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The term Big Bang, describing the theory of how space was created, was introduced by Fred Hoyle - a follower of the steady-state theory – to characterize a theory he disliked and did not believe in.
In order for the theory of the Big Bang to work, the physic laws that are known on earth would have to be applicable to the whole universe, and yet today we know from Quantum Physics that not all things obey the common physic laws. So just like in the time of Hoyle, we might be at a turning point where new theories have to be made and a new view on the world will replace the old. In the time of the capitalocene, our dealing with material goods has to drastically change. There is a need for change of values: ideas, time, equality and freedom should take the place of material wealth as the most valued things. Only by changing the way we look at and deal with our surroundings can we change the great problems of our time.

The photographs and objects work like doors to different ideas, evoking moments of wonder and curiosity: When we see a stone floating on a photograph of a sparkling water surface, our conditioning tells us that this cannot be real, and yet, wouldn’t it be wonderful if it was? The installation talks about photography in time and space: A photograph titled “explosion”, showing a palm tree, plays with our notion of time: We know that a plant grows very slowly, and yet the sensation evoked by the photograph is one of an explosion, just like fireworks. The works dare us to question our current world view and open up to different and playful ways of looking at and dealing with our surroundings.

Prisma Magazine is Gian Losinger's first publication.
It contents photographs from 2015 - 2019 on 60 Pages.

Published by  Nothing More Nothing Less

Rack in the middle of the room, Three Dia-Projectors, 70 Dias

The work are you sure? shows a choreography of photographs, projected on two walls by three dia projectors. The projectors are in the middle of the room and is therefore a central part of the installation. They become the brain and heart, which project the photographs on the walls like ideas, assosiations and feelings, and then make them disappear again. 

The series of work shown can be understood as an invitation for theviewer to recognize and meditate on his own projections.

As new images appear and new formations are created, new thoughts appear. Every image asks once again „are you sure?“. The invitation becomes a request not to be satisfied with the first reaction that comes to mind, as every reaction contains a new question.

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Die Arbeit „are you sure?“ des Berner Fotografen Gian Losinger zeigt eine Choreographie von Fotografien, die von Diaprojektoren an die Wände des Kornhausforums projiziert werden.
Das Präsentationsmedium steht in der Mitte des Raumes und ist nicht verborgen, sondern ein zentraler Teil der Arbeit. Die Diaprojektoren werden zum Herz und Hirn, welche die Fotografien
wie auftauchende Gedanken, Gefühle und Assoziationen an die Wände projizieren und wieder verschwinden lassen.

Die Bildserie ist keiner klaren Thematik untergeordnet. Sie ist vielmehr als Einladung an den Betrachter zu verstehen, eigene Themen zu erkennen und sich mit eigenen Gedanken und Assoziationen auseinanderzusetzen. Es entsteht ein Dialog zwischen den Bildern und der Reaktion des Betrachters.

Wie sich die Bilder neu zusammensetzen, setzen sich auch
die Gedanken neu zusammen. Jedes Bild fragt erneut „bist du sicher?“. Die Einladung wird gleichermassen zur Aufforderung an den Betrachter, sich nicht mit der erstbesten Antwort zufriedenzugeben, denn jede Antwort beinhaltet eine neue Frage.

A series of photographs from the famous Gleason's Boxing Gym in New York City.

30% of the sales were given to the project Give a Kid a Dream that gives kids from difficult circumstances a place to train and do homework in the gym.

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The Last Picture Show, the exhibition marking the end of Kornhausforum director Bernhard Giger's time, brings all all those who exhibited in the Kornhausforum together once more, with one picture each. The photographers are free in their choice of pictures; in the case of pictures from estates, it is done in cooperation with the archives.

The photograph, nature morte aux pommes is a reference to the famous painting by
Cézanne. Nevertheless, it is unmistakably clear that it is an image of our time: wrapped around the apples is a plastic bag. 

In his essay « Le plastique » Roland Barthes wrote: « C'est la première matière magique qui consente au prosaïsme; mais c'est précisément parce que ce prosaïsme lui est une raison triomphante d'exister: pour la première fois, l'artifice vise au commun, non au rare. »
It seems he anticipated something that has now grown into one of the big challenges of our time: there is too much plastic. Because this material was destined to be something common, it’s everywhere. There’s so much plastic that Damian Carrington wrote in the Guardian that « scientists suggest the plastic layers could be used to mark the start of the Anthropocene, the proposed geological epoch in which human activities have come to dominate the planet. They say after the bronze and iron ages, the current period may become known as the plastic age »

Today’s discourse of plastic is based on a double standard: There’s a distinction between valuable plastic used in design, from cars to cellphones that we cherish and value; and single-use plastic – bags, packaging and so on – that we use only as a means without considering it valuable. The visual language to depict single-use plastic is negative, at the same time the capitalist system keeps growing and with it the advertisement and sale of plastic.

