Eine Bild-Choreographie des Reisens – keine Reiseroute, sondern eine poetische Geografie.
A picture choreography of traveling – without an itinerary, but poetic geography
From one place to another experience shows us that you can’t leave a space, without stepping into a new one. We wonder how everything is connected. Maurin Bisig does not create borders, he arranges, connects and links places and spaces he has visited. He weaves the lines of pictures to a soft tissue, full of possibilities.
On a bicycle through Eastern Europe; in a fast car driving through the vast expanse of Finland; for hours by feet in an upright walk in Africa, or arriving in the vibrant lifestyle and sounds of Jamaica. One has to take a clear position to be capable of serenely facing the countryman and countrywoman upon their fields. One needs confidence and closeness to take pictures of sleeping children on the ground in a courtyard in Gambia. Young girls skip and laugh through a sunlit garden as they pass white laundry. One needs sensibility and empathy to capture irretrievable and very short moments.
What is he bringing back home? Back home in Entlebuch. And why is he even coming back home to Entlebuch? Where the fog can be so thick that no distance exists. With a travel bag full of conserves: film containers with latent pictures of other places. The fact that this photographic material is analogue, that the development of these traces of captured light are developed with optics and chemistry is characteristic of Maurin’s work. The close look, the shift of oneself, the touch and smell in all its fugacity. It’s not aimlessness but intent for a determination from tourists, that we all are, virtually daily on the surfaces of our screens.
The different languages in his photography exhibit the dispute with the instruments. Condensing this reality in two dimensions and understanding the most diverse sounds of his instruments and procedure.
He is taking part in life, is a detailed observer and a storyteller. The atmospheres we are balancing on while viewing, can lead us in all directions. Neither the memory nor the being on the road processes are linear yet are still connected in apparent contemporaneity.
Maurin Bisig can not remain seated. A wayfarer and the world, his lively counterpart.