Bruce Gilden purchased his first camera in 1968 after watching the movie Blow-up, Michelangelo Antonioni’s psychological thriller about a fashion photographer who believes some pictures he’s taken contain evidence of a murder. Gilden’s own photographs elicit a similar feeling of unease, a sense of disquieting truths spontaneously captured. Gilden does not turn away from the grotesque: a slaughterhouse worker clutching a bloody knife, the powdered faces of half-naked Mexican prostitutes. Expressions are often vacant, distorted, even deranged, the subjects both comical and menacing. For his new exhibition at Fotografiska, the artist himself has handpicked the works from his extensive oeuvre, which reaches from the 1970s to the present day. —Paulina Prosnitz