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"I undtntood as once thas tbis photograph's 9adventuret dcritcd frorn tbe copresence of tu o elements . .
KOEN WBSSINO: NFCARAOUA. 1979
1 was glancing through an illustrated magazine. A photograph madc me pause. Nothing very cx-traordinary: the (phorographic) banality of a rcbellioo in Nicaragua: a ruined Street, two hclmeted sol-diers on patrol; behind thcm, two nuns. Did this photo-graph please mc? Intcrcst mc? Intrigue mc? Not even. Simply, it existed (for me). I understood ar oncc that its cxistencc (its 'advcnture") dcrivcd from the co-presence of two disconcinuous clcmcnts, heterogcneous in that they did noc belong to the same world (no necd to procccd to the point of contrast): the soldicrs and rhe nuns. I fore-saw a structural rule (conforming to my own observa-tion), and I immcdiatcly tried to vcrify it by inspccting other photographs by the same reporter (the Dutchman Koen Wessing) : many of them attracted me because they included this kind of dualiry which I had just become aware of. Here a mother and daughter sob over the fa-tliersarrest (Baudelaire: "the emphatie truth of gesture in dte great circumstances of life”), and this happens out in the countryside (whcrc could they have learncd the news? for whom are these gestures?). Here, on a torn-up pavc-ment, a child’s corpsc under a white slłeet; parents and friends stand around it, desolatc: a banał cnough scenc, un/ortunately, but I noted certain interferences: the corpses one barć foot, the sheet carried by the weeping mother (why this sheer?), a woman in the background.
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