Die Kunst des Jahβ¦ more. Couples are omnipresent in photography β in historical photo albums just as much as on Instagram. More fascinating than the countless idealised self-portraits though, are those shots in which couples do not pose, but seem to be genuinely themselves, and strangely detached: playing and courting, enamoured and intoxicated, desperate and clinging.
Or lonely and lost. The current exhibition at Fotostiftung Schweiz is dedicated to the diversity of couple dynamics in photography and presents pictuβ¦ more. His works bring to mind montages or collages at first, but on closer inspection, they turn out to be real installations in the space. His series Melencolia β , which is being presented comprehensively for the first time at Fotostiftung Schweiz, constitutes the quintessence of his long-standing balancing act between reality and appearance β a highly topical artistic statement on the prβ¦ more.
Ever since its beginnings in the 19th century, photography has served as a means of juxtaposing and comparing similar phenomena and objects. Already in , English botanist Anna Atkins began to compile and publish her photograms of seaweed, ferns and other plants as typological reference works.
Serial procedure, which was initially useful in scientific and technical contexts or, for example, when making records of people, was taken up again by conceptual artists from the s onwards: Bernd a⦠more.
Fotostiftung Schweiz presents a selection from around donated photographs by Peter Knapp. Treasures from the collection and archives will be presented in a new exhibition room. Right next door, in the adjacent archive room, the infrastructure for processing photo archives has been enlarged and modernised.
