Michal Florence Schorro

lives and works in Zurich, Switzerland.
She graduated with a Master Degree from ECAL and works as an independent photographer and art director for various clients as well as on personal projects.

member of near. swiss association for contemporary photography

Exhibitions (Selection)

  • COMMUNITAS III, Kunsthaus Steffisburg, 2021
  • Exposition Format, Mont-Soleil, 2018
  • Maxxx Project Space, Sierre, 2017
  • Cantonale Bern Jura, Kunsthaus Langenthal, 2016
  • Solo Show, Atelier Suisse, Bruxelles, 2016
  • Bureau 14c, Bern, 2015
  • Near at Free, Freestudios, Genève, 2015
  • Selection | Auswahl, Photoforum Pasquart, Biel, 2014
  • 18. Vfg Nachwuchsförderpreis, Zürich, Basel, Winterthur, Lausanne, 2014
  • Lokal-int, Biel/Bienne, 2014
  • Near by Night 8, Festival Images, Vevey, 2014
  • Bieler Fototage, Biel/Bienne, 2014
  • Festival Circulation(s), projection, Paris, 2014
  • Selection | Auswahl, Photoforum Pasquart, Biel, 2013
  • Graduates Show Master, écal, Lausanne, 2013
  • Half time, écal, Lausanne, 2012
  • Do You Read Me?, galerie elac, Lausanne, 2012
  • Festival Planche(s), Contact, Deauville, 2012
  • 100 Beste Plakate, Wien, Berlin, 2009

Collections

  • Kunstmuseum Bern
  • Museum für Gestaltung Zürich
  • Ville de Deauville
  • Various private collections

Grants, Awards

  • Artist in Residence, Atelier Suisse, Bruxelles, 2015—2016
  • ProHelvetia, Promotion of aspiring photographers, 2014
  • Wallpaper Graduate directory, 2014
  • Vfg Nachwuchsförderpreis, 2014
  • Bourse pour le talent, fondation Casino Barrière, 2013

Imprint

All works © 2022 Michal Florence Schorro

Website: Boris Siebs

  • Great Experience

    series of 6

    2022

    While exploring satellite images on Google Maps, I discovered sandy areas of distinctive shapes on a golf course in Cancún. These sand-filled depressions that serve as hazards take the resemblance of puddles, clouds or lakes and look like abstract paintings. The shapes are so unusual that I can hardly assume they were the result of deliberate intention: They almost look comic-like and stand in stark contrast to the otherwise well-planned and clinical-looking golf courses. I have long been fascinated by the formal aesthetics of these places, but at the same time I have an aversion to them, since they consume huge amounts of resources and land and represent a form of elitism that mainly caters to an affluent white male audience. Despite efforts to modernise this image, high membership fees as well as the habitus of the golf world are symptomatic of the limited progress that has been made thus far.

    1/6
  • Great Experience

    series of 6

    2022

    While exploring satellite images on Google Maps, I discovered sandy areas of distinctive shapes on a golf course in Cancún. These sand-filled depressions that serve as hazards take the resemblance of puddles, clouds or lakes and look like abstract paintings. The shapes are so unusual that I can hardly assume they were the result of deliberate intention: They almost look comic-like and stand in stark contrast to the otherwise well-planned and clinical-looking golf courses. I have long been fascinated by the formal aesthetics of these places, but at the same time I have an aversion to them, since they consume huge amounts of resources and land and represent a form of elitism that mainly caters to an affluent white male audience. Despite efforts to modernise this image, high membership fees as well as the habitus of the golf world are symptomatic of the limited progress that has been made thus far.

    2/6
  • Great Experience

    series of 6

    2022

    While exploring satellite images on Google Maps, I discovered sandy areas of distinctive shapes on a golf course in Cancún. These sand-filled depressions that serve as hazards take the resemblance of puddles, clouds or lakes and look like abstract paintings. The shapes are so unusual that I can hardly assume they were the result of deliberate intention: They almost look comic-like and stand in stark contrast to the otherwise well-planned and clinical-looking golf courses. I have long been fascinated by the formal aesthetics of these places, but at the same time I have an aversion to them, since they consume huge amounts of resources and land and represent a form of elitism that mainly caters to an affluent white male audience. Despite efforts to modernise this image, high membership fees as well as the habitus of the golf world are symptomatic of the limited progress that has been made thus far.

