║ Alfio Tommasini ║

Flash

© Alfio Tommasini, from the series Antonio & Paloma

Flash

© Alfio Tommasini, from the series Antonio & Paloma

Flash

© Alfio Tommasini, from the series Antonio & Paloma

“Another day dawns on the Manzanares river. In the midst of houses, bridges, construction sites, a beer factory and a soccer stadium there is a container where Antonio and Paloma have lived for the last three years. A Spanish-Gipsy couple that came to Madrid from Asturias in the beginning of the nineties, in the search of a new life.
Antonio is 53 years old. His days are marked by the sunbeams, he has breakfast, tidies up himself and then he goes to work. He walks along Madrid his smile and his car full of scrap. Antonio is man of routine; he peddles his wares in the small street-markets all
morning and then goes home after a trip, perhaps to recover the lost levity.

Paloma is 43 years old, and, like Antonio, she makes each day as it comes. She is a housewife, one of whose principal duties is care of his husband, beside to wait him anxiously when he’s gone. In the afternoon, she rests at his side and spends hours as participant and spectator to her favourite soap operas. They have 4 children to whom every night they devote their last thought before falling asleep.

I was seeking different mode of living in the city and a glimmer that could bring to a new human relation. Destiny and luck brought me to a place where two people have opened their selves and their home to me and where time has made a strong bond of friendship. An environment, sometimes difficult, but always full of tenderness and simplicity. I have spent days and nights with them, in a space so small that it creates its own sense of intensity and intimacy.
A home that is custom made, like maybe all homes, where the quality of life depends on how you live it, and Antonio and Paloma have a love that reaches beyond the space where they open their eyes every morning.”

Alfio Tommasini

To see more of Alfio’s work click here

║ Mathieu Bernard-Reymond ║

disparitions_89

© Mathieu Bernard-Reymond, Sans Titre nº27, from the series Disparitions, 2002

disparitions_27

© Mathieu Bernard-Reymond, Sans Titre nº89, from the series Disparitions, 2005

“This series should have been a work on architecture, but it has evolved into a bigger spectrum. The images are often digitally manipulated. However, I like to recall that I do not incorporate external images from my computer. I just accentuate what is already there”.

Mathieu Bernard-Reymond

To see more of Mathieu’s work click here

║ Loan Nguyen ║

cypres

© Loan Nguyen, Cyprus, from the series Mobile, 2000-2009 (work in progress)

ponton

© Loan Nguyen, Ponton, from the series Mobile, 2000-2009 (work in progress)

lac_de_joux

© Loan Nguyen, Lac de Joux, from the series Mobile, 2000-2009 (work in progress)

“In the morning mist, the barely visible figure of a woman. As if on a tight rope, she walks along the edges of a stone pool, one step at a time. Close by, the same figure appears, creating a hand shadow on the wall of a rough concrete building, or contemplating its reflection in the calm waters of a lake…Recollections of childhood games, moments when one discovers in bewilderment that we are actually part of this world. Human presence discretely seeps into the landscapes, softly slides in. A posture, a slight gesture… and a link is established. A shadow is cast, an object is picked up, a reflection is seen : the effect of a being on his surroundings always remains slight. The body may then make its imprint by proxy, by mere projection. Points of contact appear, bonds are woven, and these minimalist spaces become territories of introspection (…)”

Raphaëlle Stopin

To see more of Loan’s work click here

║ Léa Crespi ║

© Léa Crespi, Untitled, from the series Lieux, 2008

© Léa Crespi, Untitled, from the series Lieux, 2008

© Léa Crespi, Untitled, from the series Lieux, 2008


“L’espace est toujours marqué par le temps. Un temps qui l’a dégradé ou, pour le moins, transformé. Mais cet espace, auquel nous n’aurions pas dû avoir accès, s’impose à nous, avec ses peintures écaillées, ses blessures de fils électriques abandonnés, ses minuscules désastres du quotidien parce qu’un corps le traverse, sans l’habiter.
Corps magnifique, sculptural, qui nous oblige à regarder, voir peut-être, l’espace dans lequel il évolue sans se l’approprier tant il est, toujours, à la limite de l’effacement, de la disparition. Comme une évidente présence qui nous dirait, déjà, que tout est fini. Un corps surgi de l’espace qui semble l’avoir généré et que nous ne pourrons apprivoiser.
Il y a de la séduction dans ce travail, de la séduction comme leurre. De la séduction parce qu’il peut sidérer. Et ce n’est pas le propos. Séduire pour mieux tromper, montrer pour mieux s’évader…
La modalité de l’exposition s’inscrit dans la logique du travail : il ne s’agit pas d’une exposition, ni d’une installation, mais d’une mise en espace d’années de travail qui se concrétisent dans un lieu.
Images “en l’air”, son qui les accompagne ou les caresse, juste une idée de l’importance du mot, trop lié aux images et aujourd’hui galvaudé, d’environnement.
Regardez, vous êtes dans un espace. Vous êtes qui ? Juste une branche ? Faut regarder aux environs…”

