<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>

ENGLISH
'The Forensic Excavations Inventory is a story told in digitally deconstructed family photos. In a laborious process I individually extract objects, interior details, extremities of family members and everything else, and write something about it. What the object reminds me of, what I remember in the view of its context, or knowledge about its origin or meaning. The textual description is a means to visually identify the perspectively distorted objects ('TV set', 'book') and make them discernible in a double sense: repetition and the nominal indication opens an inbetween level that enables me to express something of the inexpressable and ambiguous in my biography. A void emerges not only through spatially expanding the photo in its details. The void in which I can express myself.

These are archaeological excavations, but it is the complete opposite of what archaeologists are doing - they desperately, thoroughly search the grounds for shards of a once whole object to reconstruct it by drawing the missing pieces. In contrast, to get to the missing pieces of my biography, I had to destroy the outwardly archetypical family picture.

Destruction is in the word deconstruction.
The way my ancestors were murdered and scattered around the world without their heritage is reflected in my diminished family photo archive, that was diminished by my own choice.
But for me personally, the knowledge about my ancestors never troubled me until recently. Other tragedies before my birth bore much heavier weight and their echo couloured my entire growing-up.

I was born in Sofia, in former People's Republic of Bulgaria, and grew up in an abusive relationship with my mother in the former east part of Berlin after the wall fell, with occasional visits from my Grandmother and yearly holidays in Sofia and Varna until I was 12. The family members I knew were all survivors and descendants of survivors of the Armenian Genocide in the former Ottoman Empire which began in 1915.

My grandmother worked in the former German Democrativ Republic as a singer and subsequntially my mother partially spent her youth, and later studied and worked there.

The biographical and political interpretations of our everyday culture are embedded in the photos and lie, before the deconstruction begins, hidden, because they are not yet labeled. One one hand the photos represent commonplaces ('children's birthday', 'christmas'), but on the other hand they also give away social standing, eating habits, contemporary history, religion etc. Some objects we took from place to place and they appear throughout many decades. Some could only exist in Berlin of the 90s.

Recent studies have revealed that trauma travels through generations and can shape the genetic and neurological make-up.

By deconstructing bodies and environments in a former East and West, by revaluating childhood experiences, I am unearthing more political implications. Secrets about my origin seem to have been intertwined with fears about the grander political sphere long before my birth.'

Beatrice Moumdjian, 2018

addendum
As a further step, I will turn the extracted details of the photos into physical objects again. The text will eventually become a long form text and will be presented separately from the physical objects. Currently I am also working on an essayistic film.

DEUTSCH
'Mit Roland Barthes koennte man sagen, dass in dieser Arbeit ein Spiel zwischen 'Punctum' und 'Studium' stattfindet: Je mehr wir der Analyse des in den Bildern Verborgenen zusehen, desto mehr wird uns die Umgebung vertraut und trifft uns im naechsten Bild als Erinnerung. Der im Titel benannte Prozess einer 'totalen Dekonstruktion' dient gleichsam dazu, die vor der gewaltsamen Zerstoerung gerettete familiaere Erinnerung zu bewahren. Exemplarisch wird deutlich, was Erinnerung ist, was kontextualisiert werden kann, aber auch was als Luecke bleibt - und als fortlaufende Ausgrabung eine offene Form erhaelt.'

Clemens v. Wedemeyer, 2018

notes
.first photo: installation sketch for glass clip frames, 2018

.next to last photo: Alexander Pannier; installation view HGB Studienpreis exhibition 2017

.last photo: visualization, me holding my great-grandmother Viktoria's nose in my arms as a physical object

.Awarded with the Studienpreis of the Hochschule fuer Grafik und Buchkunst (Studyaward of the Academy of Fine Arts Leipzig) in 2017

.compare also the work Magic City