katrin korfmann (*berlin 1971) creates new relations between photography, video and performance. in her first solo presentation at art affairs, she shows a recent video-installation, as well as stills.
on six monitors, six faces of young boys seem to look through the spectator, while playing the internet-game "counter-strike". although playing this game together, these youngsters do not necessarily know eachother, because all communication is channeled solely through the internet. when korfmann came across this phenomena, she was facinated by the expression on their faces and decided to portrait them while in action.
little could she guess that a few weeks later "counter-strike" would become the actuality of the day.
after the attack on the world trade center in new york, she wanted to withdraw from showing her project. however, we could convince her that she should show it all the same, as her project only had a human and no political or speculative intention. we told her that fighting is part of human nature and that boys are always playing war games, regardless of reality. actually, showing this project could contribute more to peace than not showing it.
korfmann is concerned with people, she studies every day life and is interested in the functioning of senses. her videos are slices of reality that will never freeze into clear memories. they have a quality of their own, because they enhance the doubt about their precise meaning: are they a comment on society, on human nature or just registrations? are these film clips, moving photos, or yet something else?
in her photo works, korfmann creates a significant tension between stilness and movement; her photographic images show affinity with performance, with events happening in time. in one project, she made portraits of people, asking them not to move for two minutes, being the exposure time of the camera. the resulting portraits are vibrant with life and one can almost read the thoughts of the models during the time-span the camera was observing them. other photographic projects deal with people that are clearly and mysteriously visible, although on long time exposure, in the turmoil of public spaces: railway stations, ice-hockey stadiums, or city squares. korfmann shows how people make use of public space, simultaneously and in multiple ways. clearly, korfmann´s "timing", the integration of time in the photographic image, is one of her main objectives.