Fotograf Magazine

How strangely understandable is the nature of things that we no longer use for their original purpose. Found or collected objects, for instance – which within them combine the surviving finished state of things and our ever-evolving relation to them – sometimes shift past events back towards their time of occurrence. Even here, in contact with the world of things, a place may emerge where things start anew, the chance to try something nearly alone – if possible, without considering where we might end up if only we had taken the well-beaten path. The same can be seen in conceptual art, as if shared history did not count, pushed aside by popular culture, as if it was something new. A concept’s author tends to represent above all a ”purist“ point of view – the fact that he has found the object means simply that he observes it from the same position as the rest of us, and his role in its presentation is based on the fact that he was the first to observe the interface between the artefact and its mere echo.