Photographs are comparable to language in that they are "reproductions from life" (Jochen Gerz). They are slices of real situations. But they are not what they show, they are just images on the surface, abstractions of reality. Thus, they become something like signs that play different roles, depending on who is watching and reading them. That is the foundation of Jochen Gerz's strategy for awakening our perception. He touches upon our own existence and feelings, tries to shake the linear thinking that hobbles woodenly from cliché to cliché.Andreas Vowinkel 1992
10 b/w photocopies, photographic opaque, black adhesive cloth tape, wooden frame, 52 x 155 cm, signed and dated lower right: Jochen Gerz 1971/73
Musée d’Art Moderne de Saint-Étienne.
Donation François et Ninon Robelin.
Karlsruhe 1975 (Duisburg 1975/1976. Braunschweig 1976). Wien 1993. St. Étienne 1995
I: Darmstadt und Neuwied 1973, pp. 165ff. Karlsruhe 1975, pp. 85, 150. St. Étienne 1995, pp. 160, 272. Lyon/Paris 2022, p. 22
II: Giersch 1982, p. 7
V: Krug-Mann 1979, pp. 358-359