Christian Caujolle

To see more of Léa’s work click here

║ Marianne Engel ║

© Marianne Engel, Lunar Eclipse, 2008

© Marianne Engel, W, 2005

© Marianne Engel, V Room, 2004

“Like a hunter, Marianne Engel usually takes her pictures at night when it is quiet and still outside. Nature and seemingly deserted houses are of her favourite subject matter. In her images, Marianne Engel captures a mood that is normally hidden from us, offering a transitory glimpse into another reality. Marianne Engel only uses scarce light sources such as an occasional flashlight or the light of the moon and the stars. This unassuming and low-tech approach to photography gives Marianne Engel´s work its casual beauty. Caused by the long exposure time, Engel´s mysterious interpretations of nature and architecture are very crisp images whose colours she occasionally enhances in her studio. “I instinctively discover these images on my night walks. They reflect my personal reality. It is as if I find something that has been lost and hidden in my unconsciousness.”

source: Rotwand gallery

To see more of Marianne’s work click here

║ Jules Spinatsch ║

© Jules Spinatsch, Unit PAMM, 2005

© Jules Spinatsch, Unit HS, 2004

“Depuis des années, Jules Spinatsch (*1966 à Davos) observe cette pollution de logos et de publicité rampante dans les sports d’hiver. L’exploitation commerciale et écologique des Alpes est au centre de ses préoccupations. Son travail photographique met en évidence l’absence de geste ou de fait non intéressé dans le sport, sans arrière-pensée commerciale. Quand le théoricien Jordi Vidal (1) parle au sujet du footballeur Zidane filmé par Douglas Gordon et Philippe Pareno (2) d’un “logo actif”, d’un “porteur de marchandise”, Jules Spinatsch nous montre “le devenir logo des Alpes”, de leurs habitants et de leurs visiteurs. La spectacularisation des compétitions sportives entraîne l’exploitation visuelle de toutes les surfaces possibles.
Qu’une pente enneigée soit exploitée par une projection lumineuse pour un son et lumière faisant apparaître des figures aussi aberrantes que celle d’une frégate de flibustier du XVIIIème siècle en plein milieu alpin n’a pas les mêmes conséquences que l’exploitation des pentes enneigées par l’industrie intensive du ski, mais l’un est indissociable de l’autre dans la chaîne commerciale des sports d’hiver. Pour cette véritable industrie du “temps libre”, on fabrique de la neige artificielle à longueur de journée (et de nuit) – et ceci d’autant plus que la moyenne des températures ne cesse d’augmenter – et l’on prépare des dizaines de kilomètres de pistes de ski avec des divisions entières de “PistenBully” et de “Ratrac” ayant comme ultime conséquence la ruine de l’équilibre écologique. Si l’ensemble de sa série intitulée “Snowmanagement” souligne ainsi l’exploitation commerciale de ce que les citadins arrivent encore à nommer “nature alpine”, le titre de l’exposition, “Eiszeit IV (époque glaciaire)”, tire clairement l’attention sur une régression, autant civilisatrice que climatique.”