    3/6
  • Great Experience

    series of 6

    2022

    While exploring satellite images on Google Maps, I discovered sandy areas of distinctive shapes on a golf course in Cancún. These sand-filled depressions that serve as hazards take the resemblance of puddles, clouds or lakes and look like abstract paintings. The shapes are so unusual that I can hardly assume they were the result of deliberate intention: They almost look comic-like and stand in stark contrast to the otherwise well-planned and clinical-looking golf courses. I have long been fascinated by the formal aesthetics of these places, but at the same time I have an aversion to them, since they consume huge amounts of resources and land and represent a form of elitism that mainly caters to an affluent white male audience. Despite efforts to modernise this image, high membership fees as well as the habitus of the golf world are symptomatic of the limited progress that has been made thus far.

    4/6
  • Great Experience

    series of 6

    2022

    While exploring satellite images on Google Maps, I discovered sandy areas of distinctive shapes on a golf course in Cancún. These sand-filled depressions that serve as hazards take the resemblance of puddles, clouds or lakes and look like abstract paintings. The shapes are so unusual that I can hardly assume they were the result of deliberate intention: They almost look comic-like and stand in stark contrast to the otherwise well-planned and clinical-looking golf courses. I have long been fascinated by the formal aesthetics of these places, but at the same time I have an aversion to them, since they consume huge amounts of resources and land and represent a form of elitism that mainly caters to an affluent white male audience. Despite efforts to modernise this image, high membership fees as well as the habitus of the golf world are symptomatic of the limited progress that has been made thus far.

    5/6
  • Great Experience

    series of 6

    2022

    While exploring satellite images on Google Maps, I discovered sandy areas of distinctive shapes on a golf course in Cancún. These sand-filled depressions that serve as hazards take the resemblance of puddles, clouds or lakes and look like abstract paintings. The shapes are so unusual that I can hardly assume they were the result of deliberate intention: They almost look comic-like and stand in stark contrast to the otherwise well-planned and clinical-looking golf courses. I have long been fascinated by the formal aesthetics of these places, but at the same time I have an aversion to them, since they consume huge amounts of resources and land and represent a form of elitism that mainly caters to an affluent white male audience. Despite efforts to modernise this image, high membership fees as well as the habitus of the golf world are symptomatic of the limited progress that has been made thus far.

    6/6
  • hier, hier

    2022

    still lifes combining plants, waste, kitchen utensils, stones and fruits

    1/2
  • hier, hier

    2022

    still lifes combining plants, waste, kitchen utensils, stones and fruits

    2/2
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    1/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    2/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    3/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    4/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    5/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    6/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    7/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    8/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    9/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    10/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    11/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    12/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    13/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    14/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    15/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    16/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    17/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    18/19
  • HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

    2015

    Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.

    19/19
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    1/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    2/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    3/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    4/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    5/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    6/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    7/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    8/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    9/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    10/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    11/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    12/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    13/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    14/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    15/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    16/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    17/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    18/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    19/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    20/21
  • Juste une Pause

    Series of 43, publication available on demand

    2020

    21/21
  • Centre d’Art Contemporain

    Book design: Katharina Tauer and Martina Vierthaler

    2017

    photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.

    1/12
  • Centre d’Art Contemporain

    Book design: Katharina Tauer and Martina Vierthaler

    2017

    photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.

    2/12
  • Centre d’Art Contemporain

    Book design: Katharina Tauer and Martina Vierthaler

    2017

    photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.

    3/12
  • Centre d’Art Contemporain

    Book design: Katharina Tauer and Martina Vierthaler

    2017

    photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.

    4/12
  • Centre d’Art Contemporain

    Book design: Katharina Tauer and Martina Vierthaler

    2017

    photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.

    5/12
  • Centre d’Art Contemporain

    Book design: Katharina Tauer and Martina Vierthaler

    2017

    photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.

    6/12
  • Centre d’Art Contemporain

    Book design: Katharina Tauer and Martina Vierthaler

    2017

    photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.

