In “Fata Morgana”, André Gelpke deals with these truths of photography in a self-experiment. The defiant, melancholy bearing that increasingly characterises the mood of the series is perhaps also a sign of the adaptation of the photographer to his medium and its paradoxical relationship to time.

“Fata Morgana” suggests a fundamental relationship between photography and eroticism, their establishment in the finiteness, their inconvertible striving after an eternity of a moment that consciousness simultaneously fulfils and obliterates in the triumph over time; a promise that ultimately only death is able to honour. The pushing of the shutter release is like an orgasm “une petite mort”.

Martin Jaeggi 2004

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