RETO CAMENISCH, CHRISTIAN INDERMÜHLE: ‹CATCHING MOMENTS›
Christian Indermühle, «Mumbai/Indien», 2014 (Print 2014), Analoger C-Print auf Fotopapier, 152 x 182 cm, Unikat
Reto Camenisch, «Rover Nr. 1 / Tag mit Stephan», 2014, Fotografie auf Barytpapier (Handabzüge), Triptychon, 23,3 x 23,3 cm, Auflage 5
Christian Indermühle, «Col du Sanetsch», 2005 (Print 2014), Analoger C-Print auf Fotopapier, 152 x 182 cm, Unikat
The ambivalent title of our next exhibition – ‘catching’ can be read as either a verb or an adjective – encapsulates the working methods of Reto Camenisch and Christian Indermühle: They are both interested in taking snapshots to put the artist's subjective view centre stage. Both artists remain dedicated to traditional photography and use analogue cameras. But while Camenisch's end products are black-and-white photographs enlarged by himself, Indermühle prefers glossy colour photographs.
For the very first time Reto Camenisch shows only middle-format pictures, taken on extensive travels over the last one and a half years. All these photographs are the result of walking the convoluted paths of life with only a vague idea as to where to go. The artist is a master of detecting a landscape‘s soul and capturing it in photographs that are unmistakably in his own style. Monumental in size, they emphasise the effects of even the smallest of details such as stones, patches of soil, or trees, telling the story of the constant passing of time.
With his impressive photographs evoking landscapes or architecture of an intoxicating beauty, Christian Indermühle immortalises nature and culture coexisting equally alongside each other. All these images introduce a new aesthetic language into his works. He keeps visiting mysterious places in order to capture their atmospheric lighting effects. The pictures turn into archetypes as it were, into colossal and timeless documents of the world, attesting to the artist‘s interest in the varied forms of becoming and passing away.
Bernhard Bischoff, November 2014