Abstract

The aim of this essay is to analyse the reports of Giorgio Vasta ("Absolutely Nothing") and Jonathan Littell ("Carnets de Homs") to define the construction of witness between text and image. Despite a similar collaboration with photographers in their works, Vasta and Littell suggest two different ways to think images as a proof of the experience. While in "Carnets de Homs" the writing can be a tool to re-mediate both events and photographic memories, "Absolutely Nothing" suggests that the text erases traces of the journey that the photos show. In this way, Vasta and Littell query the strength of images to claim the authentication of writings, both as evidence and as trace of the experience.