Stage and play: we all act against a background of floors, walls, streets, grounds, sky’s and so on. We may find ourselves surrounded with smaller and bigger artefacts. All and all, looking at this stage is anthropocentric: a perspective of people viewing on people enacting this stage. At the same time we’re confronted with our anthropocentric being on the level of being - the holistic level - as with our anthropocentric being on a day to day level of acting - the teleological level -. This sum portrays to ourselves our sublunary existence. As we perceive more detailed we encounter behavioural specifics of scene’s settings and cultural politics, within this sum. What seemed to be equal to an ant-farm unveils itself a pile of actors in diversity. Here, a vertical perspective on our being –possibly near the divine – is competing our day to day horizontal one; suddenly our horizon is a white out and we experience ourselves an innocent tabula rasa to the extend our imagination allows us to ignore our anthropocentric teleology.
Katrin Korfmann’s works portray social dimensions of perception, such as the relationship between the observer and the observed, the effect of the camera on behavior and the social codes of looking in public environment. Expanding on photographic techniques to frame images and construct perspectives in various media ranging from photo works, videos and installations, she manifests landscapes of social dynamics.
Horizon Vanished is an almost 6 meter wide photographic work of a square in Amsterdam West, near Korfmann’s studio. It is a collage of hundreds of photos in bird’s perspective, which were shot over a period of six hours on one afternoon in order to create a literal image of time, as if it were a container for the memory of the space itself.
The images were photographed from a crane so that people, animals and objects are seen from above, and we clearly see the shadows they cast onto the square as living sun dials. Here, it appears the shadows supply more details about the features that establish the people’s identities, as the images of the people themselves. Thereby, these sun dials challenge the viewer to perceive identity and identity’s choreography within public space differently. The artist scanned the square one by one and manipulated the shadows to make it appear as if all of the figures were caught at the same moment in the day. Only on closer inspection does the viewer become aware that the highly contrived image is more ambiguous than at first glance.
The six hours of random pedestrians are brought together in an impossible image which proposes an archive of incidental traces and irretrievable memory from a typical day in the existence of the square.
Text by Katrin Korfmann and Freek Lomme Material: ultrachrome print
size: 150 x 565 cm