„KORPUS” deals with the legibility and representation of danced movement within the medium of photography. Being reduced to a representation of signs and its interaction between the photographic image and a kinetogram, the work describes the transformation of a written character into a photographic sign. Bound to the indexical, photography serves here as a template of signs that, once again, turns into a respective sign itself. While at the end of the 19th century there were attempts to record and analyze motion in its entire sequence, the “Neue Sachlichkeit” (New Objectivity) fueled the desire for a simpler interpretation of the photographic image. The photographs in KORPUS loosely tie in with this idea and are both analysis and interpretative possibility. The encounter of danced improvisation and photographed pose are supplemented with a “kinetogram” written on the basis of the image.
Kinetograms are the most common form of dance notation that permits us to commit movement to paper and as a consequence preserve the ephemeral art of dance and make it reproducible.
Their code adds a formal layer to the image and provides additional interpretive capabilities for the viewer. Likewise, it expands the encoded photographic sign by an analysis of itself. Both, the kinetogram and photography, describe the same facts and yet, that what cannot be seen in photography and that what can only be interpreted in the kinetogram become obvious.