Nobal Glomad

Todo o Nada  | Mario Testino
Museo Thyssen-Bornemisza 21.09.10 − 09.01.11

Demi Moore is the Jekyll & Hyde of mannish. The sculpted (and perhaps occasionally airbrushed) body of a Sports Illustrated swimsuit calendar pin-up stitched to the face of a pre-pubescent hombre. “I like strong, independent women. Women who, despite their strength, never lose their femininity and who do not use their body as a tool.” says Testino. With the peak of Moore’s photo folio featuring her gracing the cover of Vanity Fair in far less than a maternity dress, she certainly utilises every boob, defined calf, toned butt cheek and an abundant mane of hair as her jackhammer to gain media exposure. Her body is a veritable hardware store… feminine yes… body an essential tool for her trade? Absolutely.

High-browed commentary critique aside, Testino’s work truly defines photographic beauty. His women are in full conversation with the camera. When there’s fabric or fashion there’s always abundance with loads of sumptuous natural light. When there’s little more than a hand cupping bra it’s high gloss red lipstick, a simple suspender or a kitty cat mask and silk coated papers to lift rich blacks from the canvas. Whoever or whatever it is, for this exhibition of fifty-four photographs the model needs to be drop dead flawless and a neat little bundle of highly photogenic gorgeousness.

There’s a strong contingent of super model skirt lift and breast flash portraiture. Interestingly, each subject in her own way seems to suggest the same story of “Yes I know I’m God’s gift to Fashion Editorial and I look a zillion in this dress but do I care? Do I look like I care? No I don’t need to care… I’m being shot by Mario Testino”.

A third of the way through the exhibition I was reminded of the documentary genius of The September Issue (2009). Grace Coddington’s art directive mastery reminding us that Europe isn’t the only creator of beauty. Before me was the landscape portrait of Sienna Miller shot in Rome 2007 (pictured above). She gazes, almost between takes, off-camera in an abundance of black and white couture, surrounded by muscular legs, arms and genitalia of classic Roman form carved in white alabaster. The framing is genius. A visual traffic jam of subject and yet Sienna effortly retains the leading role. I bought the postcard for my fridge.

Like Madrid, Testino’s exhibition is wonderfully unexpected. With the calibre of his work, we could potentially have been shown a ‘look at all the A listers on my books’ exhibition. Instead the focus is in the curation and creating a dialogue with the Museum space. Forgetting the over airbrushed hideousness of a group portrait of supermodels from the 90s, I’d graciously accept any of these shots as an unexpected Christmas present. Happy to pay the postage Mario, just let me know.

Exhibition Photograph: Mario Testino