(c) Jules Spinatsch, Surveillance Panorama, Project No. 1, Temporary Discomfort, Chapter IV, Pulver gut, World Economic Forum WEF, Congress-Center North and Middle Entry, Kurpark Davos-CH, 28. Januar 2003, Panorama B281818 : composed of 2176 still shots recorded with interactive network camera from 06h35 - 09h30 Inkjet print, 110x250cm, framed Bündner, Kunstmuseum Chur.
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(c) Jules Spinatsch, Surveillance Panorama, Project No. 1, Temporary Discomfort, Chapter IV, Pulver gut, World Economic Forum WEF, Congress-Center North and Middle Entry, Kurpark Davos-CH, 28. Januar 2003, Panorama B281818 : composed of 2176 still shots recorded with interactive network camera from 06h35 - 09h30 Inkjet print, 110x250cm, framed Bündner, Kunstmuseum Chur.

Temporary Discomfort, Chapter IV – Pulver Gut, 2001–2003; Heisenberg’s Offside, 2005–2008; Fabre n’est pas venu, 2006

headphoneJules Spinatsch

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The Surveillance Panorama project shows panoramic photographs obtained by combining a multitudeof still shots, taken with a computer-programmed web camera and assembled in a chronological pattern. In “Temporary Discomfort” and “Fabre n’est pas venu”, Jules Spinatsch is concernedwith politics: the World Economic Forum in Davos, the G8 summits and a meeting of the Toulouse Municipal Council. In each case, the camera records images at regular intervals, between three andfour seconds. The only preliminary preparations made by the artist concern the duration of the shot and the placement of the camera. From the spatio-temporal puzzles this produces, the density ofthe visual information cannot reconstitute the proceedings in their entirety. A key moment surrenders to a more general overview produced by piecing together a string of arbitrary moments. The photographerdistances himself from the spectacular and the controlled image which the spectator passively receives from other forms of media. Every part of the action is treated in the same manner,granted the same weight, and this incites the spectator to really look at the image and interpret it. In his second panorama (“Heisenberg’s Offside”), the artist links his way of approaching informationand facts to the uncertainty principle formulated by Werner Heisenberg, which stipulates that calculating the precise position of a point implies an approximation of its position in time. Thus, in theimages created by Spinatsch, the cameras never focus on the principal actor in the football match, the ball, which remains offside. Its absence from the field is due to a division of time which, contraryto the images projected in the media, is not erased from the final result; a loss of control is accepted in order to account for the speculative dimension involved in the recording of an event. www.jules-spinatsch.ch

Jules Spinatsch(1964, Davos) lebt und arbeitet in Zürich und Wien. 1993 brach er sein Soziologiestudium ab und absolvierte stattdessen eine Ausbildung am International Center of Photography in New York. Dreimal ausgezeichnet mit dem Preis des Kantons Zürich, Swiss Art Award und BMW-Preis – Paris Photo 2004. Seine Werke befinden u.a. in den Sammlungen von MoMA New York, San Francsico MoMA, Collection National des Arts Plastiques CNAP Paris, Fotomuseum und Fotostiftung Winterthur, Kunsthaus Zurich, Kunstmuseum Graubünden, Kunstmuseum Grenchen. Bis heute sind 6 Monografien erschienen, "Temporary Discomfort" wurde mit mehreren Buchpreisen ausgezeichnet und ist in Martin Parr's Sammlung der 30 wichtigtsten Fotografie Bücher der letzten 10 Jahre vertreten ist. In Venedig ist zur Zeit ist neue Arbeit «Exit Strategies» zu sehen.

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