gabi SCHAFFNER: nathalie GRENZHAEUSER’s photographs are not subject – although they appear to be – to central perspective, but are rather the result of an internal journey through a landscape charged by the imagination, while the varied angles of perspective and objects are redefined and incorporated onto the surface. there, where this internal image world comes into contact with the quasi-documentation – still regarded as real and recognizable by the viewer – is where the flexible border runs, on one side of which is the mirror of the photographic tableau, on the other the uncanny element in the subconscious of the beholder.
“with regards to the paradoxical instance the following applies: it is never where one looks for it and it is likewise never to be found where it is looked for,” claims lacan [quoted by deleuze in “logik des sinns,” frankfurt 1993]. the paradoxical instance here is the sliding unreal that made the genius loci homeless on GRENZHAEUSER’s photographs, because it was released into a virtual hall of mirrors beyond space and time.
the invisible transitions have been retouched, leveled to the ground, dulled over by clouds. a barren track of land, a hut, a satellite station, a container field: all attain such a discomforting, suggestive power that it makes the viewer dizzy; his focus becomes distracted by the alleged documentarization, grazing time and again on that in-between-place that is simultaneously visible and invisible.