Stefan Rappo is the photographer of emotion. He creates refined and understated images free of embellishment or sophisticated staging. A return to the natural state and the primacy of emotions. With a cinematic allure, his images are like short films, silent and poetic – odes to women. Most striking is the calm and serenity. The spectator, although held at a distance, infiltrates the intimacy of the play, a huis-clos where the palpable tensions play off each other to create a narration.
At 30 years of age, Stefan Rappo left Switzerland and his job as a designer and constructor of heavy forestry equipment to pursue studies in a photography school in the south of France. He worked as a photo assistant for Camilla Akrans and Bruno Aveillan, and then for Peter Lindbergh, with whom he has worked for more than five years now. In parallel he works on his personal projects including staged cinematic photo-stories, female nudes, as well as more commercial work.
His shoots are meticulously planned, but once on set he gives free reign to spontaneity and liberty. Thus the essential elements and the emotions coalesce, creating life.
Philippe Guédon, Normal Magazine
Born in Switzerland in 1959, Gérard Musy received in 1986 his bachelor’s degree for an art history thesis on photographer Robert Frank. He currently lives in Paris working on commercial and personal projects. His clients include Armani, Paco Rabanne and other fashion labels, and his work is published in international magazines such as Vanity Fair, Harper‘s Bazaar and Skin Two. He has received several awards, including two Swiss Federal Grants, and his pictures are found among the collections of the Bibliotéque Nationale de France, the Swiss Foundation for Photography in Winterthur and the Museum de L’Elysée in Lausanne.
Press photographer (he works part-time for a daily newspaper), Steeve Iunker tirelessly questions the role(s) of photography and of the image in the fields of information and documentary today in a radical and political way. What’s the point of being aware of everything happening in the world – at least potentially – when we like to think we are in the immediacy of transmission? What’s the point of promoting the fixed image? How can we find our place in our history, in our stories? Which mechanisms can we set, from the shooting to the shapes and the use, to be if not right, at least relevant? These are the basic questions which establish and weave a constantly evolving work, set out to precisely design its duties, its relationship to the text, its principles (or absence) of narration, its menace to the glance, to voyeurism, to convention. It is also a work which aims to get close to the taboos relating to the body, to sex, to death and to the standard social conception of big issues that affect human thought. Either he stays with an Aids patient in the terminal phase, he represents the professional life of an old prostitute, he confronts himself with the crisis in Gaza, he stores images of celebrities adorned with diamonds at Cannes Festival, discovers the backstage area of a fashion show, follows the police while investigating on crimes, or reveals the astounding world of plastic surgery, Steeve Iunker doesn’t chase icons. He shows. In a realistic, free and salutary way. Even if it might seem provocative or shocking. He only wants us to agree to see. To be responsible and clear-sighted.
Born in 1946, Christian Coigny spent his youth in Lausanne. At 20, he briefly attended the Vevey School of Photography, where he primarily studied graphic design and composition. His burning desire to test himself in the trade led him to San Francisco, where he stayed for five years. With a meagre portfolio thus far, he managed to land a job on the Leviâ€™s campaign, as well as a substantial volume of advertising work for Californian wines. At the same time, he familiarised himself with the art of still life. He then spent a year dividing his time between Rio de Janeiro and Sao Paulo, working for a number of fashion magazines.
On his return to Switzerland, he set up home permanently on the shores of Lake Geneva. He worked with various womenâ€™s magazines and was noticed by luxury fashion retail group BongÃ©nie Grieder, who put him in charge of their poster campaign. These images would mark the true beginning of his career in Europe. He also works for numerous big name clockmakers and prestigious jewellers, including Chopard, with whom he has maintained a close relationship for thirty years.
Alongside these commitments, Christian Coigny took up his own work which, over the years, has come to occupy an ever greater place in his career. He published several works, among them Hommes et Portraits dâ€™Artistes – Men and Portraits of Artists – (Favre). A Zurich advertising agency, very taken with his portrait of Jean Anouilh, offered him the Personalities campaign for Vitra. The 130 portraits of musicians, writers, painters and actors were shown in an exhibition at the MusÃ©e des arts dÃ©coratifs, in Paris in 2001. These photographs of famous people, seated on chairs by great designers such as Eames, Citterio, Starck, Bellini, Morrison or Thiel, are collected in the book, Sitting (Prestel).
Swiss-Italian, born in 1971, educated in Italy and Switzerland, where he lives and works as a photographer.
This provides him the perfect frame and background to invent, create and totally produce images that blend fine arts and craftsmanship.
No, not simply images, as Christian Tagliavini loves designing stories with open endings (requiring observer’s complicity) on unexplored themes or unusual concepts, featuring uncommon people with their lives and their thoughts made visible. This rich and exciting collision of circumstances results in photos as a final product.