    7/12
  • Centre d’Art Contemporain

    Book design: Katharina Tauer and Martina Vierthaler

    2017

    photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.

    8/12
  • Centre d’Art Contemporain

    Book design: Katharina Tauer and Martina Vierthaler

    2017

    photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.

    9/12
  • Centre d’Art Contemporain

    Book design: Katharina Tauer and Martina Vierthaler

    2017

    photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.

    10/12
  • Centre d’Art Contemporain

    Book design: Katharina Tauer and Martina Vierthaler

    2017

    photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.

    11/12
  • Centre d’Art Contemporain

    Book design: Katharina Tauer and Martina Vierthaler

    2017

    photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.

    12/12
  • They see me

    Series of 11 images

    2015

    1/11
  • They see me

    Series of 11 images

    2015

    2/11
  • They see me

    Series of 11 images

    2015

    3/11
  • They see me

    Series of 11 images

    2015

    4/11
  • They see me

    Series of 11 images

    2015

    5/11
  • They see me

    Series of 11 images

    2015

    6/11
  • They see me

    Series of 11 images

    2015

    7/11
  • They see me

    Series of 11 images

    2015

    8/11
  • They see me

    Series of 11 images

    2015

    9/11
  • They see me

    Series of 11 images

    2015

    10/11
  • They see me

    Series of 11 images

    2015

    11/11
  • round and square

    2016

    formal experimentation with sunlight, mirorrs and shadows on grey background.

    1/7
  • round and square

    2016

    formal experimentation with sunlight, mirorrs and shadows on grey background.

    2/7
  • round and square

    2016

    formal experimentation with sunlight, mirorrs and shadows on grey background.

    3/7
  • round and square

    2016

    formal experimentation with sunlight, mirorrs and shadows on grey background.

    4/7
  • round and square

    2016

    formal experimentation with sunlight, mirorrs and shadows on grey background.

    5/7
  • round and square

    2016

    formal experimentation with sunlight, mirorrs and shadows on grey background.

    6/7
  • round and square

    2016

    formal experimentation with sunlight, mirorrs and shadows on grey background.

    7/7
  • Track, Bow, Way

    (documentation: Prune Simon-Vermot)

    2018

    The series track, bow, way is an exploration of my neighborhood, a former industrial area that has been taken over by the real estate industry in the city of Zurich with the aim of revaluing it. I moved along a disused railway line, now transformed into a pedestrian path. It is a space where every meter now seems to be planned and developed to the optimum. While the abstract compositions of these photographs contrast with the organic forms of the Jura Bernois landscape, the atmosphere is just as calm: these meticulous urban environments spontaneously remind me of the uninhabited emptiness of the countryside in which I grew up for some years.

    1/1
  • Articulation 218–272

    Series of 10 Inkjet print on blueback paper

    2014

    Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.

    1/11
  • Articulation 218–272

    Series of 10 Inkjet print on blueback paper

    2014

    Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.

    2/11
  • Articulation 218–272

    Series of 10 Inkjet print on blueback paper

    2014

    Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.

    3/11
  • Articulation 218–272

    Series of 10 Inkjet print on blueback paper

    2014

    Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.

    4/11
  • Articulation 218–272

    Series of 10 Inkjet print on blueback paper

    2014

    Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.

    5/11
  • Articulation 218–272

    Series of 10 Inkjet print on blueback paper

    2014

    Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.

    6/11
  • Articulation 218–272

    Series of 10 Inkjet print on blueback paper

    2014

    Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.

    7/11
  • Articulation 218–272

    Series of 10 Inkjet print on blueback paper

    2014

    Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.

    8/11
  • Articulation 218–272

    Series of 10 Inkjet print on blueback paper

    2014

    Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.

    9/11
  • Articulation 218–272

    Series of 10 Inkjet print on blueback paper

    2014

    Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.

    10/11
  • Articulation 218–272

    Series of 10 Inkjet print on blueback paper

    2014

    Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.

    11/11
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    1/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    2/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    3/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    4/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    5/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    6/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    7/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    8/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    9/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    10/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    11/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    12/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    13/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    14/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    15/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    16/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    17/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    18/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    19/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    20/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    21/22
  • Seeschlachten und Eukalyptus

    Series of 43

    2013

    Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.

    22/22