Through a study of the residential buildings constructed in German suburbs starting in the Fifties – and thus from the reconstruction that followed the Second World War up to new constructions that are formally indistinguishable from those built previously – Kaesbach ultimately creates nocturnal metaphysics: a new construction of photographic time and place. Clearly bearing in mind the precepts theorized by the Düsseldorf School, the photographic avant-garde formed starting in 1976 at the Kunstakademie around Bernard and Hilla Becher, Kaesbach arrives at creating archetypical images through the objective position he takes vis-à-vis the photographed subject and the dehumanization of the images. This is achieved through serial repetition with a “minimum deviation”, with the intent to repeat the photographic structure and the dwelling types that are identified.
Saale, Niederrhein, Rhein-Main and Ruhrgebiet are some of the places chosen for a project that is always inevitably unfolding, as its linchpin is static development over time. The photographic structure is fixed: the central framing at eye level with a series of levels formed by basic elements – the road, the pavement, the fence, the plants – and this isolates and highlights a home. Buildings that are similar but built in very different eras are united by the expanse of the night sky and the artificial lighting of streetlights that, along with extended exposure time, projects a series of suspended and unnatural shadows on the houses, which have already been transformed into enigmatic and solitary monuments.