating a specific anatomy of the photograph but also of the subject of the performance itself. In one theory of the postmodernists, Michel Foucault began a demolishing of the myth of the author, the great and the almighty creator who is different from everybody else, with the idea to show that the author is needless in art, that is to say, that his presence burdens the piece of work with subjectivity. Kevin Abosch achieves this indifference in his act of taking photographs, he liberates his photography from himself and lets it circulate in the field it belongs to, that is, to “the model” or the person being photographed. He clearly liberates the person from the obligation to “pose” or to “do the function of modeling”.
If I take this “elegant theory” of mine, deduced from Foucault’s approach to the function of an author and the autonomy of the piece of work, as final, then Kevin Abosch is a CONCEPTUAL artist from my point of view, who uses camera as a tool close to him. His ethical behaviour within a complicated story called art is the core truth about Kevin Abosch, who will not allow, like some classical photographers or photography critics have, not to notice the person who is being photographed, but he will “remove himself” and put a person in his place to stand freely in front of the camera and Kevin Abosch!
Finally, I will use stands of some post-modernists (Barbara Kruger, Cindy Sherman...) who claim that they are not creators of pieces of art, but that they transform the existing forms of signs and meanings of a culture, society and art, in which the audience go from the role of passive observers into the role of active readers and interpreters of the work. I will also remind you of the scientist Francois Argo, the creator of the first daguerreotypes, who said that “Daguerre’s procedure is the new art springing up in the centre of an old civilization, the art which belongs to the new age; daguerreotypes defined by its mathematical accuracy; it belongs to the world of perfection...”
- Allegorist, Zivko Grozdanic, Novi Sad, February 11th, 2010