The Lukas Hoffmann exhibition brings together two sets of images shot with a photographic chamber, using two distinct approaches. In several large-format polyptychs, the division of each motif on different surfaces results from a precise, calculated process. While the referent remains recognizable, the rigorous composition leads the subject to be erased behind its representation. In a series of images of people in the street, Hoffmann took a completely different direction. He still used a photographic chamber, but shot the motif freehand, spontaneously, and very close up, without looking through a viewfinder. In this way, he froze fleeting, contrasting poses and precisely captured skin, hair and clothing textures. Hoffmann’s works are complex representations of temporality—a characteristic of photography.