Dutch photographer Jacqueline Hassink (born 1966) recently commenced working on a multipart series called View, Kyoto, in which she examines how the interior and exterior spaces of individual structures permeate and face one another. She took photographs of traditional Japanese gardens from within Kyoto's Buddhist temples, placing equal weight on the interior and exterior spaces. In two of the temples, she was allowed to move the sliding rice-paper screens, allowing her to create new, enormous spatial entities. The moss gardens of Saiho-ji and the cherry blossoms in Haradani-in constitute another part of the series. These scenes, which change with the seasons—Hassink calls them "living sculptures"—reflect Japanese aesthetics, which see arranged gardens as artificial likenesses of nature as well as representations of paradise.
The financial crisis of 2009 shook the global economy to its very foundations. But has anything changed at the centers of power since then? Do executive suites look different than they used to? And what do they actually look like? In The Table of Power (1996), Jacqueline Hassink (born 1966) captured images of desks and conference-room tables at the largest multinational corporations in the world, and created one of the most important photo books of the twentieth century. With The Table of Power 2, Hassink takes a new look at the headquarters of the 50 banks, insurance companies and corporations that Fortune magazine lists as the most powerful players on the market today, such as Shell, BP and Volkswagen. With scientific precision, Hassink presents the desks and tables of deserted, soulless rooms, and composes a portrait of the emptiness at the heart of power. Edition of 1,o00 copies.
It remains to be seen whether the practice of using female models to embody the corporate identities of international auto companies was in fact a final spasm of extravagance from an industry now in crisis. Thankfully, Dutch photographer Jacqueline Hassink's Car Girls is a subversively fun, conceptually sharp and smartly designed document of the spectacle. A body of work that has taken more than five years to complete, Car Girls captures seven car shows in cities on three different continents. Each site was chosen by Hassink to reflect different cultural values regarding ideal images of women and beauty. By highlighting the association between gender, sexuality, power and commodification, Hassink heightens the surreality of the show, revealing what she identifies as "a moment of performance in which the women became more like a doll or a tool instead of an individual." Earlier this year, a 1,500-copy limited edition of Car Girls was published. This second, "travel-sized" edition of Hassink's instant classic has been created to satisfy popular demand, and was, like the first edition, exquisitely designed by Irma Boom. Jacqueline Hassink, born in Enschede, the Netherlands in 1966, has published extensively, most recently The Power Book (2007) and Domains of Influence (2008). Her photographs are in the collections of the Huis Marseille, Amsterdam, and the Victoria and Albert Museum, London, among other institutions. She is represented by Cohen Amador Gallery, New York.
Published by Chris Boot. Edited by Frits Gierstberg. Text by Els Barents.
Since 1993, Jacqueline Hassink has been using photography to work methodically and precisely with the themes of globalization and economic power. Her first major series, The Table of Power (1993-95) involves photographs of the boardroom tables of Europe's 40 largest multinationals. Other series include Female Power Stations: Queen Bees (1996-2000), about the business and domestic environments of the world's leading women executives, and Car Girls (2002-07), about the manifestations of power in the world of global car fairs. The Power Book, the first survey of Hassink's photography, presents the best of her photographs from America, Europe, the Middle East and Japan in chronological order and accompanied by more than 100 pages of notebook pages and sketches, illuminating the thinking behind the work.
It takes an artist with the astute eye of Holland's Jacqueline Hassink to capture the actual oddness of the use of female models to sell cars. Hassink has already been acclaimed for books and exhibitions addressing issues of power and social relations, and Car Girls is a supreme instance of these explorations--a body of work that has taken more than five years to complete, photographing car shows in cities on three different continents. As Hassink affirms, she has used these sites to reflect on the differing cultural values with regard to their ideal images of beauty and women. The series captures the moments during the women's performances when they become more like "dolls or tools than individuals." In an issue of Aperture magazine, Francine Prose described Hassink's achievement perfectly, praising the work for its ability to "make us rethink the association between auto and eros as if it had never occurred to us, and to see it newly in all its sheer outrageous strangeness." Car Girls takes a subversively fun but conceptually smart approach to issues of gender, power and commodification. This luxuriously produced publication with a foldout poster cover is designed by Irma Boom and is limited to an edition of 1,500 copies.