Anodyne, soft and playful at first glance, Gian Losinger's photographs present ordinary objects, suspended moments of everyday life. Whether they are views of a lake, flowers, a faded hoodie or a flock of starlings in southern Spain, these images are both heir to vernacular photography and street photography, while retaining obvious references to documentary film. while retaining obvious references to documentary cinema. Sincere, spontaneous and authentic, the artist's images are never the object of preliminary notes, scenarios, great staging or artificial lighting. The intervention Losinger's intervention is limited. The composition of his photographs is imposed on him in his immediate environment, during spontaneous moments when he grabs his camera to contemplate, welcome and collect these everyday moments of unexpected beauty. This is what interests the artist, who seeks to arouse in the viewer that feeling of curiosity and wonder experienced when observing something for the first time. Known as Shoshin (the beginner's mind) in Zen Buddhism, this vision of things that the artist invites us to adopt reinforces full awareness and is characterized by an attitude of modesty, humility and absence of preconceptions. In this perspective, Losinger's photographs seek to to get rid of what we think we know about the world, to refocus on the tangible traces of reality. Yet it is difficult not to see references to the pictorial genre of the vanitas, developed in the 17th century. The artist deliberately plays with this ambiguity and admits to selecting certain images for their allegorical references and the furtive character of existence. This is the singular relationship to our daily environment that the artist seeks to revalorize. Behind their hushed, sober and candid appearance, these images respond to a demanding objective. In order to constitute a real collection of fragments of everyday life, the artist has set up a relatively strict protocol of indexing by title. Consequently, each image carries a short and descriptive title and descriptive, which is generally satisfied to indicate the subject subject. The date is limited to the year the picture was taken. Titles and dates are thus the essential bases of this index, which however contains exceptions to the rule. Thus, Chrysanthemum, 2021 or Nights, 2019 can rub shoulders with It Might As Well Be Spring, 2019 or Solar System, 2019, which assimilates the arrangement of several fruits to the vast gravitational organization of celestial bodies around a star. With these deviations, the artist escapes the rigor of the protocols of conceptual art by integrating a touch of poetry and humor. Produced independently of each other, the images can be seen together as well as individually. Therefore, the work presented here does not meet the criteria of a photographic series. Purpose, content and form do not participate in the same logic. Like words, signs or symbols, Losinger's images contain narrative statements that can be sequenced, undone and assembled to give rise to new narratives.

(Text: Victoria Muhlig, Musée d'art de Pully)