Raffael Waldner Livres

Tiré du site Internet de JRP/Ringier. "Zurich-based artist Raffael Waldner (*1972) has been developing an extensive and complex body of work called "Car Crash Studies" for ten years. The object of his artistic research is the world of sports and luxury cars. He is interested in the relics that are left by accidents in these expensive vehicles. Using his camera, he systematically documents the results of such chance accidents, the wrecked cars as well as the places of their occurrence. This activity has led to an entire series of photographs, currently over 300 subjects in all. Caught on camera, his arrangements of scrap can be understood as nature mortes - the cruel still lifes of a society that puts its faith in technology and mobility, symbols of loss and death. Waldner's oeuvre is not that of a chronicler but of an object researcher. "My focus is on the impact of violence," he says, "and the way it changes the product. I'm interested in the typology of the remains. "This typology, researched and documented through numerous nighttime forays into the scrap yards of vehicle breakdown services, is a contemporary interpretation of the Vanitas theme. The piles of scrap metal - now functionless and desecrated by crashes - speak of the transitory nature of material power and also a little bit of the loss of the erotic in society

Swiss-based artist Raffael Waldner (b. 1972) is obsessed by car culture, its mythology and phantasms, its contradictions, and the way it mirrors the evolution of the modern Western world. Since the late 1990s he has been carrying out research into the world of sports and luxury cars. His first publication Car Crash Studies from 2010 is a vast collection of photographs documenting accident-damaged cars as "natures mortes"—the cruel still lifes of a society that puts its faith in technology and mobility. In this new book Waldner focuses on motor shows, the places where new cars are presented to the public for the first time. Called a "salon" in French, the motor show is a world of its own, a particularly glossy, glamorous mise-en-scène with an erotic undertone created by hundreds of models acting as car-company ambassadors. Waldner photographs the models in the same way that he shows the cars: with objective coolness, isolated from any context. As Jürgen Haüsler writes in his essay: "Waldner’s photographs are illuminating: they show the before and after of the mise-en-scène at the motor show. Viewed from this angle, one is oppressed by the emotional emptiness of the exhibition halls, the coldness and unapproachability of the exhibits themselves, and the degrading uniformity that has been imposed on the workforce