Katrin Korfmann’s work is on the cutting edge of photography, film and installation. In her work, she creates a tension between stillness and movement, and partly because of that her work shows a strong affinity with performance.

John Hilliard broke new ground in photography by challenging its potential as a representational device and its status within the visual arts. A student at Lancaster College of Art (1962-64) and St. Martin’s School of Art (1964-67), he quickly made a name for himself with his first solo show at the Camden Arts Centre in 1969. His approach to photography is rigorous and systematic; the emphasis on the intellect in his photographs overules any aesthetic appeal of the physical objects or subjects presented.


In addition to Tate Modern’s critically acclaimed exhibition on conceptual photography, ‘Shape of Light: 100 Years of Photography and Abstract Art’ (2018), his work was included in Tate Britain’s group exhibition ‘Conceptual Art in Britain 1964–1979’ in 2016. He has participated in prestigious group shows around the world, including ‘The Family of the Invisibles’, Seoul Museum of Art, South Korea (2016); ‘Qu’Est-Ce Que La Photographie?’, Centre Georges Pompidou, Paris, France (2015); ‘Exciting As We Can Make It’, Ikon Gallery, Birmingham, UK (2014); ‘Uncommon Ground, Land Art In Britain’, City Art Gallery, Southampton, UK (2013); and ‘United Enemies: The Problem Of Sculpture In Britain In The 1960s And 1970s’, The Henry Moore Institute, Leeds, UK (2011), amongst others. Hilliard is an Emeritus Professor at the Slade School of Fine Art, University College, London, UK.

Korfmann seeks parallels, from a photographic perspective, between the way in which rubbish is processed and sorted and how photographs are made into a work of art in creative processes. In contemporary photography, it’s not only about the images that are made, but also about the act of taking those photographs, their post-production and their context. Korfmann investigates whether the idea of the circular economy can be applied to image procesing and whether this approach influences how we deal with images. Is there such a thing as visual sustainability?


Katrin Korfmann [DE, 1971] lives and works in Amsterdam, The Netherlands. She studied at the Rietveld Academie in Amsterdam, where she specialised in photography and continued her research with residencies at the Rijksakademie in Amsterdam, Cittadellarte in Biella and the Chinese European Art Centre in Xiamen, China. Since the late 1990s her work has been exhibited internationally in galleries, museums, alternative art institutions and public spaces. Her work is represented in
numerous private and public international collections. She won several prizes for her work, including Radostar Prize (CH), Prix de Rome (2nd prize) and the Esther Kroon Award (NL).

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