Kathrin Kur's photograph "Charco d'oro" documents an intervention - dusting with gold powder the rain puddles remaining in a deserted twilight street in Mexico City - providing a glimpse into another time and reality within the ordinary and everyday. "Acapuloco" on the other hand depicts a hotel infested with seemingly
undomesticated tropical plants - a sight that plays on the ambivalence between
science fiction fantasy and reality.

These images are typical of much of "Transtemporal, a series of images of
forsaken posthuman spaces, appearing fleetingly within the familiar and cultivated
environment and often focussing on architectural spaces. As suggested by the title, the images create a sense of otherworldliness, transcending temporality, and at the same time they hint at the heritage of modernist architectural utopias.

The series also evokes Vidler's "architectural uncanny" where the anomaly of the house, the terrifying dark hallways, are a projection of one's own fears. Vidler states: "the 'uncanny' is not a property of the space itself nor can it be provoked by any particular spatial confirmation; it is, in its aesthetic dimension, a representation of a mental state of projection that precisely elides the boundaries of the real and the unreal in order to provoke a disturbing ambiguity, a slippage between waking and dreaming."