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An image is described: a photograph cut out of the newspaper in which a raging crowd is in the act of plundering a millionaire’s home. In the foreground, an oil painting is held aloft by several people: it’s the portrait of the millionaire. The photo was taken in the 1990s, when ethnic Chinese businessmen living in Indonesia were rumored to have caused the economic crisis of the time and suddenly found themselves in danger. The narrator describes the photograph in painstaking detail; she literally reconstructs the photograph in words. What is the mental image that results from this description, and what relationship does it bear to the original photograph? It’s about the description of an image of an image here: a text about the printed photograph of a portrait painted on canvas of a man who has fled for his life only moments before—an oil painting that was destroyed seconds after the picture was taken.

 

Read the full conversation at 3 Quarks Daily

The original German version can be read at Jitter: Magazin für Kunst und visuelle Kultur. 

PATTERNS OF EROSION: 

A Conversation with Andrea Scrima on A Lesser Day and the new German edition, Wie viele Tage. 

“She sees a slip of paper lying on the street at the point of projected convergence, and she picks it up with a feeling that retrieving it is somehow necessary and crucial. That’s a key passage in the book, and it comes close to describing a relationship to meaning, in the way that you’re living in an insentient world, in a world of natural phenomena, man-made phenomena, trains and buses and buildings and streets, yet things are constantly happening that can suddenly seem to be saying something to you. The phrase I use in the book is ‘a language of happenstance […] in the din of occurrence.’ Searching for meaning in these chance occurrences—the superstitious see signs in coincidences, but you could also think of them as constituting a kind of language. But whose, and to what purpose?”

Read the full interview online here

M&Lcover