T.H.: When I think about how you dealt with Pound in your exhibition, it almost reminds me of the way Pier Paolo Pasolini confronted Pound in 1967. I think Pasolini understood very well the ambivalence in such a politically conflicting figure like Pound. I think it is then especially interesting to confront Pound’s individual biography, and his modernist view on both poetry and usury, with the overwhelming violent reality in the 20th century; the violence of the lager; the concentration camp, which we would later call the banality of evil.

P.N.: It gets really tricky when ideas turn into violent acts. Anyway, I think we should never forget that language was invented to dominate. I am very wary of words. I’m a photographer. Poets they don’t mean much anymore, but the pure image, the one that is not manipulated, still rings with some truth in me.