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拍品專文
‘In the desert of metal and axles, Klasen’s gaze – revived from
injury, distress lingering – arrives. With a precise viewpoint,
including that of the camera, he offers snippets of the world that
will be sorted, arranged; and that, at the end, come towards us,
as blocks of meaning, drawing our attention to these tarpaulins,
joysticks, steering wheels, axles, tight ropes – those sexual
fragments of our bodies, scraps of stubborn enjoyment that break
the desert’s senselessness and relentless absence’
(D. Sibony, 2005 on: https://www.mep-fr.org/evenement/peter-klasen/).
injury, distress lingering – arrives. With a precise viewpoint,
including that of the camera, he offers snippets of the world that
will be sorted, arranged; and that, at the end, come towards us,
as blocks of meaning, drawing our attention to these tarpaulins,
joysticks, steering wheels, axles, tight ropes – those sexual
fragments of our bodies, scraps of stubborn enjoyment that break
the desert’s senselessness and relentless absence’
(D. Sibony, 2005 on: https://www.mep-fr.org/evenement/peter-klasen/).