Aquesta sèrie d’imatges va ser realitzada l’estiu de 2013 durant una visita al camp de concentració de Sachsenhausen, a Oranienburg, al nord de Berlín. Sachsenhausen va ser un dels primers camps de concentració que va crear el règim nazi, l’any 1936.
Era un camp en forma de triangle equilàter on, de manera panòptica, des d’un punt, es controlava la totalitat dels carrers dels barracons de presoners. A Sachsenhausen s’hi van empresonar i eliminar molts membres de l’oposició política als nazis (socialdemòcrates, comunistes...) així com homosexuals, gitans i altres minories. Va ser el camp on hi van sacrificar més ciutadans alemanys.
Era un camp en forma de triangle equilàter on, de manera panòptica, des d’un punt, es controlava la totalitat dels carrers dels barracons de presoners. A Sachsenhausen s’hi van empresonar i eliminar molts membres de l’oposició política als nazis (socialdemòcrates, comunistes...) així com homosexuals, gitans i altres minories. Va ser el camp on hi van sacrificar més ciutadans alemanys.
La sensació de simetria en el disseny del camp se’m va fer omnipresent. Com si d’una metàfora del nou ordre es tractés, la simetria va lligada, sota el meu punt de vista, al règim polític i a l’horror que allà hi van imposar. D’aquí el títol de la sèrie: “Les simetries de l’Horror”.
This series of images was done in the summer of 2013 during a visit to the Sachsenhausen concentration camp in Oranienburg, north of Berlin. Sachsenhausen was one of the first concentration camps created the Nazi regime in 1936.
It was a camp with an equilateral triangle shape so, in a panoptic way, from a single point, all the streets of the prisoner barracks were controlled. In Sachsenhausen were imprisoned and eliminated many members of the political opposition to the Nazis (Social Democrats, Communists ...) as well as homosexuals, gypsies and other minorities. It was the camp where most German citizens were slaughtered.
The sense of symmetry in the design was omnipresent for me. As a metaphor of the new order, the symmetry is linked, in my view, to the political regime and the horror that there was imposed. Of there the title of the series: "Symmetries of Horror."
It was a camp with an equilateral triangle shape so, in a panoptic way, from a single point, all the streets of the prisoner barracks were controlled. In Sachsenhausen were imprisoned and eliminated many members of the political opposition to the Nazis (Social Democrats, Communists ...) as well as homosexuals, gypsies and other minorities. It was the camp where most German citizens were slaughtered.
The sense of symmetry in the design was omnipresent for me. As a metaphor of the new order, the symmetry is linked, in my view, to the political regime and the horror that there was imposed. Of there the title of the series: "Symmetries of Horror."
