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See our catalogue from the 2015-show:
Over 3,5 million people did read or hear about photo basel. Watch out our documetnation about our media coverage:
photobasel_medienmappe_151001_small.pdf (pdf, 3,9MB)
photo basel 2015 - making of and retrospection:
over 35 medias talked about photo basel. you'll find all releases here:
we are very excited to let you know who will exhibit at photo basel 2015. Please see all galleries and publishers
additionally of being Switzerland’s first international art fair for photography, showcasing galleries from 10 countries (3 continents),
photo basel is honoured to host the special exhibition „DRIVE IN“, curated by Esther Woerdehoff in cooperation with Zürich’s Bildhalle.
Drive In is an exhibition about cars, showing the approach of this subject by numerous photographers, from the fifties to nowadays.
left: Tobias Madörin, Sao Paolo, Avenida Paolista, Brazil, 2002, 120 x 141 cm, Courtesy Bildhalle / right: Simone Kappeler, Los Angeles, 18.7.1981, 125 x 185 cm, Edition 4 von 7, Courtesy Galerie Esther Woerdehoff, Paris
When Elliott Erwitt, during and after the depression era, photographed those rolling dreams with his candid sense of humour and irony, cars, especially the very large and imposing ones, were already a landmark in the American landscape. When René Burri travelled to Brazil to document the building of modern cities, one of his most stunning photographs, «Men on a roof top, Sao Paulo, 1960», is a view of the rush hour traffic on a busy street. Simone Kappeler, another Swiss photographer, drove through America in 1981, 30 years after her fellow countryman Robert Frank, and took pictures with her Hasselblad, a Polaroid and cheap toy cameras like Diana. She saw America in colour, influenced by American movies and photography. Symbol of the American dream, of the rise of the middle class and of individualism through the whole XXth century, cars appear in a great amount of photographies.
left: Elliott Erwitt, Wyoming, USA, 1954, 70 x 61 cm, / right: Sam Shaw_Marilyne Monroe und Henry Miller im Auto, New York City, 1957_50 x 33 cm / Courtesy Galerie Esther Woerdehoff, Paris
With the rise of Street Photography, cars were bound to peep out on most photos taken. Still cars are photographed not only as a transportation device through the packed streets of cities or in the great outdoors emptiness but also as a traveling place of intimacy in the public space, where people talk, eat, sleep, love, as in a ever moving home. For photographers, cars are elements of decor, mechanical sculptures with their own modern aesthetic, frames that echoes the camera’s viewfinder but also boxes where small scenes take place between people as in a moving theatre. Cars ends up belonging to a cinematographic imaginary and become a subject for their own aesthetic qualities of machines and the symbolic of speed, power and freedom they convey.