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A living man declared dead and other chapters : I-XVIII
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  • FOTOGRAFI - FOLIANTER - Inz Simon, Taryn
Main Entry - Personal Name
Title Statement
  • A living man declared dead and other chapters : I-XVIII
Publication, Distribution, etc. (Imprint)
  • Mack ; Nationalgalerie, Staatliche Museen, London : Berlin : 2011.
  • 2011
  • Språk: Engelska.
Dewey Decimal Classification Number
SAB Classification Code
Physical Description
  • 773 p. : col. ill. ; 35 cm.
Formatted Contents Note
  • Beyond photography / Homi Bhaba -- Revenant / Geoffrey Batchen.
Subject - Topical Term
  • 1-907946-05-5 (cloth)
  • 978-1-907946-05-9 (cloth)
  • 0 (0)
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*008121013s2011    enk           000 0 eng d
*0167 $a015835324$2Uk
*020  $a1-907946-05-5 (cloth)
*020  $a978-1-907946-05-9 (cloth)
*035  $a(SE-LIBR)13548793
*035  $a(Ko)41690
*050 4$aTR647$b.S4776 2011
*084  $aInz$2kssb/8 (machine generated)
*1001 $aSimon, Taryn,$d1975-
*24512$aA living man declared dead and other chapters :$bI-XVIII /$cTaryn Simon ; [texts by Homi K. Bhaba and Geoffrey Batchen].
*260  $aLondon :$bMack ;$aBerlin :$bNationalgalerie, Staatliche Museen,$c2011.
*300  $a773 p. :$bcol. ill. ;$c35 cm.
*50500$tBeyond photography /$rHomi Bhaba --$tRevenant /$rGeoffrey Batchen.
*650 0$aPhotography, Artistic$vExhibitions.
*700  $aBhabha, Homi K.
*841  $5Ko$ax  a$b121012||    |||||001||||||000000$e1
*852  $5Ko$hFOTOGRAFI - FOLIANTER - Inz Simon, Taryn
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A Living Man Declared Dead and Other Chapters is divided into eighteen chapters. Each chapter is comprised of three segments: an annotation, a large portrait series depicting bloodline members and a second series containing photographic evidence. 817 portraits are systematically arranged within their chapters. Simon includes empty portraits, representing living members of a bloodline who could not be photographed. The reasons for these absences are provided in the captions and include imprisonment, military service, dengue fever and women not granted permission to be photographed. Simon's presentation explores the struggle to determine codes and patterns embedded in the narratives she documents. These narratives are recognisable as variants (versions, renderings, adaptations) of historical or future episodes. In contrast to the systematic ordering of a bloodline, the seductive elements of these stories - violence, resilience, corruption and survival - disorient the work's highly structured appearance.

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