An aerial photograph of Mexico City, the artist’s “second home”, is impressive because of the apparent infinity of the Latin American metropolis. The grid, which spreads out over kilometres, is interrupted by a rectangular district. Whether it is an open urban development centre or a closed area remains unclear or at least of lesser importance. Each individual block that initially appears homogenous is strongly differentiated from the other, neighbouring blocks. The term “urban weave”, which is often used in urban planning, becomes distinctly tangible.

The invisible but present restlessness, bustle and liveliness of the millions in the city seems to be suspended by the objectifying technology of black-and-white photography. A system, which is almost impossible to achieve in everyday life, becomes recognisable by means of the detached gaze from the air. It is one example that “structural order” is simply a relative term, the viewpoint being determined by the coarseness of focus.

Paul Katzberger, 2005 (translation: Tim Sharp)