By considering the ruin to be the carrier of discourses and moving away as far as possible from ruin lust, i.e. the fascination of decay, we believe to find an access that avoids the obvious and sentimental. Only through this indirect approach we might form a perspective that not only focuses on the object but also on the ambiguity it releases. Concepts of present and past, nature and culture, memory and consciousness, clarity and transfiguration, thoughts and perception – become blurred and overlap. New opportunities to approach them and to see them as opportunities themselves emerge. A new consciousness beyond the linear narrative historical narrative shines through – the ruin reflects its decay and blurs its condition. Our fascination for the ruin becomes a fascination for disintegrating concepts. The absence of sense should not be seen as loss, as defect, as uncertainty. The subversive and constructive potential of the ruin lies in the ability to reinterpret those connotations.
The freshly printed volume Horizonte No. 9: Ruine contains my photo essay “Vogelsang Murals,” which questions the value of forgotten artworks of the Soviet era. Considered in the context of Socialist Realism, various murals at the abandoned Soviet garrison in Vogelsang are analyzed in writing and reproduced in vibrant color.