welcome to plateforme 10

In a photographic exploration, photographer Mathieu Bernard-Reymond (France, 1976) has chosen to combine extracts from the writings of C.-F. Ramuz with image-generating artificial intelligence tools.

In “D’après Ramuz”, the artist proposes to give form to the mental images usually shaped when reading a text, gradually transforming them into a visual reality, a world of one’s own.

mudac presents Space is the place, a programme that focuses on the complex relationship between the cosmos and our planet. Bringing together the work of designers, artists and science fiction writers, as well as a wide range of stakeholders in these issues, the programme includes two exhibitions, three publications and a series of events.

For the second exhibition featuring the BCV Art Collection in MCBA’s special Espace Projet gallery, four artists are showing new installations and other pieces in a play of correspondences and dialogue around their respective practices

« Come and see here what you won’t see elsewhere! » is the slogan for the permanent exhibition, laid out chronologically over two floors to showcase treasures from Vaud’s art collections, with some three hundred works dating from the eighteenth century to the present day.

MCBA is pleased to celebrate Théophile-Alexandre Steinlen, a wonderful eyewitness to the Belle Époque in Paris. The show features for the first time an extensive group of works from the Paul and Tina Stohler Donation.

Virginie Otth (Switzerland 1071) is an important figure in Lausanne’s art photography scene. This will be her first solo exhibition at the museum.

She has a conceptual approach to photography and is particularly interested in the way in which it works on our always-fragmentary relationship with reality and memory. Part of the show, entitled “Memory of a View”, is made up of photographs of the gardens of the Elysée, the museum’s former site, in a way that examines the fragmentary nature of our memory as well as its malleability.

This previously unseen work makes its entrance into the museum’s collection. It adresses the question of the object of female desire.

mudac reveals the treasures of its collection in a dedicated exhibition that offers a surprising and quirky exploration of the diversity of the museum’s collection from design to contemporary applied arts.

With fourteen immersive environments by a range of artists, from Lucio Fontana to Judy Chicago, Immersion. The Origins: 1949-1969 is the first exhibition to look at an emerging practice that was to become one of the major forms of expression starting in the 1990s.

The work of Deborah Turbeville (1932-2013) defies classification. The American photographer belonged to no school or movement. Her unique visual signature has been recognisable since she emerged as a major talent in the 1970s; a certain timelessness melancholy and a patina emanate from her haunting photographs taken over four decades.

This retrospective will present Turbeville’s photographic explorations, from fashion photos to her very personal work.

The aim of the exhibition is to show how Turbeville’s art, still essentially unknown, followed a very specific path, testifying to the manual work involved in producing images. By highlighting a wide variety of handmade collages spanning four decades, the show will offer a new appreciation of Turbeville’s contribution to the history of photography.

Richard Mosse (Ireland, 1980) gained recognition for his socially committed documentaires often presented via immersive and monumental installations.

He is known for his landscapes in shades of red and pink from the series “Infra” (2010) depicting the civil war in the Democratic Republic of Congo. More recently, he has focused on migratory flows, which he captures with military thermal imaging cameras (“The Castle”, 2017, “Incoming”, 2018).

“Broken Spectre”, shot over three years, plunges into the heart of the Brazilian Amazon. With this monumental video installation, Mosse shows the devastating impact of deforestation in the Amazonian forest. Playing with different scales and perspectives, the artist offers a striking portrayal of the scope and organisation of the environment’s destruction. Switching between aerial views and sequences shot in remote areas of the world’s lagest tropical forest, Broken Spectre represents an alarm bell that warns of the rainforest’s disappearance.

In tandem with her exhibition A Lake in the Eye, Virginie Otth (Switzerland, 1971) has invited ten artists with whom she has crossed paths at the Vevey School of Photography (CEPV) over the past two decades.

Having enjoyed the discussions she has had with them around images and their perception, Virginie Otth has invited them to come together to work on two short stories taken from the philosophical novel Mr Palomar – The Sword of the Sun and The World Looks at the World – which deal with gazes, illusions and our relationship with the world.