The artist, curator, and author Andreas Seltzer is also a collector—not only of artistic and everyday curious objects, but also of observations that he has collected and written down on his way out of his Berlin studio flat. The peculiarity of his finds lies in the paths he takes: they are marginal paths that always lead him to border areas, to something that somehow doesn't fit and doesn't quite add up—at least reaching obliquely into the usual view of things. Thus, he discovers a multitude of Berlin places that no travel guide lists: for example, a Catholic pilgrimage site in the midst of the Potsdamer Strasse diaspora, the attic find from the Berlin Artothek of the Soziale Kunstförderung—a collection of works of visual art commissioned by the West Berlin Senate to promote visual artists, then forgotten by the administration itself—or the Tempelhof Police History Collection, where a dessert fork no longer evokes a desire for cake, to Joe Bernard's Neukölln magic shop, whose magic trick courses are also in demand from pickpockets. There are also portraits of a child's room in the Barbie look, the flat of a rubber lover, a banal DIY store, and a Globetrotter branch. Seltzer's theme is always the intentional or unintentional surreal arrangement of things in the grey zone between art, everyday life, and the pathologies that sometimes correspond to them: it is about images of real surrealities. The photo connoisseur Seltzer also portrays luminaries of this craft, such as the Indian photographer E.S. Curtis, the press photographer Erich Salomon, and the obscure world of ghost photos.