32:I[53470,["352","static/chunks/352-3ee02a3105c218db.js","4166","static/chunks/4166-8ca60d5be3e3329a.js","6874","static/chunks/6874-98a7f8268e192452.js","5784","static/chunks/5784-415ddf12556d8261.js","7399","static/chunks/7399-26b15dbcfe6c3d55.js","3063","static/chunks/3063-7cbe9e548a8d185f.js","6164","static/chunks/6164-e17a771cf2d83f17.js","253","static/chunks/253-da62e547742b6bee.js","1215","static/chunks/1215-07120a8c77b23d78.js","5607","static/chunks/5607-9fccc14341fbf147.js","9164","static/chunks/9164-5de9886fbddf12ff.js","6252","static/chunks/6252-11d0c66f47fdb9a4.js","3204","static/chunks/3204-3dab2c3c5b4ac269.js","3470","static/chunks/3470-895a517adcd16c6c.js","4573","static/chunks/4573-0b6f4331c61ce283.js","5326","static/chunks/app/(storefront)/(main)/collections/%5Bhandle%5D/page-c983ad99b8304abc.js"],"default"] 33:T5a2,

Sebastian Riemer’s Press Paintings series looks at the waste paper produced in the last century by the press photo industry.

He examines numerous images, analysing the manual work that went into editing them, a primitive process from today’s perspective. This throws up questions about the material nature of the decades-old image supports and the physicality of the people depicted.

The motifs are cropped, styled, and “beautified”, a practice that seems grotesque, radical, and even violent when it becomes evident how this also constructs an illusory image in the public memory. The meticulous black-and-white appropriations are an act of media archaeology, directing our attention to the i

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