Pulp Fiction

Paris, May 2016

 

the priestess said:

“when the shadow of the cursed falls on the fetish,

it becomes infinitely more powerful.

It is when its submerged in the dark imprint

of the cursed, the fetish can reach deep

into the soul of its victim.

From here it tears off a part of his shadow

and thereby forms a connection with the cursed

that can not be broken.

 

from: Photograph your shadow without photographing a shadow

 

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Guard My Rest

The Devil
, Schwetzingen, April 2019

herein lie my bones

enshrined and with them

lies my shadow.

 

may the devil

guard my rest

 

from: Photograph your shadow without photographing a shadow

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The Buddha

as I passed by his house,

the Buddha glanced cursorily

at my shadow.

 

the Buddha holds the

whole world in his head and

so he held my shadow.

 

but here we look into

the Buddha’s head:

It is empty and

so is the world.

 

from: Photograph your shadow without photographing a shadow

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The Eye

The Eye, Schwetzingen, April 2019

 

The Eye

took on hard look

at my shadow and

only faint ripples

were moving across its surface

and even these were gone

after a while and all

lay still and dark,

like nothing ever had happened.

 

from: Photograph your shadow without photographing a shadow

 

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Shifting Phantasmagoria

 

How We Live, Duisburg, June 2017

We tell ourselves stories in order to live. The princess is caged in the consulate. The man with the candy will lead the children into the sea. The naked woman on the ledge outside the sixteenth floor is a victim of accidie, or the naked woman is an exhibitionist, and it would be “interesting” to know which. We tell ourselves that it makes some difference wether the naked woman is about to commit a mortal sin or is about to register a political protest or is about to be, the Aristophanic view, snatched back to the human condition by a the fireman in priest’s clothing just visible in the window behind her, the one smiling at the telephoto lens. We look for the sermon in the suicide, for the social or the moral lesson in the murder of five. We interpret what we see, select the most workable of the multiple choices. We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the “ideas” with which we have learned to freeze the shifting phantasmagoria which is our actual experience.

Or at least we do for a while.

— Joan Didion, The White Album

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Wir sind dafür nicht verantwortlich

Bochum, April 2016

“Wir wissen”, sagte einer von ihnen, der über die Justizreform diskutiert hast, “dass die Welt, in der wir gelebt haben, nur noch in unserer Einbildung existiert. Unser persönliches Leben ist zu Ende; wenn wir jetzt mit Müh und Not unsere letzten Jahre hinbringen, wollen wir dabei nicht in den Zustand verfallen, in dem sich das moderne Europa befindet. Dieses Europa, wissen Sie, woran mich seine geistigen Ausdrucksformen erinnern?, an Maupassant Umnachtung, als er seine Exkremente aß. Das ist Europas heutiger Zustand. Wir sind dafür nicht verantwortlich. Doch man soll uns nicht vorwerfen, dass wir kein Interesse an der Gegenwart haben; wir ziehen es vor, unsere antiquierte Lebensweise zu bewahren und zu lebenden Hieroglyphen zu werden.”

— Gaito Gasdanow, Nächtliche Wege, 1941

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Tiergarten

“The editing process was difficult. I did not compile into a so called montage that followed the narrative structure: introduction, development, twist, and conclusion. Instead, I tried to include as many photographs as possible like an endless tape without a beginning and or end.”

Takashi Yutaka

 

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The Real World

Photography is always surreal and in its changes of scale and its constant juxtapositions, and in comprising both the conscious and unconscious images of a reality no longer present. Reality is being transformed into a colossal photograph, and the photomontage already exists: it’s called the real world.

— Luigi Ghirri, Milan 1979

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