"Trap" is the language of hip-hop from the southern states, especially from the city of Atlanta. But "trap" is also slang for the place where drug deals are made. And, last but not least, a "trap" is also a snare. All of this collides when the documentary photographer Vincent Desailly sets out to capture the world behind the lyrics in Atlanta. His pictures are witnesses to the feeling of life and the atmosphere that comes from this music. Haunting portraits show dealers, musicians, or simply residents of the city. On display are guns, crime scenes, and tableaux of everyday life. The photographs are enchantingly beautiful and narratively elegant. Each one is full of meaning and history. Thus, the visual evidence becomes poetry. The portrayal of everyday life begins to speak in the photos. And this language is none other but rap, to whose driving beats and direct lyrics the pictures again open up.
'In a work called Auge/Maschine, Harun Farocki coined the term "suicide camera." Auge/Maschine shows cameras mounted to the tips of missiles during the first Gulf War. The camera would broadcast live until it exploded. But contrary to all expectations, the camera was not destroyed in this operation. Instead it burst into billions of small cameras, tiny lenses embedded into cell phones. The camera from the missile exploded into shards that penetrated people's lives, feelings, and identities, skimming their ideas and payments.' Hito Steyerl: Duty Free Art