Notes 05-31-2012 — by Pierre Le-Hors

“A trip, with its displacements in time and space can be the perfect way to frame a story”


Moyra Davey, The Wet and the Dry


This morning I was woken up around 5:30 by what I think was the sound of a crow. The sun was already above the horizon and a palid light, filtered through overcast skies streamed in through the windows above the bed. I closed the pane in order to dull out the sound but was unable to fall back asleep, the room was already too bright. I unplugged my phone from its charger on the bedside table, saw that it was 5:30, and spent the following two hours reading a series of wikipedia entries detailing the post-WWII years in Berlin.


The need to locate myself within a history is steadily becoming impossible to ignore.


Publications purchased in Paris and Berlin:


Selected Works from 2006 to 2011 by Salvatore Arancio


published by Innen in 2011

€ 6,00


In the Beginning it was Humid by Bastien Aubry and Dimitri Broquard


published by Nieves in 2011


€ 18,00


25.Sept – 14.Nov.2010 by Marieta Chirulescu


published by Kunsthalle Basel and Distanz Verlag in 2011


€ 19,90


Isolated Rooms by Mark Manders


published by Roma Publications in collaboration with the Art Institute of Chicago and the Renaissance Society at the University of Chicago in 2005


€ 40,00


Project Prints by Luigi Ghirri, edited by Elena Re


published by JRP Ringier in 2012


€ 45,00


Bilder Pictures by Hans-Peter Feldmann


published by Buchhandlung Walther König in 2002


€ 25,00


The Wet and the Dry by Morya Davey


published by Paraguay Press in 2011

€ 5,50


Tell Me What You Want, What You Really, Really Want by Jan Verwoert, edited by Vanessa Ohlraun

published by Sternberg Press and Piet Zwart Institute in 2010


€ 18,00


At Orly airport, leaving Paris for Berlin, I reluctantly allow 5 exposed + 5 unexposed rolls of film to pass through the x-ray machine at the security checkpoint. The security officers refuse to hand-check my film, threatening to deny me entry aboard, repeating that any film rated under 1600 ISO can pass through the x-ray unharmed. Nevertheless, my empty camera is pulled aside for further inspection after the machine fails to register its contents. I am happy to leave Paris, a city I perceive to be preoccupied with preserving its past. I have my film processed in Germany and hope for the best.