In Teylers (ghost) (2019), Katrin Korfmann undermines the idea of the museum as a stable, orderly space. What appears at the Teylers Museum as a coherent whole is revealed to be a constructed image—composed from hundreds of individual shots in which time has been condensed.
Visitors appear as traces of movement rather than as distinct individuals. They activate the space, yet simultaneously dissolve into it. At the same time, display cases lose their function as carriers of meaning and become part of a visual structure of frames within frames.
Korfmann shows that looking is never a neutral act, but always directed and composed. What seems familiar subtly shifts: order becomes fragmentation, recognition turns into uncertainty.
The work is thus not a record of a museum, but a precise destabilisation of it—a picture that unfolds slowly and finds its power precisely in that process.