I was There – Alireza Husseini



Das Schreckgespenst, der von unvorstellbarer Zerstörung gezeichneten Stadtlandschaften, ist meist nur noch auf Fotografien sichtbar und dient als abschreckende Erinnerung. Die Gegenüberstellung von Ruinen und dem modernen Leben soll ein Zeugnis für die Verflechtung der Geschichte sein und ermöglicht es gleichzeitig, aktuelle Schicksale mit ihnen zu verknüpfen.


3.5.-26.5.
Galerie Bohai e.V.

may 2024

may 18th

finalized doublepage #5 – may 17th

may 15th

may 14th

finalized doublepage #4 – may 13th

may 11th
more …

april 2024

april 30th

april 27th

april 26th

april 25th

Jaffna | Colombo – april 15th

sotto tiro | finalized doublepage #2 – april 14

april 12th
more …

march 2024

shelf|3 #1 – march 31st

antiquemarket – march 28th

preparations for screenprinting – march 27th

STUNDENULLINPORTAUPRINCE – march 25th

march 24th

diary – march 23rd
more …

never forgotten: RIP John&Kent † may 94 | march 99

…after the poem of Fergal Keane for John:
Dead. So hard to say the word, to believe it.
So I will choose not to. Rather I imagine that
any moment now you will come rolling in the door,
a ship of life, bound for the shores of promise.

…we will harbour your memory,
we will bind our loss in the warm currents of
your laughter; we will search the Irish sky
for your wild, blazing star.

In the long term, the picture will become less
clear, we will all of us drift into other lives;
but your voice will endure, singing out to us
between the spaces in the wind, always free,
always Kent.

february 2024

shelf in the making – february 28th

february 25th

february 20th

february 19th

february 18th

more …

Hamburg 2025 – final concept

Für Hannah Arendt war nach dem Holocaust klar: Das Recht, Rechte zu haben, gründete in einer unverrückbaren Zugehörigkeit zu einem Staat mit eigener Souveränität, eigenen Grenzen, eigenen Rechten. Doch wie prekär dies trotz aller historischen Erfahrungen des 20. Jahrhunderts sein kann, erleben wir seit einem Jahrzehnt wieder im Osten und Südosten von Europa. Kriege und staatliche Gewalt stellen Grenzen, Souveränität und Rechte von Menschen in Frage. Betroffen sind Millionen von Menschen, die ihr Heil nur in der Flucht nach Europa finden können, die von Konflikten auf dem Balkan bedroht sind oder die aus ihrer Heimat in der Ukraine vor dem russischen Angriffskrieg geflohen sind.

Krieg, Gewalt und Flucht sind für die Betroffenen real – für uns ereignen sie sich vor allem in imaginären Räumen, die zugleich historische Assoziationen öffnen. So ist es nicht nur unser humanitäres Empfinden, das uns die Bilder von Flüchtenden beklommen ansehen lässt. Sie rufen auch die Erinnerung an jene Gewalt auf, die im Zweiten Weltkrieg von Deutschland ausging – vom Vernichtungskrieg gegen die Sowjetunion über die Besatzungsgewalt in Jugoslawien bis zu den Massakern in Griechenland.


Konkret wird dies in der Verknüpfung mit Orten der nationalsozialistischen Gewalt in unserer Nähe, die wir durch die Linse der neuen Kriege zugleich genauer wahrnehmen. Zeit und Raum werden überbrückt, wenn uns bewusst wird, wie viele Ukrainer unter den mehreren Hunderttausend Kriegsgefangenen aus der Sowjetunion nach Norddeutschland verbracht wurden, unter anderem bis an die Grenze zu den Niederlanden, in die südlichen Emslandlager. Bewusst werden in diesem Projekt Vergangenheit und Gegenwart, verschiedene Zeiten und Räume, Realität und Imagination miteinander verknüpft, weil aus den verstörenden Bezügen wiederum die Frage erwächst, wie genügend Rechte für jeden Menschen gewährleistet werden können.

