At first Disco Night wasn't meant to be a book, although I'm always thinking about that in the back of my mind. It started off as a series of exploratory road trips that I was doing with Christian Hansen, who I dedicated the book to.
Peter van AgtmaelI was taking all prints and I brought them to the Magnum meetings, trying the old Josef Koudelka trick: Give them to photographers, who are getting bored during the talks about the economics of the agency, to look through with a pen. They'll separate them in two piles. I started to find the core pictures that people seem to relate to.
Peter van AgtmaelI kept shooting but started making drafts of the work, essentially spending a few days a month sequencing and editing, hanging things up on the board, showing them to trusted confidantes from in and outside the photo world. It started to take its shape naturally over time until I kind of ran out of ideas.
Peter van AgtmaelThat kind of unease, that melancholy, is of course partly my interpretation, but partly, I think, it's something that's really there [in America] as well. It resonates with this moment and the sort of alienation from the power structure a lot of people feel, as well as a certain amount of desperation, in the hope of disrupting the power structure so they can live better lives. I think in those ways, it's intimately connected to today.
Peter van AgtmaelYou find [reverberations from 9/11 ] in them most unexpected places, like graffiti on a wall. Sometimes it's a faded picture; sometimes it's a newspaper tacked to a wall. Sometimes it's weird paraphernalia related to it, home constructed paraphernalia. It resonates through society and continues to resonate today.
Peter van Agtmael