Hans Hansen’s Analog Project, which the artist has been engaged with since the 1990s, comprises a more or less complete document of all the equipment, utensils, and materials that he has needed and accumulated over his many years as a photographer making analogue prints. Is this collection an evidential record of a world—or rather a photographic practice—documented before it disappears, perhaps for good? Does it address a time of upheaval, in which digital media have begun to dominate the world? Would we use the terminology of crisis and catastrophe to describe this revolution, which is akin to the turmoil that photography once brought about? And what kind of archive is being created in the process? (Reinhard Braun)

Hans Hansen, b. 1940 in Bielefeld, completed a training as a lithographer before going on to study applied graphics at the Kunstakademie Dü sseldorf. In 1962 he became a freelance (self-taught) photographer. He has lived and worked in Hamburg since 1967.