In the images the space for the audience is becoming flat like postcard and the real space of the theaters, the stage, is explored in many directions, looking up or to the sides and going into details. Thus we get aware of a work-space hidden behind the red curtain. It is the specific perspective of the camera, which dissolves the order of what is in front or behind, questioning the hierachy of stage and audience as well as the image.
For the French philosopher Lacan an image is a look put out, the lightpoints sending out rays to the viewer – the image looks at the onlooker. The contrast of machinery and the “sofa-room” is exciting, if you imagine for example the “Berliner Ensemble” where all the plays of Berthold Brecht were acted out for an audience sitting in bourgeois neo-baroque surrounding. Where is the stage?
Klaus Frahm, born 1953 in a farm close to the City of Hamburg, studied social anthropology and journalism. Being self-taught as a photographer, he begun his professional career in 1980. The main topic of his works is architecture, now and then with political ethical or social subtexts. His works have been widely exhibited, published and collected.