/ (1 of 1)

Anarchive, 2012
Series of Archival Pigment Prints, 16 x 24 inch

AUFNEHMEN, which means to take up. The camera delves into history, cuts out scenes, contexts, - and lifts them up to a trans-historical level. Photography is not as much a witness of history as a destruction of history. (Flusser)

My research evolves around different practices of photo archiving and their historical and political development. Photographic representations do not merely re-present but also shape history; historical realities thus become socially produced and reproducible realities.

This chapter of my work looks at the "Movement 2 June", SAK (Sozialistisches Anwaltskollektiv) and the death of the student Benno Ohnesorg that led to the escalation of the political climate in Germany in the 1960s.

Rather than focus on German Terrorism merely as thematic content, I investigate how the aesthetic articulation in the photographic medium adds to or shapes an understanding of the event of June 2, 1967.

/ (1 of 1)

Anarchive, 2013
Layered Archival Pigment Prints, 17 x 22 inch, 2013
Screen-prints 20 x 30 inch, 2013

It was June 2, 1967 at 8.30 pm when Karl-Heinz Kurras an officer of the German Federal Criminal Police aims at close distance the head of Benno Ohnesorg and pulls the trigger. The bullet from the Walther PPK 7.65 kills the 27-year-old student in a yard on Krumme Strasse, Berlin West.

Read in relation to deconstructive approaches to concepts of mourning, memory and forgetting, the layered prints of images used by the SAK to reconstruct the tragic event in a federal investigation, are set out to trouble existing systems of representation, and provide a fertile source for nonmimetic, nonlinear conceptions of time and space.