paris

Isabel Muñoz

Galerie Jean-Pierre Lambert: Cour Intérieure

The only photograph in Isabel Muñoz’s “Tango” series that has a title is The Woman with the Red Shoes, 1989, an elegant black-and-white fragment of a couple dancing on a strip of Buenos Aires sidewalk. Muñoz saw the woman (and her shoes) dancing in a flea market the first day she arrived in Buenos Aires; she found her again in a stage show and convinced her to pose. But the result is hardly a portrait: the camera angle is high, the depth of field is shallow, and the woman and her partner are cut off above the hips. The image, like the dance, is a distilled metaphor of seduction: the thrust of a leg, the grasp of a hand, the jaunty bow of a dancing shoe. In other photographs, but only rarely, the full figures of the dancers are seen; in one image, there is even an onlooker, standing in a doorway, unaware that he has become a part of the picture as he watches a retro-clad couple recreate

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