1977-2007 A Thing Of Mine That May Not Be Mine

In 2007 I worked with materials published exclusively in 1977 (source: the collection of National Geographic). Many of them could be easily identified with the ideal of a common memory - mine as whoever´s too. Criteria for my final selection was May 1977 and situations which encourage us to appropriate them - their nature being private (even though their original placement is in contradiction to an intimate experience) but at the same time is possibly to be shared. I applied this method the other way round when I asked my friends to give me materials from their personal photo albums - shots of family celebrations. The output involved a photograph in a form of close-up chosen because of fascination of presentation of defects and mainly because of our habit to perceive a close-up as something not private but public as it has a different dimension as a photo album.

„The Year When Weather Went Wild.“ From the 1977 series In the soggy aftermath, a resident whose street was submerged past ground-floor windowsills sorts out belongings.

In 2007 I worked with materials published exclusively in 1977 (source: the collection of National Geographic). Many of them could be easily identified with the ideal of a common memory - mine as whoever´s too. Criteria for my final selection was May 1977 and situations which encourage us to appropriate them - their nature being private (even though their original placement is in contradiction to an intimate experience) but at the same time is possibly to be shared. I applied this method the other way round when I asked my friends to give me materials from their personal photo albums - shots of family celebrations. The output involved a photograph in a form of close-up chosen because of fascination of presentation of defects and mainly because of our habit to perceive a close-up as something not private but public as it has a different dimension as a photo album.

Family

In 2007 I worked with materials published exclusively in 1977 (source: the collection of National Geographic). Many of them could be easily identified with the ideal of a common memory - mine as whoever´s too. Criteria for my final selection was May 1977 and situations which encourage us to appropriate them - their nature being private (even though their original placement is in contradiction to an intimate experience) but at the same time is possibly to be shared. I applied this method the other way round when I asked my friends to give me materials from their personal photo albums - shots of family celebrations. The output involved a photograph in a form of close-up chosen because of fascination of presentation of defects and mainly because of our habit to perceive a close-up as something not private but public as it has a different dimension as a photo album.

Datsun

In 2007 I worked with materials published exclusively in 1977 (source: the collection of National Geographic). Many of them could be easily identified with the ideal of a common memory - mine as whoever´s too. Criteria for my final selection was May 1977 and situations which encourage us to appropriate them - their nature being private (even though their original placement is in contradiction to an intimate experience) but at the same time is possibly to be shared. I applied this method the other way round when I asked my friends to give me materials from their personal photo albums - shots of family celebrations. The output involved a photograph in a form of close-up chosen because of fascination of presentation of defects and mainly because of our habit to perceive a close-up as something not private but public as it has a different dimension as a photo album.

„F.ck The Guilt“ From the 1977 series Hillside Cleaners shovel ash off a slope above Vestmannaeyjar, on the icelandic Island of Heimaey.

In 2007 I worked with materials published exclusively in 1977 (source: the collection of National Geographic). Many of them could be easily identified with the ideal of a common memory - mine as whoever´s too. Criteria for my final selection was May 1977 and situations which encourage us to appropriate them - their nature being private (even though their original placement is in contradiction to an intimate experience) but at the same time is possibly to be shared. I applied this method the other way round when I asked my friends to give me materials from their personal photo albums - shots of family celebrations. The output involved a photograph in a form of close-up chosen because of fascination of presentation of defects and mainly because of our habit to perceive a close-up as something not private but public as it has a different dimension as a photo album.

„Let The Youngsters Have Their Pools,- I´ve got my porch,“ laughs Mrs. Ella Murphy. Born right here in Geneva, she has seen sprawling shopping centers force her favorite downtown stores to close. Yet the city of 17,000 still bespeaks the tranquility that Mrs. Murphy and other Finger Lakers savor. From the 1977 series