The masks of Masopust

Czech photographer reveals the colors of a carnival in MSU exhibit

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Taking the photos is only the beginning when it comes to putting together a photography exhibit.

“ On Death and Horses and Other People,” the MichiganState University Museum’s new show within “Mask: Secrets andRevelations” features photos of masked attendees at the Masopustcarnival in Roztoky, Czechoslovakia. The photographer, Prague nativeMarkéta Luskacová, was in town last week to see the final display,after leaving the arrangement to MSU photography curator and longtimefriend Howard Bossen.

“You can destroy or create an exhibition without propersequencing,” Luskacová said. “It’s very difficult to decide whatpicture goes where and how it connects with the next one.

“I’ve done very many exhibitions all over the world, butwhen I came to the show, I thought, ‘This is it.’ It’s an immenselygood feeling.”

Bossen and Luskacová met nearly 30 years ago when thecurator traveled to the United Kingdom to plan a photojournalismstudy-abroad program. The photographer has been involved with theprogram ever since. Her main projects, however, have involvedphotographing children.

“I loved how fascinated children are by masks — how theygained the identity of mask they put on, how much they enjoyed the fearand the fascination,” she said. “It all was very interesting to me.”

When the museum decided to do a year-long exhibition on masks, Bossen immediately thought of Luskacová’s Masopust collection.

“It was the perfect project at the perfect time,” he said.

Due to space and budget restrictions, the pair were forced to choose 60 out of Luskacová’s favorite 120 photos.

“We have two very different perspectives,” Bossen said.“Markéta has an investment with not only the image, but therelationships with the subjects over the years. As the curator I onlyhave an investment in the images. I don’t know the people. I don’t lovethem the way Markéta loves them.”

The photographer is best known for her black and white images, but the exhibition is primarily in color.

“Many photographers give back to the people theyphotograph, so Markéta started to take some images in color as amemento to give to people,” Bossen said. “It ended up two very muchinterrelated parallel explorations.

“The subject may be the same, but the aesthetic becomesdifferent. Something that works in color might not work as well inblack and white, and vice versa. The accomplishment of producing twostrong bodies of work is a testament to Markéta’s skill.” 

In an essay from 2010, Bossen wrote, “It is especiallylovely to see the transformation that takes place as Luskacová visuallydances between her comfortable black and white aesthetic and her newcolor world; where darkness is eclipsed by color, light and joy, wherecarnival is seen not only as a return to ritual, but as an affirmationof life itself.”

The carnival represents thelong-standing clash between communism and religion in the CzechRepublic. But the images aren’t meant to evoke any particular emotion.

“You can never avoid that people bringin their own experience and their own understanding,” Luskacová said.“I cannot say that I want them to feel this or that. It would be naïveor arrogant of me. Once you send the pictures out, they are likechildren. I hope people understand the poetry and beauty of it.”

Death represents the Communist attemptto ban the carnival, as well as the end of one year and beginning ofthe next. The horses represent a symbol of new life and the power ofnature.

Luskacová unintentionally stumbled upon her title as she was describing her pictures to someone.

“He said, ‘Tell me what they are about.’ I said, ‘Well,they are of death, and of horses, and of other people.’ And he said,‘You have the title.’”

’Of Death and Horses and Other People’

Through Jan. 18

Michigan State University Museum

9 a.m.-5 p.m. Monday through Friday; 10a.m.-5 p.m. Saturday; 1-5 p.m. Sunday; closed on University holidaysand holiday weekends.

Admission to the Museum is free; there is a suggested donation of $5 for adults.

(517) 355-7474

museum.msu.edu


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