Echtpaar Berti Hoppe en Herman Besselaar bij het Fuchsenfeldhof, een detail van het reuzenrad in het Prater en een gezicht op de Wien 1930 - 1931

This is a page from a photo album by Berti Hoppe featuring silver gelatin prints of buildings and bridges. I wonder if it was Berti’s intention to juxtapose these images. The stark lines of the buildings and the bridge contrast with the intricate, almost chaotic detail of the reuzenrad, or the Ferris wheel. I imagine Berti carefully framing each shot, searching for the perfect angle to capture the essence of each subject. It almost reminds me of Sol Lewitt's conceptual approach to photography, where the idea behind the work takes precedence. I am curious about the relationship between photography and memory. I think of how each photograph encapsulates a moment, and how the placement of these images within an album creates a new narrative, a personal history. Like a painter layering strokes on a canvas, each photograph contributes to the overall composition, shaping our understanding of the artist’s world. Ultimately, the act of making art is a dialogue across time and space, and the way the work is displayed or comes into being, is always an invitation for the audience to join in the conversation.