"I can see a body represented. This represented body expands - it is Jean-Luc Nancy’s expansion - and it stretches from one image - not imago but look or glance - to another in order to shape a body not yet existent. Not always. Sometimes a touching - Nancy’s touching - replaces this expansion. A knee touches a waist, a head caresses a foot. The images sometimes fail to produce the whole bodies, but only parts - partes extra partes. In one moment I can see a sensual touch. In another disgust of the body parts thrown together in the mass grave. The disgust of myself and the disgust of others. And what about the hand stretching towards me, the observer? Does it want to touch me or to draw me in? Haven’t I already entered? Am I not already touched? Wait. Isn’t it my hand stretching out? Why is it pin sharp and the cock blurred? Still it is one body. One body, that moves and in this movement changes. Aging. When Derrida says, that “the permutation or transformation of elements is prohibited in the center”, where is this center here? Isn’t it fluid, doesn’t it moves with every glance, isn’t it banned from multiple heads and waists, where it could seize its place all-to gladly? Images represent a body, and build a corpus with a fluid center. How does the center flow, if we cannot see it flowing, and yet with every new glance it’s somewhere else? Doesn’t it flow through the liquids, that hide behind the skin? The skin of body parts and - again Nancy’s and Ferrari’s - skin of images. It is looking at me and absorbs me." Corpus is a two part installation, on one side an arrangement of 60 photographs, 180 cm x 420 cm in size, depicting my body, in five rows with twelve images each, representing five film rolls they were shot on. On the opposite wall resides a video in which the process of taking photographs has been documented, through video camera attached to the view finder of a medium format camera. The project leans on the two concepts found in Jean- Luc Nancy's book and in his philosophy in general: touching and expansion. Beside being represented in the content of photographs, those terms are negotiated in the choice and juxtaposition of two media: photography and video. Their touching occurs in temporal dimension. Video records everything that happens between two photos being taken. In the moment when the shutter button is pressed, the mirror in the camera lifts up, hiding the image being taken from the video camera, until the button is released again. So, photography and video touch each other just in the moment when the shutter button is pressed, and again when it is released. Visually, they expand into each other. The rigid posture of a single photograph expands into the fluid movement in the video, while low resolution, burned out video image expands into comparatively large, well exposed negative. Touching and expansion are embedded into and are inseparable of the apparatus used to for the project creation.

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