The In the Meantime series does not, however, draw our attention to a specific, singular moment but rather to approximate “befores” and “afters,” to a fragile domain of basic openness. For instance, on seeing a ladder standing deserted at the roadside for no apparent reason, the viewer cannot help thinking about what might have happened in the past or will happen in the future. But in the frozen present, the functionality of the ladder is undermined; the picture offers only a fragment cut out of a narrative continuum, whose meaning remains inaccessible.

 In the Meantime: A man is crossing the street with cars parked along both sides; two people are hurrying by on the left side of the street, and a Fiat, with a child in the passenger seat rolling down the window, is just turning the corner. Balogh’s pictures do not capture moments in which a particular act is quintessentially compressed or in which something decisive occurs. They seek neither the romantic poetry of the moment nor the magic of the irrevocable instant. The viewer recognizes these photographs as events in time that epitomize the present. They are latent pictures.

Extract from "Between Time, Sign and Reality" 

Andreas Fiedler