The photographs work around this affection and aversion towards the same material: in some images, single-use plastic has a magical, sculptural quality, whilst in others, it fills the frame and evokes a feeling of suffocation. « Ainsi, plus qu'une substance, le plastique est l'idée même de sa transformation infinie, il est, comme son nom vulgaire l'indique, l'ubiquité rendue visible; et c'est d'ailleurs en cela qu'il est une matière miraculeuse: le miracle est toujours une conversion brusque de la nature. Le plastique reste tout imprégné de cet étonnement: il est moins objet que trace d'un mouvement ».

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Inkjet prints on matte paper, framed, various sizes

The photographs Some Things Are Beyond Words give the impression of still lifes taken directly from everyday experience. Some feel abandoned, others are full of life, and all of them aesthetically capture moments whose vulnerability and composition allow the ephemeral to solidify into brief eternities. “The images do not document; they only extend an invitation to the viewer, and perhaps seduce them as well,” wrote Bernhard Giger about Losinger’s photo series  “are you sure?”, which was exhibited at the Kornhausforum in 2017. The photographs invite us to consider familiar surroundings from new perspectives and perhaps also gain a different understanding of them. Our usual classification of the world becomes the object of critical examination as its categories are reconsidered and maybe, for a brief moment, even seem to dissolve entirely.
(Text Nina Liechti, Gian Losinger, transl. Daniele Zurbrügg)

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Die Fotografien der Serie Some Things Are Beyond Words wirken wie Stilleben, aus dem Alltag gegriffen. Manche wirken verlassen, andere sind voller Leben und alle fangen sie ästhetisch Momente ein, die in ihrer Zerbrechlichkeit und durch ihre Grafik Flüchtiges zu kurzen Ewigkeiten verdichten. «Die Bilder dokumentieren nicht, sie laden einfach ein, vielleicht verführen sie ein wenig» schrieb Bernhard Giger zu Losinger’s Serie «are you sure?» die er 2017 im Kornhausforum präsentierte. Die Fotos sind Einladungen, bekanntes aus neuen Blickwinkeln zu sehen und dadurch vielleicht auch anders zu verstehen. Die Einteilung der Welt wird kritisch hinterfragt, anders verhandelt und vielleicht sogar kurz aufgehoben.
(Text Nina Liechti, Gian Losinger)

Bouquet, Vase, Inkjet Print on matte paper, unframed, size variable

The works Parallaxe 4,5 play with phenomena of perception.
Parallaxe describes the apparent change of the position of an object if the viewer changes his position. Depending on the angle of view, you can see one or two bouquets. What seems like a mirror at first, is a moment in time. With time, the discrepancy of the photograph and the bouquet become more and more visible.
(Text Ursina Leutenegger, Gian Losinger)

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Die zwei Werke Parallaxe 4, 5 von Gian Losinger spielen mit dem Phänomen der Wahrnehmung. «Parallaxe» beschreibt die scheinbare Änderung der Position eines Objektes, wenn der Beobachtende seine eigene Position verschiebt. Je nach Blickwinkel sieht man ein oder zwei Bouquets. Was zunächst aussieht wie ein Spiegel, ist eine Momentaufnahme des Blumenarrangements. Mit der Zeit wird die Diskrepanz zwischen Blumenstrauss und Fotografie immer grösser. Die Arbeiten Parallaxe 1—3 wurden in der Stadtgalerie Bern während der Ausstellung «Repeat» gezeigt. An der Nacht der 1000 Fragen werden sie nun in einem anderen Kontext wiederholt.
(Text Ursina Leutenegger, Gian Losinger)

Bouquet, Vase, Inkjet Print on matte paper, unframed, size variable

The works Parallaxe 4,5 play with phenomena of perception.
Parallaxe describes the apparent change of the position of an object if the viewer changes his position. Depending on the angle of view, you can see one or two bouquets. What seems like a mirror at first, is a moment in time.
With time, the discrepancy of the photograph and the bouquet become more and more visible.(Text: Ursina Leutenegger, Gian Losinger)

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Die drei Werke Parallaxe 1, Parallaxe 2 und Parallaxe 3 von Gian Losinger (*1996 in Bern, lebt und arbeitet in Bern) spielen mit dem Phänomen der Wahrnehmung. Parallaxe beschreibt die scheinbare Änderung der Position eines Objektes, wenn der Beobachtende seine eigene Position verschiebt. Je nachdem, wo jemand steht, sieht man einen oder zwei Bouquets. Was zunächst aussieht wie ein Spiegel, ist eine Momentaufnahme des Blumenarrangements. Mit der Dauer der Ausstellung wird die Diskrepanz zwischen Blumenstrauss und Fotografie immer grösser.
(Text Ursina Leutenegger, Gian Losinger)