Biography

Catherine Leutenegger (b. 1983) is a visual artist based in Switzerland.

BA and MA in Visual Communication / Photography with First Class Honours at University of Art and Design / ECAL. Her first monographical book titled Hors-champ revealing photographers’ workspaces, was published by Infolio through the Manor Cultural Award 2006 which includes a generous cash prize and an exhibition at the Musée de l’Elysée curated by William A. Ewing and Nathalie Herschdorfer.

The Manor Award established in 1982 by Philippe Nordmann represents one of the most prestigious acknowledgements of artistic merit and one of the most significant promotional instrument within the contemporary Swiss art scene. Beside she is the recipient of several major fellowships including two Swiss Federal Design Grants (2006 and 2008); the Raymond Weil International Photography Prize (2008) and the BCV Encouragement Prize (2006). In 2007, she took part of an artist residency program in New York and started her project named

Kodak City in Rochester. Her second monography was published by Kehrer Verlag in 2014 and looks at the demise of the once booming Kodak empire.

Throughout her recent body of work titled New Artificiality (2015-), Catherine Leutenegger investigates the current potential and limits of 3D printing technology in numerous business sectors.

 

Leutenegger’s photographs have been featured in numerous solo and group exhibitions on the international scene: Finnish Museum of Photography, Helsinki; Aperture Gallery, New York; Lianzhou Fotofestival; Museum für Gestaltung, Zürich; Museum Bellerive, Zürich; Bieler Fototage, Biel; Fotomuseum, Winterthur; Athens Photo Festival, Benaki Museum, Greece; Carla Sozzani Gallery, Milan; Head On Photofestival, Sydney; Le Petit Palais, Paris.

Her work is in the collections of several public and private institutions, including :

Musée de l’Elysée, Lausanne; MAST Foundation Collection, Bologna; Musée Nicéphore-Niépce, Chalon-sur-Saône; Banque Cantonale Vaudoise Art Collection, Lausanne; Banque Piguet-Galland; Maus Frères Holding and Raymond Weil, Geneva.

 

CV

Born 1983 in Lausanne, Switzerland. Lives and works in Lausanne and Zurich.

Education

2007 | Master in Photography with First Class Honours, University of Art and Design / ECAL (CH)

2005 | Bachelor in Visual Communication / Photography with First Class Honours, ECAL (CH)

Awards & Grants (selected)

2017 | Arles Photo Folio Review Award, (special mention)

2017 | Swiss Federal Design Award (nomination)

2008 | Swiss Federal Design Award

2008 | The Raymond Weil Club, International Photography Prize

2007 | Artist’s Studio Grant (Canton de Vaud), Residency program in New York City

2006 | Manor Cultural Prize, Lausanne

2006 | Swiss Federal Design Award

 

Solo exhibitions (selected)

2018 | Kodak City, ILEX Gallery, Roma (I)

2017 | SHI(F)T HAPPENS, Espace abstract, Lausanne (CH)

2016 | Kodak City, Finnish Museum of Photography, Helsinki (FI)

2015 | Kodak City, Oslo8, Basel (CH)

2015 | Kodak City, Coalmine, Winterthur (CH)

2015 | Kodak City, Photobastei, Zurich (CH)

2010 | Welcome Home Baby, La Galerie, Geneva (CH)

2008 | Hors-champ, Women In Photography, co-dirigé par Amy Elkins and Cara Phillips, New-York (USA)

2008 | Hors-champ, Galerie Aperture, RW Club, New-York (USA)

2008 | Hors-champ , Galerie Carla Sozzani, Milan (Italy)

2007 | Hors-champAusserhalb des Blickfeldes, F/stop International Photography Festival, Leipzig (D)

2006 | Hors-champ, Prix Culturel Manor, Musée de l’Elysée, Lausanne (CH)

Collective exhibitions (selected)

2017 | NEW ARTIFICIALITY 2016, Biel/Bienne International Festival of Photography (CH)

2017 | KODAK CITY, Circulation(s) Festival, the IG Art Gallery, Shanghai (China)

