In his work, Emanuel Rossetti (born 1987 in Basel, lives and works in Basel) explores the connection between questions of area and the methods photographs are acquired. For his pictures, objects and sound initiatives, the artist makes use of architectural struc­tures and landscapes, analyzing them by the use of photographic and set up­-based processes wherein the precept of composition performs a key position. His panorama pictures, often in collection, are made at areas on the city periphery or within the countryside. On walks, he takes photos that criticize the antithesis between city and nation, growing new compositions to abolish this dis­tinction.

For “Stimmung,” Rossetti developed collection of huge­ format pictures taken in other places over a interval of two years. The images have been shot with a fish-eye lens, rendering the panorama as a round picture surrounded by black. The perimeters of the picture are distorted, underlining a sure complexity that can be emphasised by the serial composition, inflicting Rossetti’s expanded idea of panorama to seem as an interface between a number of areas.

In one other collection, Rossetti works with stereos­ copy, a sidetrack within the historical past of pictures. When wanting on the objects made utilizing this method, viewers can observe their very own sense of spatial notion at work, as they see two photographs without delay.

In German, the phrase Stimmung has a number of imply­ings. It may be a subjective temper, or the ambiance in a panorama. There’s a liminal high quality right here, because the dividing line between interior notion and what’s seen stays unclear, the 2 merging into each other. On the identical time, Stimmung additionally refers back to the tuning of sounds.

at Kunsthaus Glarus
till June 30, 2024