Everywhere sharp and clear light reflections: Prada pumps, a Rimowa suitcase, a hotel suite above a big city. Despite the fashion reference, Marc Krause's shots are not styled à la parisienne at all. Rather, his "shots" appear impulsive, the result of an intuitive grasp of the moment. 

Whenever time travelers crossed his timeline, the artist captured them in the image as proof of their existence. Sometimes a brand-new vintage Honda suddenly materializes next to the photographer's suitcase in front of the James-Simon-Galerie. Another time, hurried passersby in Zurich become repoussoirs, transforming from "space shifters" to "time shifters"—perhaps they are actually fleeing spies from the Cold War era? 

Like the double-folded hotel suite, the dog's pupil reflex behind the heavy-metal ninja ghost is also an expression of a multidimensional perception of our present. The dog's pupil is already a work by the artist; the ninja sclera is becoming one. Alongside the large white ghost dog, a smaller black one also appears. At a Tom Ford party, it yawns away the tension of light-dark contrast. It smells leather, "Black Orchid," and Coca-Cola. Drama makes you tired.

The largest work in the show was powerfully created by a mirror. In the double projection, however, one layer of reality is already peeling away and leaves the viewer somewhat questioning with citrus fruits. Just at this moment, the artist hammers a very personal déjà vu into the center of the image and seems to give an answer: we should trust our eyes, but recognition does not end with the third dimension.

Krause showed 10 works ranging in size from 20 x 15 cm to 200 x 300 cm, clamped, nailed up to chrome-colored distance frames, plus a joint work with Malaika Raiss and Karlotta Bott created for this exhibition.

Words by Blanka Steinbrenner