The Sleeping Hollow (EN)
by Tina Rahimy
… There are no oppositions, there is only process and in this process every picture is a line to another image. The vehicles, the passengers and the beautiful people of the series “Count for Nothing” refer to thousand other similar images of moving cars and fancy people. Different pictures, different times, empty colored spaces, fixation and movement. Somehow by being pure it refers to the non-existence of any reality. The walkers on the red carpet in “Waiting for Julia” are masked not only behind their make-up and beautiful dresses, but also behind the images they present. Their poses, but also the thinness and the exaggerated muscles, are in motion in their reference to the images of the ideological politics of the body. It is not the reality of the body but the pure exposure of the image. This work of art is in a sense universal, as it refers to the homogenic image of the body, but at the same time focused on small details. The reality of each detail is so boldly accentuated and as the result it elaborates on the illusion of these realities.
The reality of the society of the spectacle is a zone wherein man becomes unable to differentiate, especially between reality and appearance, a zone of indistinction, as Agamben puts it. Katrin Korfmann’s work however is more than critical, it is more than the hope for a better life, or worse, a better world. It is rather the exposure of that which is, and at the same time that which, despite its presence, is not seen or observed. It is the frustration and the creation in the in-between, the interspaces, the zone of inter...