 My first reaction when I was invited to the project was that I came from two sides. One side was that I've never been to Israel before, I've never been to the Middle East before, so I was interested. My parents had been in Israel a few times. My brother had worked in the keyboards after high school, so I thought it had been building up that I wanted to go there, especially from a German perspective. And secondly, of course, it was a reaction to Ferenbrenner's personality, which is quite charming, and I thought, yeah, it seems to be the right moment to go there. I think it was the reason why I did not really work exclusively on one subject matter, I came partly from my own artistic points, so to say, of my development at that moment, to give up a certain homogeneous project idea, but also that came from this place, so to speak, and I felt it would be more encompassing to go to all the part of the familiar things that I was working on, technology, family portraits, and a landscape which I have not done so much before, and I made two touch pictures, so it seemed like a good opportunity to let down a certain rigidity of strategy. I think at the moment we are in a historical situation, there is yet another overload of photographic or pictorial production everywhere, which you can see all the time. Nowadays, when you go to the Louvre, for example, the museum, or the Proudre Madrid, you see people, before they look at any painting, they raise their phone and make a photograph, and then many of those people that turn around and walk away without even looking at what they were photographing, and it seems to me that in that time, or even before, in the last 30, 35 years maybe, it seems to be no surprise that the artists have turned again to photography, the particular manner, to, you know, maybe to rescue something or to rescue precision in photographic images, but maybe to stabilize a certain vocabulary capacity in photographic production. So the selection of the pictures was made in a very long process at the studio, because I spent maybe a total of three or four months in Israel, and I made maybe 50 pictures, I would say, so I tested a lot of stuff that I thought could be important to include the other more principal landscapes and so forth, and then there was a lot of time also because the exhibition, the first venue now that opens now, was still like invisible in the future, so there was a lot of time that I spent with these pictures, and they were just shuffled around a lot, and tested against each other, and what I really wanted was that every combination of a pair or a triptych or four pictures would work great. To work in Israel and the West Bank was very different because I've never photographed in a territory of crisis, and even though many people live there maybe wouldn't agree that it is all the time, but for me it was not easy because I feel the tension that exists there between two groups of people who necessarily don't want each other to be there, or there's few people I would say who embrace the idea that the others are there and that it's a fruitful combination that is good for everyone, and that's just a general tension that maybe not physically doesn't approach me in any way, but it's in the air. There was always an anxiety that the project would get too old, and by the time it will be exhibited, the pictures are already immature too much, but as I come here I'm very happy that I think that's not the case. It looks very fresh to me.