{"id":2514,"date":"2020-05-20T20:08:04","date_gmt":"2020-05-20T18:08:04","guid":{"rendered":"https:\/\/koschies.de\/background\/"},"modified":"2025-09-28T20:22:05","modified_gmt":"2025-09-28T18:22:05","slug":"background","status":"publish","type":"page","link":"https:\/\/koschies.de\/en\/background\/","title":{"rendered":"background"},"content":{"rendered":"

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BACKGROUND<\/span><\/h3>\n

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MOVEMENT AND TRANSFORMATION<\/h3>\n

The artist duo KOSCHIES creates a new reality situated within a time continuum between\u00a0photography and film. In contrast to conventional cameras, the special cameras used for this purpose\u00a0are not equipped with mechanical shutters. The picture is taken through a permanently opened\u00a0narrow slit, exposed “seamlessly” in one single constant movement.<\/p>\n

Everything immobile and still is either not visible in the pictures, or only reproduced as deformed\u00a0beyond recognition; it appears as a continuous stripe or line. In contrast, everything moving in front\u00a0of the slit and corresponds to the camera’s recording speed is depicted figuratively \u2013 as a sequence\u00a0of what has passed through the recording slit.<\/p>\n

A temporal succession becomes a spatial juxtaposition.<\/p>\n

 <\/p>\n

THE CHRONISTIC PERSPECTIVE<\/h3>\n

The works of the artist couple are visualisations of the fourth dimension. Photographs that at first\u00a0glance appear to be photographically captured static moments actually depict continuously flowing\u00a0time. Thus, spaces of time are being revealed in the most literal meaning of the term.<\/p>\n

Even superficially familiar-looking motifs question the usual three-dimensional perception on closer\u00a0inspection. “Reading” the images requires a detachment from a purely spatial perspective. While\u00a0conventional photographs commonly only document a short sliver of time and depict a scene in\u00a0height and width, the pictures taken by the KOSCHIES with time-slit cameras retain the spatial\u00a0dimension of height, and the width is replaced by the axis of time.<\/p>\n

The horizontal extension becomes the chronistic perspective.<\/p>\n

 <\/p>\n

STAGINGS IN THE SPACE OF TIME<\/h3>\n

The suspended states of the persons depicted, the doublings and deformations are not based on\u00a0digital manipulation. This applies equally to shadows, some of which fall in different directions in the\u00a0same picture or behave differently from the associated persons. Irritations and distortions are caused\u00a0by the influence of time itself which the KOSCHIES’ artistically instrumentalise while documenting its\u00a0passing.<\/p>\n

The content and aesthetics of the pictures refer to the simultaneity as well as the dynamism of\u00a0Futurism; they also refer to Surrealist models and the partial deformations in the works of Francis\u00a0Bacon.<\/p>\n

In many works, time, now perceived as an “empty” static surface, dominates. Its predominance\u00a0relativises human greatness and creates a distinct, sometimes alienating atmosphere of emptiness\u00a0and vulnerability.<\/p>\n

 <\/p>\n

E. Schumann<\/em>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″]

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All becoming is based on movement,
\n<\/strong>for space itself is a temporal concept.<\/strong><\/p>\n

Paul Klee<\/p>\n

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