Thomas Min

Every conceivable object—from an ordinary thing to a readymade that is presented in an artistic context or an intentionally constructed artefact—once probably had a photographic pendant, either as a document or an artistic interpretation. On the one hand it’s a lovely and even comforting idea that things are given a second life, but on the other hand it’s a depressing thought that reveals something about our obsession to portray.

[...] to transform threedimensional objects into two-dimensional images and by doing so inform and/or excite the viewer. The images an sich turn out to become invisible to the eye. They become a direct view on reality. Because we initially only see the represented objects, one could say that their images are (have to be) invisible themselves.

And is a catalogue anything other than functional? This kind of book is rarely leafed through purposelessly (unless the motive is love or interest for the things represented by the images on these pages). Publications of this kind only exist in function of their market. They are the ‘evidence’ of the existence of the objects represented.