hen looking at Paul Hutchinson’s photographs, I notice that the focus is never on fixed positions, but rather on fragile relations comprising attitudes toward the external reality of a contemporary metropolis. As such, the motifs of his pictures are entirely familiar to my own direct experience on the one hand, but they still continually foster a sense of irritation on the other. The Berlin-based photographer sets this transition at the motivic center of his artistic work, but not only that: he also positions
