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In Amsterdam and New York, Chris Becher (1990) photographs locations that, at first glance, seem entirely unremarkable: a detail of a column, a reflective water surface, a façade of a building. However, through carefully chosen framings and the combination with intimate portraits, his series Latencies (2025-ongoing) evokes an uncomfortable tension. Amsterdam and New York were shaped by a shared colonial history that still resonates in cemeteries, ports, or places where slave auctions were held. Becher visits places like these, where the histories of people whose names and memories were forgotten become tangible as they remain embedded in the landscape.
As a documentary and portrait photographer, Becher is interested in identity, social differences, and how history affects the present. He also observes how this history is present in the cultural narratives and wide variety of identities of the people inhabiting these cities. Becher grew up in Germany, but also frequently resided in North and South America because of his father’s work. This background made him aware of diverse perspectives while also encouraging him to highlight how deeply interconnected these different worlds are. Becher: ‘We seem more interested in talking about our differences than our similarities.’
With Latencies, Becher emphasizes the extent to which colonial structures from the past continue to impact the capitalist structures of today. At the same time, he wonders how interweaving the realities in Amsterdam and New York might help foster mutual understanding.
Text: Esther Darley
Translated from Dutch by Marie Louise Schoondergang (The Art of Translation)