Jordi Vidal, Servitude et simulacre, éditions Allia, Paris, 2007

To see more of Jules’ work click here

║Yann Gross ║

© Yann Gross, from the series Horizonville, 2005

© Yann Gross, from the series Horizonville, 2005

© Yann Gross, from the series Horizonville, 2005

“The Valais is one of the most touristic places in Switzerland. Its mountains are the icons of this country. To reach those idyllic places, it is necessary to drive through the Rhône plain.
However, only a few people knows what the plain looks like and what is going on there. A highway is passing through the valley, so nobody stops there before arriving to the famous ski resorts.
The industrial landscape, which is characteristic of the valley, isn’t attractive at all, at least at first sight. Nevertheless, most of the inhabitants are living there.
Since i hadn’t a lot of money and wanted to travel, i decided to make a road trip by motorbike for three month is this valley (which is located 50km far from my home), looking for an exotic lifestyle, something else than the picutres i knew from my country (i was inspired by David Lynch’s movie «a straight story»).
By the means of a trip by motorbike in the Rhône Valley, the pictures are about the American dream. The myth we know through the medias and the movies. Most of the people I photographed haven’t ever been in the United State of America. They feel a sense of belonging to another culture that they don’t really know. Far from the Swiss stereotypes, the confusion of symbols and the lifestyle of the people take us in a strange atmosphere, a dreamed reality that doesn’t exist in facts.”

Yann Gross

To see more of Yann’s work click here

║Yann Mingard ║

© Yann Mingard, from the series The Road Less Travelled, 2005

© Yann Mingard, from the series The Road Less Travelled, 2005

© Yann Mingard, from the series The Road Less Travelled, 2005



“In 1935, two intrepid Europeans undertook what seemed an impossible journey. Ella Maillart, a Swiss Olympic sailor, and Peter Fleming, an Englishman and correspondent for The Times, set off from Peking to Kashmir, a route which had not been travelled for eight years. They were advised that their greatest chance of success was to plot a course through Western China which was so difficult that the authorities had not thought to forbid it. Seventy years on, Swiss photographer Yann Mingard and writer Bruno Paulet set out to follow in their footsteps, recreating the most testing and memorable part of the journey through Eastern Turkestan. In the Teijinar oasis, they struggled to persuade the sceptical locals of the seriousness of their endeavour. After two weeks of tortuous negotiation, their modest caravan was ready: a horse, two camels, and Mangke, the village drunk, who accepted in a moment of madness the role of their guide.”



More of Yann’s work can be seen here

║Cédric Widmer ║

© Cédric Widmer, Untitled, from the series Em Investigação, Portugal, 2006

© Cédric Widmer, Untitled, from the series Em Investigação, Portugal, 2006

“Em investigação» marks the beginning of a series of altered landscapes (short, medium and long term) caused by man – be it voluntary or not. This work also reflects more generally my interest to translate the landscape -whether disfigured, amended, sublime or just seemingly insignificant – in a photographic translation, sometimes faithful, sometimes not… Following the striking images transmitted by various television channels on the annual disaster of forest fires, I wanted to establish an inventory in Portugal during the month of October 2006. These images were taken all over the territory and gather the wounds left by the fires of 2003, 2004, 2005 and 2006. Note that 70% of the fires in all countries concerned are caused by human beings. Even if nature ends up reappearing, these huge infernos cause each time irrevocable damage, which I intend to convey. “

Cédric Widmer

To see more of Cédric’s work click here

║Vanessa Püntener ║

© Vanessa Püntener, Manfred Herger, from the series Portrait d’un monde dérobé, 2005

© Vanessa Püntener, Thomas Zurfluh, from the series Portrait d’un monde dérobé, 2005


“Uri, canton natal de Guillaume Tell, se trouve en Suisse centrale, sur le versant nord du col du Gothard. Depuis longtemps, il est le lieu de passage entre le nord et le sud. Ses habitants – qui vivent bien loin du brouhaha de MTV, d’Internet et du stress quotidien – semblent, au premier abord, être taillés dans la même roche que les montagnes environnantes: escarpées et surtout inaccessibles.
Chaque année, fin mai, ils montent à l’alpage avec leurs troupeaux, toujours plus haut. Ils ne redescendent que lorsqu’ ils sont contraints par le manque de nourriture ou lorsque la neige et les avalanches menacent leurs résidences estivales. En hiver ils sont artisans ou mécaniciens dans la vallée. Ses gens sont toujours et encore des nomades.
Mon projet s’évertue à dévoiler les coutumes de cette société nomade en voie de disparition. Un regard sur sa manière de vivre, son rapport à la nature et aux animaux.
Au travers de petits détails dans l’aménagement de la cuisine ou du salon, elle laisse entrevoir ses pensées et
ses rêves. Là où piété et profane s’entrechoquent. C’est à ces instants-là que mes images aimeraient donner plus de souffle. Ces sont ces instants-là que la photographie cherche à prolonger.
Vanessa Püntener

To see more of Vanessa’s work click here