L’Appartement – Espace Images Vevey
About
L’Appartement – Espace Images Vevey is the permanent showcase for Images Vevey’s activities. L’Appartement is located in the main hall of the Vevey train station, on the 2nd floor. This atypical and ideally located place, today transformed into an art gallery, was formerly used to house railway workers. This art space hosts around fifteen artist projects and exhibitions per year, free of charge. It provides a link between two editions of the Biennale Images Vevey and helps to keep the “Vevey ville d’images” label alive throughout the year.
Days and opening hours
Wednesday to Sunday
11am to 7pm
Main hall of Vevey SBB station, 2nd floor
Place de la Gare, 1800 Vevey
Free admission
On the right as you enter Vevey station, take the stairs or elevator to the 2nd floor exhibition area.
Phone : +41 76 815 76 15
Currently
For its ninth exhibition session, L’Appartement presents four installations that reveal the increasingly blurred boundaries between the real and the virtual, the private and the public. In Les Chambres, Zosia Promińska delves into the intimate spaces of very young models who work for Polish agencies while awaiting the opportunity to become international models. In Le Cinéma, Amandine Kuhlmann explores the effects of social media on identity by parodying influencers, while in Le Salon, Jack Latham exposes the behind-the-scenes of social media by documenting the illegal market of click farms. In Le Couloir, Tamara Janes & Natalia Funariu use artificial intelligence to create childlike faces drawn in the snow, questioning the omnipresence of technology in our daily lives and homes.
LES CHAMBRES
Zosia Promińska
Future Perfect
To succeed in the international fashion capitals, models have to reach the age of 16. But in Poland, specialized agencies spot children with potential from an early age and put them under contract. Former professional model Zosia Promińska documents this reality in Future Perfect. In the privacy of their children’s bedrooms, she photographs these pre-adolescents dreaming of a career in fashion and has them pose as models. The installation highlights the commodification of youth by an industry that pushes these children to grow up too fast, by dangling a falsely perfect future in front of them.
Poland and Switzerland (1985)
Future Perfect
Future Perfect, 2021, Kehrer Verlag (DE)
Translated with DeepL.com (free version)
LE COULOIR
Tamara Janes et Natalia Funariu
Funny Snow Face
Tamara Janes and Natalia Funariu explore the link between creation and artificial intelligence. The title of their project is taken from the prompt submitted almost 5,000 times to DALL-E to generate countless images. These funny faces evoke the human gesture of tracing a head in the snow, made up of two dots and a line. By placing these images on a curtain, the artists create a dialogue between the material and the immaterial, the domestic and the domotic. The project invites us to reflect on the omnipresence of technology in the home, and reminds us of the importance of the personal touch in a world dominated by screens. Funny Snow Face highlights childlike gestures and the playful use of technology.
Switzerland (1980) / United States (1986)
Funny Snow Face
Translated with DeepL.com (free version)
LE SALON
Jack Latham
Beggar’s Honey
Today, a person’s value is measured by the number of likes they get on social networks. Beggar’s Honey takes a behind-the-scenes look at click farms: clandestine enterprises whose aim is to artificially inflate content engagement metrics on social media by manipulating algorithms. Jack Latham photographs the interiors of click farms for the first time. The project also shows images posted on TikTok and Instagram by people who have used these illegal services. Latham warns of the dangers of this phenomenon for democracy, and encourages us to question the validity of content that accumulates likes en masse.
Great Britain (1989)
Beggar’s Honey
An Images Vevey production as part of the Mention Reportage of the Images Vevey Grand Prix 2019/2020
Beggar’s Honey, 2023, Éditions Images Vevey (CH) and Here Press (GB)
LE CINEMA
Amandine Kuhlmann
Cash Me Online
Cash Me Online is a satirical project combining photography, performance and footage found on social networks. Amandine Kuhlmann creates a hyper-feminine alter ego that she embodies online and in performance, with the aim of achieving viral celebrity. She imitates TikTok and Instagram trends or dramatizes her everyday life to attract attention. The artist is inspired by the suggestions of her algorithm and the feminine stereotypes disseminated on social networks. These images reveal the ambiguities of virtual profiles, oscillating between objectification of the body and the desire for individuality. By questioning the impact of social media, the installation acts as a mirror held up to a generation obsessed with its appearance.
France (1992)
Cash Me Online
