"There exists a long tradition of thinking on photography in terms of its privileged access to the real. Unlike the painting or the drawing, the photograph was alleged to cut through the aesthetic and cultic value: what the camera produced was a document, without aura and free of aesthetic traps".(1)
The recent works by Katharina Sieverding focus on montages and interfaces of spaces, references, and protagonists carried to the extreme.

"Only then, when pushed to its limits, can it (the imago) be held still long enough to begin to ask questions of its nature. What is this thing, the imago, which stands f...

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