T.H.: Before you briefly mentioned Christian Boltanski as an artist who always works politically, but not in a too literal way. The photograph in the middle of the triptych may recall a famous work by Boltanski, the Dance of Death, which was recently shown at Fábrica ASA while Guimarāes was the European Capital of Culture.

P.N.: I saw that work before and I admire Boltanski a lot but his best work is way behind. He was somebody that worked with memory, and memory is something that is very important to me. The photograph of the coats, hanging in the centrepiece of that triptych, was taken in Madrid in the house of a friend of mine. He hangs his coats like that on the wall and somehow it reminded me of the Warsaw Ghetto. Clothes are important for me, they are man’s second skin, especially worn clothes, second hand clothes. Photographs are a little bit like that. Second hand visions.

T.H.: The triptych entitled Remember the Damned, the Expropriated, the Exterminated... works somehow as the introduction to your exhibition, while Pound’s poem With Usura marks an unlocked end to it. In between we find very different images of the past and the future. Usury is somehow the recurrent theme that binds them together.