The exhibition Showcaller, which Chetrit conceived especially for the Kölnischer Kunstverein, comprises a group of predominately new and revisited works that give exemplary insight into her practice. The presentation includes an extensive se- ries of pictures titled Streets, which depict lively and inhabited views of New York City. Through the use of tight cropping of grainy negatives, the city and its people become an unknowing and abstracted network of bodies over which Che- trit can command her own manipulated narratives. Taken from afar and through the windows of various buildings, the distance between Chetrit’s pervasive lens and her unwitting subjects’ anonymity is further emphasized.
In the context of the exhibition, this series of works is juxtaposed with photo- graphs that convey an alternative perspective, and instead instill a pronounced sense of intimacy through the conspicuous disclosure of private moments. A lar- ge-format diptych, for example, depicts the artist and her partner having sex. Imaged against a blooming landscape, neither of the subjects seem aware of the camera’s austere gaze. The viewer is tethered to the scene by the twisting cord of the camera’s cable release, in such a way that we are reminded, once again, of our own position in the construction of images.