"Plastic tools"
solo show, a project by Sonnenstube, curated by Sebastiano Peter
Sottopassaggio dei Cigni (Riva Giocondo Albertolli), Lugano
Plastic Tools will be on show from December 7th, 2014, until February 7th, 2015. It

In the post-internet era, the quantity of available pictures has reached a mass that can hardly be quantified. Consequently, the attention dedicated to every image is replaced by the perception of a continuous and blurred flux. Plastic Tools by Maya Rochat questions the value of the contemporary image, using strategies of détourunement and deconstruction to form complex transmedia structures. These re-introduce duration and vitality as issues blurring the borders between analogic, manual and digital.
diesonnenstube.ch


Maya Rochat Plastic Tools
An urban space project by Sonnenstube
Curated by Sebastien Peter
7th december 2014 – 7th february 2015

The independent art space Sonnenstube is glad to present “Plastic Tools”, artist Maya Rochat's first solo show in Ticino. The eleven showcases positioned in the “Sottopassaggio dei Cigni” - Swan Underpass – (Riva Giocondo Albertolli, Lugano) will hold, for the two upcoming months, large format photographs, most of which unpublished.

Maya Rochat's work can be understood as a constant effort in trying to overcome photography's typical limits. Since the propagation of the Internet, the sheer amount of photographs available has reached a barely quantifiable amount. The attention previously given to single images has, therefore, given way to a perception of a continuous and indistinct flux.

Maya Rochat ponders the value of the contemporary image by employing strategies such as détournement and deconstruction meant to divert photographs into more complex multimedia structures. The pieces shown in “Plastic Tools” make up an intricate assemblage of partially visible layers. Taking analog pictures as a starting point the artist intervenes by removing or adding a variety of elements through sometimes radical gestures - which in turn cause a partial destruction of the piece. The use of spray, paint, dye and the addition of three-dimensional elements is aided by the use of digital media techniques such as Photoshop and scanners as a tools of production.

The results obtained are then included into spacial installations, videos, publications – or are transferred from one support system to the other. One same image can therefore be used for the realisation of a large sculpture, an artist's booklet or a ground installation, thus exploring the relation between photography and exhibition context.

Maya Rochat favours saturated structures, between the artificial and the natural, which permeate her pieces with a vitality which is traceable to the performativity of the production's process.
The series “Plastic Tools” stands out from her previous productions as a renewed interest for abstraction is revealed. The artist decides to incorporate an ever growing amount of materiality in her work. By the use of concepts such as vitality and duration, the artist jumbles the limits between the analog, manual and digital thus causing a progressive disappearance of photography as a medium in itself.

Maya Rochat is one of the main emergent photographers in the swiss context. She has shown in numerous institutions of national importance, such as Fotomuseum Winterthur, the Kunstmuseum in Thun, the Circuit space in Lausanne, the centre PasquArt in Bienne or the Centre pour la Photographie in Geneva. Her pieces are present in public collections of reference such as the Musée de l’Elisée in Lausanne and the Fotomuseum in Winterthur.

“Plastic Tools” has been made possible with contributions by: Pro Helvetia, Città di Lugano, Cantone Ticino – Fondo Swisslos, Dr. Georg und Josi Guggenheim-Stiftung Zürich.