Georges Baghdi Sar

The path is cut into dated acts, like a play: childhood in Syria, the departure, the arrival, what came next. Each one carries its years in the title, which gives a journalist exactly what they are after, a thread and dates in the same place. The family photographs are laid out like a scrapbook, slightly askew, annotated by hand. They are not decoration: they are the only archive material for a story nobody ever photographed professionally. The press comes at the end, as a wall of quotes rather than a row of logos, because one journalist's sentence carries further than a strip of mastheads. A press kit in PDF form gets filed away and never opened again. This one is walked through, quoted, and kept up to date.