Photographs and photograms are traces of light that have been deposited on silver bromide - one by means of the eyepiece of a mobile black box on film, the other as direct exposures of objects on photographic paper. What they both have in common is the immobilisation and temporalisation of time. Go¿rtz's "photograms" - as she calls her prose pieces - behave in the opposite way, like reversal films. They are written images. The short prose pieces range from minimising the narrated time to zero to superimpositions of a 24-hour day with its wandering shadows, changes of light and events from morning light to midday.from a Sudanese landscape, a country lane in Germany, a Lisbon street or a refugee camp in Uganda. Go¿rtz's "photograms" are narrated tableaux vivants and also literary short-time exposures of a much-travelled person whose eyes do not want to replace the photographic camera, but simply flood it with narration. Her prose, precisely because it does not lay claim to the >objectivity< of a camera-protected reportage, brings us all the more into contact with what is otherwise hidden, regardless of whether our gaze falls on it geographically far away or on our doorstep.