Screen shot 13 02 08 at 00 28
.. the shcet carried by tbe weeping mofbtr (w by tbis skuci?) .,
KOUN WESSING: NICARAGUA. 1979
probably a fricnd, holding a handkcrchicf to her nose. Herc again, in a bombcd-out apartment, thc huge eycs of two little boys, ones shirr raised over his little bclly (the excess of those eyes disturb the sccoe). And hcre, ftnaily, lcaning against the wali of a house, threc Sandinists, rhe Iowcr part of their faces covered by a rag (stench? se-crecy? I havc no idea, knowing nothing of rhe realities of guerrilla warfare); one of thcm holds a gun that rests on his thigh (I can sec his nails); but his other hand is srretchcd our, open, as if he were explaining and demon-strating something. My rule applied all the morc closely in thar other piccures from the same reportage were less in-reresting to mc; they were fine shots, they cxprcssed the digniry and horror of rebcllion, but in my eyes they borę no\ mark or sign: their homogeneity remained culrural: they' were "sccnes," rather a la Greuzc, had it not becn for the harshness of thc subject.
10
My rule was plausible enough for me to try to name (as I would nced to do) these rwo cle-mcntswhose co-prcsenccestablished, it secmed, thc particular interest I t(X)k io these photographs.
The first, obviously, is an cxtent, it has the extcnsion of a field, which 1 perccrve guite familiarly as a consequencc of my knowiedge, my culturc; this field can bc morc or less styliżed. morc or less succcssful, depending on the phorographers skil! or luck, buc it always refers to a clas-
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