| | | |  | | | Josef Koudelka, Velká nad Veličkou, Tchécoslovaquie, 1967
© Josef Koudelka, Magnum Photos, courtesy of the Josef Koudelka Foundation | | | | | | IKONAR. Archival Constellations | | | #UKRAINE IMAGES OF WAR | | | | | | After Nature Swiss Photography in the 19th Century | | | | | | | ... until 29 January 2023 | | |  | | | PHOTO ELYSEE Place de la Gare 17 . CH-1003 Lausanne
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| | | | | | | | | |  | | | Josef Koudelka, "CZECHOSLOVAKIA, Prague, August 1968, Warsaw Pact troops invasion"
© Josef Koudelka/Magnum Photos, Courtesy of the Josef Koudelka Foundation | | | | | | IKONAR. Archival Constellations | | | | ... until 29 January 2023 | | | As a first survey exhibition in Switzerland since 1977 devoted exclusively to the work of Josef Koudelka, the exhibition and accompanying book offer new insights into his career. In particular a part of his personal archive, namely the 30,000 35-mm contact sheets from 1960-2012, has been researched and presented.
Ikonar is the nickname Josef Koudelka received from a group of Roma he met on his travels. They called him an "icon maker" because they used his famous photographs of Roma communities as quasi-religious icons in their place of worship. Although he is an internationally recognised “image maker", Koudelka considers himself more a “collector of his own images" than a photographer.
Aiming to capture the essence of the artist’s worldview, this exhibition is built around key works from his most important series on 35mm film, including Theatre, Gypsies, Invasion 68 and Exiles. However, the exhibition includes not only an installation entirely dedicated to his archives, which seeks to analyse their place in the personal and artistic career of one of the major players in 20th century photography, but also a reference library with a wide selection of his books. | | | | | |  | | | Josef Koudelka, "CZECHOSLOVAKIA. KLADNO", 1966
© Josef Koudelka/Magnum Photos, Courtesy of the Josef Koudelka Foundation | | | | | | | The exhibition is conceived as a selective and condensed retrospective, thus tracing the photographer’s development, and working methods. The exhibition thereby also addresses some of the central paradoxes of Koudelka’s work, life, and career – a nomadic life versus a relentless focus on collecting and archiving; a constant sifting and reworking of his iconic works versus a “maximalist" philosophical agenda striving for perfection; and, in the latter half of his career, a self-proclaimed obsession with continuing to exhibit and record images – sometimes to the detriment of their analysis and material realization as works. | | | | |
| | | | | | | | | |  | | | | From the series Bomb Shelters, 2022 © Rafał Milach courtesy of the artist and Jednostka Gallery | | | | | #UKRAINE | | | | IMAGES OF WAR | | | | | | | ... until 29 January 2023 | | | | The conflict in Ukraine has received unprecedented visual and media coverage. Many reporters are actively working in the field to make their images accessible to the public. In addition to artists who use photography as their means of expression, inhabitants, civilians and soldiers also produce and share images that they post daily on different platforms. A tiny part of this production reaches us through our contacts, social networks, and the media. | | | | | |  | | | Anton Shebetko, de la série "To Know Us Better", 2022
© Anton Shebetko | | | | | | | In everyday life, propaganda, journalism, or artistic production, photography is an essential part of this conflict. From the very beginning, we have seen state-of-the-art media campaigns, perfectly mastering the codes of digital communication. Their creators know how to take advantage of the different online networks to export the war effort. These uninhibited campaigns are also encouragement to create and share without restraint. These extraordinarily creative visual narratives invade our space, to the extent that we can wonder if press images still dominate our representations of events. The images circulating by electronic messaging and on the networks, whether produced by amateurs or professionals, offer a plethora of contrasting views. We must therefore ask ourselves whether this profusion of images is just noise or, on the contrary, whether it contributes to establishing the facts. | | | | | |  | | | Lisa Bukreyeva, "Playground, Bucha", de la série "Scars of a lost Humanity", 2022
© Lisa Bukreyeva | | | | | | At a time when the American Vogue sends a famous photographer to do a photoshoot of the Ukrainian presidential couple, the conflict is also becoming a stage for experimentation with images. New practices are appearing in the margins. Among them, photogrammetry and tokenization are becoming more accessible. Three-dimensional reconstructions of ruins can be found on mainstream 3D hosting sites, while images are also sold as NFTs on the marketplace.
From documentaries to social networks, and including the art scene, Photo Elysée wishes to examine the approaches and to question the complexity of the images produced in this context. | | | | | | | |
| | | | | | | | | |  | | | | Adolphe Braun, "Sur le glacier du Rhône", 1864 © ETH-Bibliothek Zürich, Bildarchiv | | | After Nature | | | | Swiss Photography in the 19th Century | | | | | | | ... until 29 January 2023 | | | | After being proclaimed a French invention in 1839 in Paris, photography quickly conquered all of Europe. Although the race for technical improvements began in the cultural centers, heavy cameras soon appeared in villages and the countryside, in remote valleys and in the mountains. In Switzerland, the emerging tourism industry played a key role in the new photography market. In addition to the interest in spectacular landscapes, the growing demand for portraits, early industrialization and large-scale technical projects all contributed to the growth of this medium. | | | | | |  | | | Adrien Constant Delessert, "Le peintre et photographe Auguste Bauernheinz", vers 1873
tiré d’un album d’Adrien Constant Delessert
© Fotostiftung Schweiz, Winterthur | | | | | | | This first overview of Swiss photography in the 19th century sheds light on the outstanding achievements of the pioneers, as well as the various uses of the medium, such as early investigative photography. In addition, the exhibition examines the interactions between painting, engraving and printmaking. Through research in countless archives and collections in all parts of the country, previously little known photographic material was discovered. The selection presented here takes not only the esthetic quality into account, but the specific ways in which photography was used as well. Nearly 60 public and private lenders have contributed works from their collections to provide an overview of the f irst 50 years of photography in Switzerland. | | | | | |  | | | | Adolphe Braun, "La cascade de Pissevache, Valais", vers 1865 © Thomas Walther Collection | | | | | | | The exhibition is divided into seven sections: The f irst two deal with the emergence of a completely new medium. How was photography able to establish itself in relation to conventional visual techniques? In what period were images fixed on silver-coated copper plates? When and where were prints made on paper? The five other sections are about the influence of tourism, the importance of portrait photography, commercial aspects, artistic approaches and the representation of progress. A co-production of Fotostiftung Schweiz, Wintherthur , Museo d’arte della Svizzera italiana (MASI), Lugano , and Photo Elysée, Lausanne. Exhibition curators: Martin Gasser and Sylvie Henguely | | | | | |  | | | | Antoine Détraz, "Portrait d’une famille", vers 1850, daguerréotype. Collection Nicolas Crispini, Genève | | | | | | unsubscribe here
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