Can photography have the same effect as film? What is the relationship between them when they deal with the same subject? How does it change when the first is the result of the latter? Must a spectator of a photo-story also see the film to understand its message or can the same message be delivered through the photograph, separated from the narrative?
Ahlam Shibli’s Phantom Home is a tribute to the immersion of the Palestinians in the constant denial of their individual and collective existence by the Israeli regime – in fact it is a tribute to the Palestinian death and it’s omnipresence in Palestinian everyday life.
While searching through Brecht’s legacy, Broomberg and Chanarin found his personal copy of the Holy Bible – the cover of which Brecht had decorated with an image of a car. And then they had an idea… They designed their own version of the Holy Bible.
The book Top Secret – Images from the Archives of the Stasi is another example of contemporary fascination over primal, non-artistic photographic production – fascination with »natural« and »genuine« photography. The photographs in the book are the outcome of Simon Menner’s research of the East German secret police (Stasi).