The exhibition "Körperbilder", ‘body images’, presented as an installation displays a series of ten photograms resulting from a study on body, movement and light by the German dancer, artist and photographer Korina Kaisershot.
The works on display are made using a camera-less technique allowing the artist to create a photographic image without the use of a camera. Photograms are images of an object in contact with a light-sensitive surface exposed to strong direct light. The object, in this case the artist’s body in motion, blocks the light and appears as a white shape on a black background. The peculiarity of this technique, extensively used by pioneers and masters of photography, encodes the uniqueness of the pieces, given the absence of physical or digital negatives and the impossibility of reproducing time, space, the exact gesture and light of the moment in which the image has been generated.
The uniqueness inherent to this technique - and to the randomness that derives from it – is even enhanced by the artist by the use of acid of photographic development as a personal chemical stamp on the processed photograms.
This technique allows Kaisershot to analyse body expressivity in form of images, showing her interest into the body and movement. Body awareness and communication through the movement are vital expressive elements for the artist, since she considers the very consciousness of living is based on a permanent bodily experience, a constant movement in constant evolution.
The artist began to explore this technique while collaborating in the experimental project Die Frau von Nebenan (Munich, 2010), based on the movie La femme d'à côté by François Truffaut dealing with the ideal and fictitious image of the unknown (video on display during the exhibition). From that moment on, the artist continued exploring the theme of ??an ideal projection of the unknown, and found in the camera-less technique a key to her personal experimentation on inward and outward gazes, the visible and the invisible and the concept of ambiguity.
The exposed pictures represent the result of a technical and conceptual experiment on fictitious images, the ambiguity of the forms, the presence and the absence, the desire, the voyeurism, the humour and the paranoia derived from imagery. We invite the visitors to take part to the artistic process and research that takes place in the mysterious and dark space of the photographic laboratory, today reproduced at the gallery.