Nina Fischer & Maroan el Sani

Il luogo di morte di Pier Paolo Pasolini

Se­ries of 11 colour pho­tographs, 75 x 50 cm, 1999

It would only make sense to understand Fischer and el Sani’s work as appended evidence if we do not overlook the possibility inherent in it to question the nature of the photograph as evidence. The playing with the void which constitutes much of the stimulation of the curiosity of a detective always casts doubt on the semantic meaning of the photograph and hence on its power as evidence. Il luogo di morte di Pier Paolo Pasolini seems to ask not least whether photographs are not better suited to demonstrate the void than to be something concrete which can be instrumentalised for the writing of official history.