2009 realisierte [Jules Spinatsch] im Rahmen seiner "Surveillance Panorama Projects" während des Wiener Opernballs ein riesiges Panorama, das aus 10 008 Einzelbildern besteht. Zwei computergesteuerte Kameras nahmen diese vom Einlass der rund 7000 Gäste um 20:32 Uhr bis zum Ende des Balls um 05:17 Uhr auf. Das Sittengemälde aus chronologisch zusammengesetzten Fragmenten des umtriebigen Gesamtgeschehens zeigt eine ganze Reihe fotografischer Genres: Porträts, Stillleben, filmische Szenen und Paparazzi-Schnappschüsse. ... Das Opernball-Panorama führt die Fotografie als Medium der Dokumentation, aber auch Überwachung vor Augen."--P.5 of v.3.
Text in English, Italian & German. Whereas the mountains in Swiss art have always occupied a central position in national iconography and, in their powerfulness and unalterability, have been regarded as a constantly recurring symbol of the original Helvetian character, they have recently figured increasingly as a metaphoric territory in which the contradictions in the behaviour of post industrial man towards nature and the landscape are shown in a particularly conspicuous and suspense-filled fashion. In his "Snow Management" photographs, Jules Spinatsch has created an impressive document of the post-modern development of the Alps into a leisure theme park, In precisely illuminated and some-what eerie scenes. he has given a visible form to the alienation of man and the artificiality, of his con-sumption of nature. Prototypical of the "mountain entertainment industry', his work contains shad-owy images that in their alienation and absurdity, express the complex and bizarre relationship of urban man with the mountains. Cecile Wick, on the other hand, took a different course, tracing the remains of sublimity and mystery that the mountains have retained as a myth robbed of its magic in monochrome, black-and-white or delicately tinted light-dark images. She seeks deserted landscapes, unspoilt nature that appears to have resisted the interventions of civilisation, although they have long since been more of a memory than a wilderness. Her occasional use of 'primitive" techniques and blurring, as well as of classical image composition express the remembered character of the landscape, at the same creating a vivid poetry arid beauty that the medium had almost lost. The combination of pathos and absurdity, a longing for nature and remoteness from reality, is the basis of Nicolas Faure's ironic visual criticism. In his photo essay, taken over several decades, he shows the average mountain enthusiast" as a neon visual disturbance in the mountain panorama. In his recent group of works, entitled "Les jeux sont faits", on the other hand, he seeks the scene of his childhood memories in the landscape. With himself as an adult in the woods of his childhood, Nicolas Faure reviews his inner images in the light of their relevance to the present in a sometimes melancholy, sometimes mischievous fashion, and tries to bring his longing in line with reality. No one in recent times has created a more, convincing document of the touching uselessness of "back to nature" with-out falling into a simplistic visual thinking.
Jules Spinatsch's answer to the traditional distinction between applied & free photography can best be described as a cheerful "do-as-you-please" approach. His independent works express his personal artistic beliefs: they are keen-sighted & probingly experimental, capturing atmospheric moments of Spinatsch's immediate surroundings. His images are of an enthralling beauty, & in his close-ups Spinatsch conveys the relevance & charm of minute details. In his series We Will Never Be So Close Again he portrays motorists snoozing at the wheel--images that border on the ethereal. Brand New Animals deals with the artistic depiction of nature, which Spinatsch introduces to the reader as an alternative world.
In an age of irony, Freitag bags shoulder it all. Respectable, credible, authentic, genuine, trustworthy, and honest, they are an urban tool, a saddlebag for the city cowboy, a messenger bag for the real and the virtual; durable enough to be carried all over the world. Invented by Swiss brothers Daniel and Markus Freitag, who wanted bags just like the ones worn by New York bike couriers, bags that were practical, weatherproof, quick, and easy, the Freitag bag is tailor-made on a small-scale of recycled truck tarpaulins, bicycle inner tubes, and car seatbelts. In line with the Freitag principle, each book is individually bound with a spine made of typical bag material, and it holds a grab bag of printed goodies. In addition to covering the history of the bag and its particular ecological, economic, and sociocultural contexts, Freitag contains portraits of 3000 Freitag bags and their owners, most of whom are members of a generation that is as vain as it is critical of consumerism -- a generation for whom the Freitag bag is the ideal brand-name product.
Jules Spinatsch's answer to the traditional distinction between applied & free photography can best be described as a cheerful "do-as-you-please" approach. His independent works express his personal artistic beliefs: they are keen-sighted & probingly experimental, capturing atmospheric moments of Spinatsch's immediate surroundings. His images are of an enthralling beauty, & in his close-ups Spinatsch conveys the relevance & charm of minute details. In his series We Will Never Be So Close Again he portrays motorists snoozing at the wheel--images that border on the ethereal. Brand New Animals deals with the artistic depiction of nature, which Spinatsch introduces to the reader as an alternative world.
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