Corinna Rosteck's photographs follow the flow of movement, fluids, discontinuities and ephemera and reflect their movements on water surfaces, in... Read More
Corinna
Rosteck's photographs follow the flow of movement, fluids, discontinuities and
ephemera and reflect their movements on water surfaces, in clouds and air
currents. They lurk for aesthetic forces that combine dance and photography.
Dance and photography create their relationship through a temporality set in
the image. What one art regards as a transitory temporality is shown in the
other as an exhibited time window. While the temporality in the space of the
body finds its way to a perceptible form, the other is indebted to light, which
wrings a shape from the temporal.
The
photographs eye-catchingly expand the ephemeral appearance of dancing bodies
into a kaleidoscope of superimposed moments of time. Their coagulated pictorial
form reminds the movement in its temporal appearance and makes the mere
sequence of moments of time meaningless. These are deep times from which the
moving bodies address the gaze of the beholder. The photographs are thus
neither subject to chronos in order to capture the temporal form of movement as
a sequence, nor do they claim a deprivation of time of the 'pure' form of
movement of dancing bodies in the sense of Aion. And the photographs also
refuse the empathetic moment of the camera's gaze, which has been paid homage
in the history of dance photography and which ambushes an elevated
instantaneousness in movement in order to expose the essence of dance as a
phantasm of the pure presence of its bodies. Corinna Rosteck, on the other
hand, trusts in the happiness of Kairos and "communicates with only one
aspect of things and that aspect would be the least, the most fleeting".
(Masson).
Depending
on the incidence of light, the viewer is confronted with a different reality of
movement, a perceptual image that is dependent on his own movement. With their
metallic reflecting image carriers, the photographs produce perceptual-aesthetic
light stagings that trust the variable. Energetic perceptual impressions of
movement enter the picture, a fabric that echoes the transgressive forces of
the forms of movement, layers of time that give space to the aesthetic passage
of dancing bodies through time. What becomes obvious is a photographic approach
to the transitory, as it were a floating image formation that reflects on the
threshold of non-imaginable time as a torn figuration.
The series Riven in Time was created with the Staatstheater Kassel 2017, several days of accompanying the rehearsals for the premiere "Rite of Spring", choreography: Johannes Wieland, dramaturgy: Thorsten Teubl dancer of the Staatstheater Kassel dance theatre: three pieces by Johannes Wieland with music by Johann Sebastian Bach (Chaconne D minor), Gy?rgy Ligeti (Ramifications) and Igor Stravinsky (Le sacre du printemps)
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