rear window

Via the always brilliant Nag on the Lake, we are invited to peek behind the curtains of the privacy-treasuring Norwegians, escorted by the private-eye of photographer Ole Marius Joergensen. Such haunted voyeurism that raises more questions than answers about identity and public-personæ and reminds us that the eerie spectre of being observed (or being the observer) isn’t just about the brute panopticon of total surveillance that spoils the surprise by not leaving much up to the imagination for nosy neighbours for whom the truth is immaterial against the excitement of constructing one’s own narrative. Such curiosity remains harmless, I think, until it becomes the official profile of another—or of the watcher.