<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>

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

ENGLISH
'The Forensic Excavations Inventory consists of 145 digitally deconstructed family photos of survivors and descendants of survivors of the Armenian Genocide in the former Ottoman Empire in beginning in 1915. In a laborious process I individually extract every single detail from each photo and write something about it. 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. Nevertheless a void emerges not only through spatially expanding the photo in its details but also through the not written and not remembered. The 'total deconstruction' of these photos gives me the tool of a controlled, and constructed, telling of a story, with which I can examine the circumstances of my biography for its structures and foundations. This narrative, the beginning of which I situate before my birth, does not make any claims of being complete, and does actualize where required, when I gain a new perspective on a photograph. I was born in Sofia, in Bulgaria, and grew up, after the wall fell, in the former Eastern part of Berlin. We were not part of an Armenian community. The tradition of the double identity, the changed name under false pretenses and the altered identity, even personality, does occur in our family with regularity. 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 some indication of general interpretable and debatable markers: social class, origin, occupation, eating habits, trends, contemporary history, religion etc.'

Beatrice Schuett, 2018

.last photo: Alexander Pannier, 2017

.compare also the work Magic City