Georges Didi-Huberman, Images malgré tout, Paris 2005.


... At least you avoid this kind of journalistic image making of the political contemporaneity that surrounds you or that you might photograph abroad.

P.N.: I actually don’t photograph other images or screens very often. In the beginning of Solo, which is the project I did straight after Penumbra, it starts with a photograph that was shot from a documentary on Hitler’s youth that I was watching while I was in Berlin. I took a picture of a screen because a swastika on a woven pullover made by some mother seemed like a perfect beginning. A few months later I took a picture in Paris, which is a fondu enchaîné between Hitler’s eyes and «ARBEIT MACHT FREI». I only took two rolls of film in Auschwitz. You can’t photograph that place!

T.H.: This is where I would like to make a comparison. On the one hand there are theoreticians, like Georges Didi-Huberman, who are insisting on the possibility of images from Auschwitz, in spite of it all. [5] You have now said that you can’t make a photograph of those places, and maybe we should add that you couldn’t make it because of the temporal distance between the photographic gesture and the historical event it relates to.

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