Large
World
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You only see what you can see. What you have already thought, what you have already felt. The view of Moscow is a view of the vitality of an urban self-destruction of unimaginable proportions. It is like the swan song of an empire whose symbol, the star, still towers over the present. This multifaceted, if you like, noisy panorama in the depths of a fascinating decline is a counterpart to the overwhelming image of the dead roller coasters at Coney Island. The giant machine is out of order, but it stands in the glaring light of a peaceful autumn day, with the hopeful sign of a rainbow arching over the scene of a disused amusement park. The image crackles and sparkles with the sight of something that seems to have been created only to arrive at this glorious death. The sensationalism of the motifs touches the deepest pathos of the bewildered. But it is tamed by the terror that beauty can also evoke. Ludwig Rauch took his approach to the world, his wonder, his hope, his fear, with him, whether he was travelling in Berlin, New York, Venice, Paris, Madrid, Istanbul or Havana.
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