Corinne L. Rusch
Badrutt’s Palace & Co
Marcel Boner
The photographic essay Badrutts Palace & Co by Corinne
Rusch makes me relive those moments from my childhood when
my grandfather took me to visit the surreal and scenic spots of the
Canton of Grisons. I remember his stories where he described his
workdays in the Châteaux and Grand Hotels of Grisons. In his stories there was always a curious, suspicious or mysterious person and
when I look at the images of Corinne Rusch I feel like I’ve been propelled into the fourth dimension. Looking at her photographic paintings not only makes me relive my childhood memories but also fills
me with a desire to invent dramatic stories, full of suspense, like in a
film or piece of great literature.
Time seems suspended in her photographic paintings like in
the tale of Sleeping Beauty. They are also reminiscent of the language
of the great classics of modern art like the signature hallmarks of Alfred Hitchcock, René Magritte, Edward Hopper or Gregory Crewdson.
The photographs from the Badrutts Palace & Co series are midway
between fantasy cinema and paintings of madness, evocative of the
hidden side of humanity. In them, we discover anonymous figures
whose faces betray no emotion, as if the backdrops or situations are
supposed to be expressive in their stead.
As cognitive science has shown, the word ‘movement’ can
be used to refer to the primal connection between time and space.
Movement simultaneously generates both time and space like two
inseparable sides of the same phenomenon; space as the overall,
concurrent, cardinal, immobile and reversible viewpoint, and time as
the analytical, sequential, ordinal, mobile and irreversible viewpoint.
While the events in Corinne’s photographic images are frozen, they
are also an invitation to us to discover what it is that lies in our subconscious and to weave our own imaginary webs.
Horse and Girl, 2009
analog C-Print auf Dibond 3/3 + 2 AP
100 x 120 cm
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Wrong Sheppard, 2010
analog C-Print auf Dibond 3/3 + 2 AP
110 x 140 cm