With Kowitsch – Lonely Are All The Bridges, German photographer Robin Hinsch reveals to our eyes the devastation of a theatre of war in which only rubble remains, with the rigour of one who has chosen sides – on the side of the vanquished – and the discretion of one who has no truth to reveal, but knows how to put himself in a position to listen. In his shots, part of a long investigation into the Ukrainian conflicts that began in 2010 and is still ongoing, the war has the face of an exhausted soldier on a bench, has the contours of a ghostly landscape shrouded in snow, has the irregular outline of a cathedral gutted by bombs. With his solo exhibition, the journey around the idea of home undertaken with the Homecoming cycle is transformed into a bitter reflection on the absence of a home to return to: destroyed, stricken, abandoned, the houses in Kowitsch – Lonely Are All The Bridges are inhabited only by ghosts. Hinsch’s images, on the other hand, open up a space for thought and understanding: they are no less painful than those that dwell on the most gruesome atrocities of the conflicts, but in their slower pace, in their apparent detachment, they show how awareness is a long process and how History can often only teach us something if we look at it in perspective.