Abstract:

Christos Chrissopoulos's trilogy of literary photobooks Flashlight between the Teeth (2012), The Flâneur's Consciousness (2015), and Land of Anger (2018), portray the demise of Athens during the years of financial repression. The photographs in these books, taken by the author himself, depict material remnants of former affluence, homelessness, and destitution, as well as mundane objects of city life, in a manner that is not documentary. In what ways do photographs in these books narrate the crisis? In what ways do they pin down the historical moment in which they were taken? The theoretical perspectives of Walter Benjamin and Eduardo Cadava show how the written word here energizes the past and future of the images, thus constantly bringing them into actuality and impacting their meaning. The pedagogy of reading images in the context of the Greek financial repression depends on their narrativization in terms that are not purely imagistic: their interdependence with text brings about the image's multilayered temporality. Whereas conventional perceptions of ruins exemplify their finality as a permanent state of destruction (the word wreckage is a telling example), looking at ruins through the Benjaminian lens brings out their nuanced texture as a state in the present which haunts us with its past and looks out to the future.

摘要：

克里斯托斯·克里斯索普洛斯（Christos Chrissopoulos）的三本文学写真集《牙齿之间的手电筒》（2012年），《弗朗涅尔的意识》（2015年）和《愤怒之地》（2018），描绘了金融镇压年间雅典的灭亡。这些书中的照片由作者本人拍摄，以非纪录片的方式描绘了以前的富裕，无家可归和贫穷以及城市生活的平凡物体的实质残留物。这些书中的照片以何种方式描述了危机？他们以什么方式确定被捕的历史时刻？沃尔特·本杰明（Walter Benjamin）和爱德华多·卡达瓦（Eduardo Cadava）的理论观点表明，这里的文字如何激发图像的过去和未来，从而不断地使它们变为现实并影响其含义。在希腊金融压制的背景下阅读图像的教学方法取决于它们的叙事方式，而这些叙事方式并非纯粹是虚幻的：它们与文本的相互依赖性带来了图像的多层时间性。传统的对废墟的看法将其终结性作为永久性的毁灭状态加以体现（该词残骸是一个有说服力的例子），通过本杰明式镜头观察废墟会展现出它们细微的质感，成为当下的状态，困扰着我们的过去并展望未来。