Unknown
The intent of this project was to envisage America as a land of asylum, a receptacle of the Old World's dramas and an optimistic transformation of the brutality and misery of its wars and revolutions. In the interest of focus, Stèphane Duroy has limited his field of investigation to New York, entry point to America, and the State of Montana, where the slow migration towards the unknown reaches its completion.
The intent of this project was to envisage America as a land of asylum, a receptacle of the Old World's dramas and an optimistic transformation of the brutality and misery of its wars and revolutions. In the interest of focus, Stèphane Duroy has limited his field of investigation to New York, entry point to America, and the State of Montana, where the slow migration towards the unknown reaches its completion.
Stèphane Duroy:
French, Born in 1948 in Bizerte, Tunisia. Lives in Paris. Initially a press photographer, he little by little moved away from the media to develop his personal projects, which took final form in books and exhibitions. He takes few photographs, with great economy of resources and a subtle treatment, without effects, of colour (which he mixes with black and white). His work is marked by a voiceless and serious tonality, yet without pathos, creating a space where anecdotes are absolutely excluded to leave room for a form of desolation.Following an approach which is both documentary and conceptual, his work is a disenchanted record of the twentieth century and its contemporary consequences.
French, Born in 1948 in Bizerte, Tunisia. Lives in Paris. Initially a press photographer, he little by little moved away from the media to develop his personal projects, which took final form in books and exhibitions. He takes few photographs, with great economy of resources and a subtle treatment, without effects, of colour (which he mixes with black and white). His work is marked by a voiceless and serious tonality, yet without pathos, creating a space where anecdotes are absolutely excluded to leave room for a form of desolation.Following an approach which is both documentary and conceptual, his work is a disenchanted record of the twentieth century and its contemporary consequences.
Zum Freitod des Flüchtlings W. B.* (ca. 1941)
"Ich höre, dass du die Hand gegen dich erhoben hast
Dem Schlächter zuvorkommend.
Acht Jahre verbannt, den Aufstieg des Feindes beobachtend
Zuletzt an eine unüberschreitbare Grenze getrieben
Hast du, heisst es, eine überschreitbare überschritten.
Reiche stürzen. Die Bandenführer
Schreiten daher wie Staatsmänner. Die Völker
Sieht man nicht mehr unter den Rüstungen.
So liegt die Zukunft in Finsternis, und die guten Kräfte
Sind schwach. All das sahst du
Als du den quälbaren Leib zerstörtest."
Bertolt Brecht
"Ich höre, dass du die Hand gegen dich erhoben hast
Dem Schlächter zuvorkommend.
Acht Jahre verbannt, den Aufstieg des Feindes beobachtend
Zuletzt an eine unüberschreitbare Grenze getrieben
Hast du, heisst es, eine überschreitbare überschritten.
Reiche stürzen. Die Bandenführer
Schreiten daher wie Staatsmänner. Die Völker
Sieht man nicht mehr unter den Rüstungen.
So liegt die Zukunft in Finsternis, und die guten Kräfte
Sind schwach. All das sahst du
Als du den quälbaren Leib zerstörtest."
Bertolt Brecht