Half Turn

Half Turn

It was the way he came across this industrial plant that struck him as significant, the way it emerged unexpectedly and stayed almost hidden. He couldn’t feel or think of something else other than, naively, having discovered some secret about the city, about its origin, its raison d’être.

As I look at the image I am not exactly interested in discovering the city’s industrial heritage but in the unnerving figure of an originary and hidden world. This world is the one of the impulse, characterised as one of force, energy.

Here, I come in contact with a layer of the city often subsumed. If I linger at the border, at the fringe of this industrial force, it is because this encounter occurs at the back of the apparatus of knowledge. The truth of the city is not to be found in itself, but at a detour, at an unconscious or pre-conscious level, through the effect of déjà vu, through the virtual that the work of memory engenders.

In the encounter with the image, one can only come in contact with a certain void of being, a dissolution of the self, or a vibration of the city.

 

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