Black.Light | publication | team

authors
Susana Moreira Marques (PT)
Marko Dinić (RS)
Joshua Craze (US)
Pedro Rosa Mendes (CH)
Habbo Knoch (DE)

concept
Ines John

layout
Christoph Ermisch

The Work Of The Witness – Sarah Aziza in Jewish Currents



Bear witness. This, an admonition often repeated through these killing weeks. Bear witness, a cry against the fierce, orchestrated attempts to deny the devastation wrought in Gaza and the West Bank. Bear witness, we tell ourselves as helplessness threatens to engulf us on our far end of the telescope. Bear witness, we say, yet three months into a livestreamed genocide, we must ask—what does all this looking do?

And so, mere meters from strike sites, their hands still shaking from terror, these survivor-creators have broadcast the unmaking of their world. Their dispatches are an act of resistance, transmitting truths systematically excised from legacy media. From the start, Israel has forbidden all outside journalists from entering Gaza, save for the few reporters they escort on orchestrated tours. These journalists are prohibited from speaking to Palestinians while on the ground, and are required to submit their reports to the Israeli military for approval before publishing.

I continue to insist, we have not gotten used to bombing and we are afraid of everything happening to us. We have not gotten used to the sight of suffering. No, it always breaks our hearts. We have not gotten used to the massacres perpetrated by the occupation. No. For every martyr, there was a life.



The Work Of The Witness

1995 – january 3rd 2024


Good Afternoon,

I hope you can help me.
I understand that you once exhibited at „Agentur und Galerie für Fotografie“ in Hannover. I believe it was run by a photographer called Chim – I purchased some photographs there some years ago but cannot trace what happened to Chim.
I am hopeful you may have some knowledge of him ?
I would welcome any information you could give me.

Kind regards
Richard Wells

Devon, UK.


__________

Dear Richard,

surprisesurprise – This is Wolf Böwig, former owner of chim – btw. „chim“ originated from David Seymour = is his nickname.

Only the best.
Luck.
And freedom.
Wolf

__________

Dear Wolf,

Thanks so much for your reply and information. Ah, so Chim was the gallery’s name. The three small photos I purchased must have been yours. That’s so interesting.

Best
Richard

__________

Wolf, I scanned the pictures with titles years ago before framing them in 3 nice square frames – they still look good together.

It must have been in the 1990’s !

Best
Richard

january 2024



„Nein, es gibt nur eine Hoffnung. Wir alle müssen Verrat an unserem Land begehen.
Nur so können wir uns gegenseitig retten, glaubt mir!“

John le Carré, das Russlandhaus

in the making|diary – january 21th


for M&P – january 10th


Kassiber – 16x18x10cm 12|23 – january 4th

december 2023

for my mother, pour Etoile… – december 10th

for Leah, Eliott, Stefan and Dirk – december 3rd

Relentlessness – Olivier Del Fabbro in 3 Quarks Daily



While repairing roofs Andryi has been exposed, both indirectly or directly, to a variety of weaponry: mortars, snipers, rockets, you name it. “When we repaired roofs, artillery fire was constantly active. Once, we saw phosphorous bombs in the near distance, then we hid in the basement.” The last roof was the scariest experience. Some of the material that Andryi and his partner use is a plain white awning, easily detectable by the Russians. Being only one kilometer away, the Russians bombarded Andryi and his friend with mortars, but luckily, they missed. “That was scary, but they did a bad job in trying to hit us.” In total, Andryi counted twenty-six explosions. “It was frequent, loud, and very close.” When talking about his war experience, Andryi has, as many Ukrainians, a dry and succinct way of expressing himself. “You realize that you can get hit, when you hear the bomb exploding.”

In June 2023, came the next catastrophe. The Kakhovka Dam was blown up. The consequence was an unimaginable natural and humanitarian crisis. Large parts next to the lower Dnieper River were flooded. Mines were washed away, animals died, elderly drowned in their own homes. Russia’s creativity in regard to cruelty and violence against Ukrainians seemed inexorable. A man-made natural catastrophe, similarly to the Holodomor, Stalin’s artificially created famine in Ukraine in the 1930’s killing millions. How much violence could the already sickened and weakened body of Kherson withstand?



Relentlessness

Ukraine 14|15
photo: Wolf Böwig

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