<p>2017/18<br />
Forensic Excavations Inventory</p>
<p>2017/18<br />
Forensic Excavations Inventory</p>
<p>2017/18<br />
Forensic Excavations Inventory</p>
<p>2017/18<br />
Forensic Excavations Inventory</p>
<p>2017/18<br />
Forensic Excavations Inventory</p>
<p>2017/18<br />
Forensic Excavations Inventory</p>
<p>2017/18<br />
Forensic Excavations Inventory</p>
<p>2017/18<br />
Forensic Excavations Inventory</p>
<p>2017/18<br />
Forensic Excavations Inventory</p>
<p>2017/18<br />
Forensic Excavations Inventory</p>
<p>2017/18<br />
Forensic Excavations Inventory</p>

ENGLISH
'The Forensic Excavations Inventory is an autobiography told in digitally deconstructed family photos. The family members I grew up with are all survivors and descendants of survivors of the Armenian Genocide in the former Ottoman Empire which began in 1915. In a laborious process I individually extract objects, interior details, extremities of my family 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 complicated biography which was full of lies. Lies that tried to protect me, involuntary lies and lies that couldn't help themselves. 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 that which 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 whole looking picture of a happy family. To decide so was the long process of throwing off the blame, that had so firmly been located in myself since before the beginning. Destruction is in the word deconstruction, and it allows me a relaxed view on this world, that I can now leave behind.

I was born in Sofia, in Bulgaria, and grew up, after the wall fell, in the former Eastern part of Berlin. 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 class, eating habits, trends, contemporary history, religion etc. Some objects we took from place to place and they throughout many decades. Some could only exist in Berlin of the 90s.'

Beatrice Schuett, 2018

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

.last photo: Alexander Pannier, 2017

.Awarded with the HGB Studienpreis (Student Award of the Academy of Fine Arts Leipzig) in 2017.

.compare also the work Magic City