Abstract

Repetition and erasure/scratching, writing and image, standards and exceptionalities. The apparent opposition of these terms is the referent for the creation of the work's indictment of a photography that held people to an inferiorized human sub-group at the turn of the century. Scratching here is the equivalent of accusing the photographer of the original works and the institutions that supported them. It is with artistic resources that I accuse the artwork of this photographer, forging a new reading and relocating the identities of the photographed models.