Sabine B. Vogel

  • Harald F. Müller

    Light and a substance that reflects light are required to make a photograph. In the simplest case, the photographer arranges things into narratives, playing with quotations and references to things outside the picture: in the most interesting case, things are nonobjective, and they act as reflections of light and color.

    Harald F. Müller’s photographic objects tell no tales, convey neither messages nor information. Scanning countless commercial and advertising brochures, Müller selects a number of tiny photographs, which he then photographs in a lavish process of reproduction. Finally, after

  • Fareed Armaly

    Paris is the hometown of movie director Jean-Luc Godard, the city where photography was invented, the capital of French colonialism, and the site of the Louvre, one of the world’s most famous museums. The selection of these data is not random; it corresponds to the various stations in Fareed Armaly’s installation, The (re)Orient, 1989. The relationships between these data require a path that is provided by the installation architecture and by Armaly’s accompanying text: “The (re)Orient occurs within the space of a type of architecture whose important contribution to the discourse of ‘the Orient’