Exhibition overview Photo Elysée, Lausanne, 2024
Photo: Khashayar Javanmardi
Exhibition overview Photo Elysée, Lausanne, 2024
Photo: Khashayar Javanmardi
Exhibition overview Photo Elysée, Lausanne, 2024
Photo: Khashayar Javanmardi
Set and Setting, 2024
Photo Elysée, Platforme 10, Lausanne
The title Set and Setting is taken from the study of psychedelic drug use. It refers to the need for a positive relationship between the user’s state of mind and the environment in which the drug is consumed, to avoid bad trips. In today's visual cultures, images themselves can be read as the quintessential dematerialised drug and currency of our era. This ’currency’ or ’drug’ is traded and distributed through a highly commercialised oligopoly of sharing platforms such as TikTok or Facebook.
In this global context of visuality, Swiss artist Tamara Janes is fascinated by how we see, question and change the pictorial condition of (post-)modernity. She addresses these issues with a unique blend of high-end and low-end sources that engage audiences and humorously exposes aspects of our compulsive everyday relationship with images. She uses long-term artistic research to achieve her goals and assumes the role of an ’imagineer’ – a composite term combining the words image, imagination and engineer – because she questions, (re-)constructs and reinvents the images she makes or finds.
The appropriation of archives and images used as raw materials has led her to take an interest in the concepts of copyright and intellectual property – the main theme of her work Copyright Swap, for which she won the Swiss Design Award 2023. By manipulating the works of other artists using retouching software and relying on the assessments of a legal expert, she reaches the tipping point’ that would protect her from potential accusations of plagiarism.
Set and Setting thus brings together the two fundamental principles of Tamara Janes’s work: her affection for ’sets’ composed of pre-existing images, and the wider ’settings’ of the contemporary image – its infrastructural apparatuses and the conditions in which it circulates, in the eternal present. What links the two fields is the social life of images and the way in which they can be recycled, remixed and reactivated through relations of exchange.
Curator: Lars Willumeit
Steven J. Sasson
(or how Kodak missed the turn), 2022
Printed Instagram story, inkjet print on photo paper
Original by Unknown, Kodak, 1975
Bixby Knows Best, 2021/2022
Projection, video loop, sound, duration 37 min
in collaboration with Linus Lutz
Low Res Love, 2022
151 Paving stones, spray paint,
variable dimensions
Superzoom, Lausanne edition, 2024
New York Public Library Picture Collection,
15 A0 displays, 30 inkjet prints
Poor Image Self Portrait #1 and #2, 2024
Two light boxes, textile print
on backlight premium fabric
Story Edition, 2021/2024
New York Public Library Picture Collection,
Giphys, three Screens, video loop 18 min
Contact Sheets, 2018
New York Public Library Picture Collection,
120 contact sheets, inkjet print on photo paper,
magnets, letter format
Pictures I have not yet returned, 2024
Various images from the New York Public
Library Picture Collection,
magnetic board, magnets, 60 x 40 cm
Copyright Swap, 2023
New York Public Library Picture Collection,
group of seven, digital lambda print, acryl glas,
alu dibond, variable dimensions
Les Horribles Cernettes, 2017/2024
Inkjet print on photo paper,
passe-partout, light blue frame
Original by Silvano de Gennaro, ca. 1992
Poor Image Self Portrait #1 and #2, 2024
Superzoom Lausanne Edition, 2024, exhibition view
Exhibition views Photo Elysée, Lausanne, 2024
Photo: Khashayar Javanmardi
Pictures I have not yet returned, 2024, exhibition view
Steven J. Sasson (or how Kodak missed the turn), 2022
Low Res Love, 2022, exhibition view