Bite! magazine » Nathalie Herschdorfer

All Of This Brought Me Back To My Love Of Science Fiction

“My son, there will be a post petrodollar economy in Arabia and it will be up to you create it.” That is what Sheikh Maktoum’s father said in 1990, shortly before his death, says Swiss photographer Florian Joye. “I chose the United Arab Emirates to work on, and especially Dubai, for a variety of reasons. After googling Dubai on the net, my curiosity and interest were drawn to the confusing mass of Dubai images that can be found there. The vast juxtaposition of virtual images, scale models and augmented reality of which there were many more than real pictures of Dubai is confusing. The idea of the city preceded its reality. My fascination for this new city caught between utopia and excessiveness, pride and seduction is the palpable reality of the purpose o f Sheikh Maktoum.”

When Stillness Descends On Nature

Yann Mingard photographs the twilight, these few minutes when daytime is turning to night. The places, photographed in ambient light – at this transitional time of the day – are the result of a meticulous shooting process. Using a long exposure time (corresponding precisely to the seven minutes of the twilight), Yann Mingard captures the signs of changes in nature, when the light is suddenly reduced. Darkness characterizes his work.

Staged Scenes Constituted Of Hundreds Of Photographs

Annaïk Lou Pitteloud’s photographs evoke more than they represent, exploring the ability of photography to throw doubt on reality. Digitally constructed, her images are similar to our thoughts or dreams. They look real but are unreal. Pitteloud: “These images present themselves as snapshots but are in fact staged scenes constituted of hundreds of photographs. The images chosen for Bite! hover between the notions of banality and catastrophe.”

The Biggest Manufacturer Of Film Worldwide

Catherine Leutenegger: “The last decade was marked by an explosion of digital camera sales and a sharp drop in the sales of film, prints and film processing to professionals as well as the general public. This decrease in the traditional photography business led to the closing or restructuring of many photo-processing labs. The most striking example of that is the giant Kodak: the biggest manufacturer of film worldwide. In an effort to reduce costs, Kodak accompanied its shift toward digital products with an important series of layoffs and facilities closures worldwide. In the way to understand better the consequences of such a singular mutation, I decided to visit and document the headquarters of the Eastman Kodak Company located in Rochester, USA.”

The Dreams, Fears And Excesses Of A Young Generation

Augustin Rebetez’s series documents the dreams, fears and excesses of a young generation to which he himself belongs. His work, in addition to its immersive and documentary approach, includes staged photographs – conceived as photographic performances – and still lifes. All of these photographs form a vast network of images that talk to each other. By focusing on masks and disguises, Rebetez tries to represent the feelings of the body and mind. His photographs – raw images that hover between reality and fiction – carry a spontaneity characteristic of a generation often photographed in its misery, melancholy and distress.

Things Held In A Prolonged State Of Waiting

The photographic work of Bianca Brunner is based on memory. Her images explore moments of stillness, things held in a prolonged state of waiting. Memory of the objects, memory of places, the photographs are references to a time gone by. An atmosphere of mystery emanates from these photographs, which are stripped of all human presence.

Mixing Authenticity With Stereotypes

Ueli Alder focuses on the identity of a remote region of Switzerland. The canton of Appenzell – with its traditional rural landscape and culture – seeks to attract tourists keen on ‘authenticity’ by promoting its ancestral heritage. The imagery created by Alder recalls both local peasant painting and the American West, two genres that at first seem complete opposites. But, by blurring the lines between fiction and documentary, Alder produces his scenes of rural life with subtlety, creating a feeling of suspended time by paying close attention to composition and light, and making use of nostalgia without falling into the trap of cliché.