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The Campaign
The photograph of the close up of a young woman’s face that was on display both inside and outside Sadlers Wells Theatre is a continuation of Braco Dimitrijevic’s long running Casual Passer-by series. Commissioned to coincide with ‘Open Systems’, an exhibition of art from the early 1970s at Tate Modern, it was also reproduced on buses and was on display in underground stations across London in what could be characterised as a ‘campaign’. Decades after Dimitrijevic first inflated a picture of the first or last person he saw in that particular morning or night and suspended it, devoid of explanation, across the side of a palace on the Grand Canal in Venice, for instance, it is worthwhile wondering how the much-reproduced image still functions. Can it do what it used to do? What has changed? Has the currency beloved of both art and advertising become now so familiar that no one is curious enough to enquire in quite the same way? In a culture where the much-reproduced photograph of a missing person is left attached to the lamp post, tree or building after a natural or manmade disaster; where the United Colours of Benetton or Gap campaign reduces all...
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