and counterbalances his synesthetic use of colours using the obsolete analogue technique of chromogenic print processing. The transition in Trakl’s texts from day to night is reflected in Rachael Woodson’s colour fields, which shift fluidly from light to dark reds, to purples and blues. They are the material ground upon which in terse excerpts Trakl’s words have been photographically superimposed.

For other montages, the artist incorporates documents from her family archive, photographs of her own sister, and juxtaposes them with documents and photographs from the Brenner Archive’s loose bundle of Trakl documents. Strange Sisters relies on the associative space of the viewer, on the knowledge about the fatal impact that Trakl’s sister Grete had on him, which seems to be confirmed to posterity by her later suicide. At the same time, the title can also be interpreted as a commentary on the way the mediums of photography and film are used here.

Florian Ebner, If Innsbruck Were No Longer Just Innsbruck (excerpt),Genau Jetzt! exhibition catalogue, FOTOHOF edition, 2023. Translated from German.