Ute and Werner Mahler: Kleinstadt Keep and Kin

“Main street includes, if followed at length, an exit to a highway or the autobahn. The community center and church are the gathering points in which social conditioning and inclusion or exclusion become modes of continuity for the community”.

Alec Soth: A Furious Honesty

“I know How Furiously Your Heart is Beating is not Alec Soth’s most important body of work and perhaps for no reason other than the glory of the new will my words be seen as critically negative”.

Wouter Van de Voorde: “Mad Units, Monoliths and Myspace Mythologies” Interview

“At some point during that time I was painting inside an abandoned factory and I came across the body of a guy who hung himself. I remember my teacher in painting saying that I should have made a painting of the dude hanging. This teacher later suicided as well. I had several friends kill themselves during that period, maybe a Belgian thing?”

John Lehr: The Island Position Interview

“The facades of shops, the techno-utopias of the call centers or mobile phone sales point bleed into boarded-up strip mall windows and the implications of a plastic and temporary commercial culture begin to appear”(BF).

John Myers: Looking at the Overlooked Interview

“However hard I tried to ‘illustrate’ an aspect of the urban environment, to unmask and present how this sleepy, suburban environment ‘functioned’ and fitted together somehow it always failed”.

Death Mort Tod: A European Book of the Dead

“Europe is…people. Its challenge is the bane of enlightenment that various historiographies lament upon its misshapen mass with its fluid borders, its guilt and its appropriated columns of toppled regimes”

Jem Southam Interview: The Pastoral Moth

“The premise and nature of each work, and its eventual architecture, develop as the work is progressing, and again I am led in this by my relationship with the particular site”.

The Last Picture-Photography and Death Interview C/O Berlin

“The other reason is the question of memory – in line with the invention of the medium, mass images of the dead emerged in the second half of the 19th century. A fashion wave that is not only reserved for the nobility and clergy, but also for simple people, in order to have a portrait, a memory picture of someone at all”. -Felix Hoffman

Nicolas Polli: Ferox Archives Disputes and Dis-Belief

The direct insinuation amongst governing bodies and current legislature on the grounds of A-historical material suggests that further research and finding will conclude the veracity of forged or re-purposed documentary tracts sold to the public at large as misinformation.

Thomas Demand: The Complete De/con/struction of Our Paper Realities

“It is this sand-blasted speculation or rather en-spectralization, the ghosting and subsequent miasma of capitalism as it exists in the economy of images that we regard as relative at the very least-namely the aptitude to regard photography if not truth, certainly as plausibly disagreeable in a shared system of acknowledged solutions for knowledge-based communication”