2017 | THE POWER OF IMAGES, curated by Urs Stahel, MAST Foundation (Italy)

2017 | Argentic Agony, The Museum of Photography André Villers (F)

2016 |  Kodak City, Athens Photo Festival, Athens (Greece)

2016 | Kodak City, Encontros da Imagem, Braga (Portugal)

2016 | Dans l’atelier. L’artiste photographié d’Ingres à Jeff Kotons, Petit Palais, Paris (France)

2016 | NEW ARTIFICIALITY 2015, Les Journées Photographiques de Bienne/ Bieler Fototage (CH)

2016 | Kodak City, Head On International Photo Festival, Sydney (Australie)

2016 | Kodak City, Lianzhou Fotofestival, Lianzhou (China)

2015 | Kodak City, Circulation(s) Festival, Paris (France)

2013 | Kodak City, United Art Fair, ITPO, Pragati Maiden, ProHelvetia, New Delhi (India)

2013 | Kodak City, ACCROCHAGE VAUD 2013, Musée Cantonal des Beaux Arts, Lausanne (CH)

2012 | Hors-champ, Biennale Internationale, Nancy (F)

2011 | Welcome Home Baby, ArtByGenève, Geneva (CH)

2011 | Welcome Home Baby, NYPhoto Festival, New York (USA)

2011 | Welcome Home Baby, ACCROCHAGE VAUD 2011, Musée Cantonal des Beaux Arts, Lausanne (CH)

2009 | The Kodak City, Les Journées Photographiques de Bienne/ Bieler Fototage (CH)

2008| The Kodak City, Bourses Fédérales de Design, Museum Bellerive, Zürich (CH)

2006 | Bourses Fédérales de Design, Museum für Gestaltung, Zürich (CH)

Bibliography

2006 | Hors-champ, Infolio Editions/ Musée de l’Elysée. Foreword written by William A. Ewing

2014 |Kodak City, Kehrer Verlag (Heidelberg) / Authors: Urs Stahel, Joerg Bader, A.D. Coleman

 

Publications & Press releases (selected)

2015 | Rosa Olivares, « 100 Fotografos Europeos », Ed. Proyectos Utópicos, Publicaciones EXIT

2014 | OSMOS Magazine, NY (USA)

2014 | SURFACE Magazine, NY (USA)

2013| British Journal of Photography, London (UK)

2011| PHOTO+, contemporary photography magazine (Korea)

2009| Phat-Photo Magazine (Japan)

2007| Photo District News, New York, NY (USA)

 

Collections & Acquisitions

Raymond Weil

Musée de l’Elysée

BCV, Banque Cantonale Vaudoise

Maus Frères Holding

Musée Nicéphore Nièpce

MAST Foundatio

 

Presented in the form of a lightbox, Fire and Fury is a photographic reproduction of a Facebook post by Time magazine displayed on the screen of a smartphone. The post, which is intentionally blurred in the photograph, features a photo of US President Donald Trump and an excerpt from a statement he made to his North Korean counterpart: “North Korea ‘will be met with fire and fury’ if they escalate nuclear threat.”

The imposing dimensions of the box and the light coming from it give the piece a magnetic aura that inevitably attracts and holds the viewer’s gaze. The blurring adds a sensation of rhythmic motion, like a three-dimensional surface movement.

The original post is visually dematerialised into vague, vaporous floating shapes that may subliminally recall a mushroom cloud fol- lowing a nuclear explosion. The dissolution of the subject generates aesthetic, sensory and emotional impulses in our perception that are difficult to define, inviting viewers to reflect upon the post’s real substance, which has become diluted in the infinite abyss of news and disinformation.

Catherine’s work is in the collections of several public and private institutions, including:

Musée de l’Elysée, Lausanne; MAST Foundation Collection, Bologna; Musée Nicéphore-Niépce, Chalon-sur-Saône; Banque Cantonale Vaudoise Art Collection, Lausanne; Banque Piguet-Galland; Maus Frères Holding and Raymond Weil, Geneva.