Catherine Leutenegger (b. 1983) is a visual artist and photographer based in Switzerland.
BA and MA in Visual Communication / Photography with First Class Honours at University of Art and Design / ECAL.
BA and MA in Visual Communication / Photography with First Class Honours at University of Art and Design / ECAL.
Leutenegger's artistic approach investigates the photographic medium while challenging its boundaries. Adopting the perspective of an archeologist and anthropologist, she explores the omnipresence of digital technology and the materialization of the virtual world. Her current multi-disciplinary practice plays with the medium, scale and installation space with particular emphasis on the ambiguity of forms. In addition to conventional cameras, she experiments the use of scientific tools and augmented reality technologies.
Her first monographical book titled Hors-champ revealing photographers’ workspaces, was published by Infolio through the Manor Cultural Award 2006 which includes a generous cash prize and an exhibition at the Musée de l'Elysée curated by William A. Ewing and Nathalie Herschdorfer. The Manor Award established in 1982 by Philippe Nordmann represents one of the most prestigious acknowledgements of artistic merit and one of the most significant promotional instrument within the contemporary Swiss art scene.
Beside she is the recipient of several major fellowships including the Prix Culturel de la Photographie 2018 (Fondation Vaudoise pour la Culture), two Swiss Federal Design Grants (2006 and 2008); the Raymond Weil International Photography Prize (2008) and the BCV Encouragement Prize (2006). In 2007 she took part of an artist residency program in New York and started her project named Kodak City in Rochester. Her second monography was published by Kehrer Verlag in 2014 and looks at the demise of the once booming Kodak empire.
Fascinated by shifts in technology, Leutenegger’s long-term body of work New Artificiality investigates the emergence and advancement of 3D printing in numerous business sectors. Though this technology continues to move forward with seemingly limitless potential, additive manufacturing is still an experimental process, with questions about reliability and stability, as well as its ethical implications. From nano to monumental scale, Leutenegger presents a view on some of these cutting-edge uses, confronting us with the quandary of how we humans will see ourselves when even body parts can be printed with the same ease and practicality as the elements of a building.
Leutenegger’s photographs have been featured in numerous solo and group exhibitions on the internationalscene: Finnish Museum of Photography, Helsinki; Aperture Gallery, New York; Lianzhou Fotofestival; Museum
für Gestaltung, Zürich; Museum Bellerive, Zürich; Bieler Fototage, Biel; Fotomuseum, Winterthur; Athens Photo
Festival, Benaki Museum, Greece; Carla Sozzani Gallery, Milan; Head On Photofestival, Sydney; Le Petit Palais,
Paris.
Her work is in the collections of several public and private institutions, including :
Musée de l’Elysée, Lausanne; MAST Foundation Collection, Bologna; Musée Nicéphore-Niépce, Chalon-sur-Saône; BCV Art Collection, Lausanne; Banque Piguet-Galland; Maus Frères Holding and Raymond Weil, Geneva.
Musée de l’Elysée, Lausanne; MAST Foundation Collection, Bologna; Musée Nicéphore-Niépce, Chalon-sur-Saône; BCV Art Collection, Lausanne; Banque Piguet-Galland; Maus Frères Holding and Raymond Weil, Geneva.
Catherine Leutenegger a member of near. swiss association for contemporary photography.
For any request please contact:
CATHERINE LEUTENEGGER | 4, Avenue Cécil | CH -1007 Lausanne Switzerland | +41 76 495 30 04 |
Thank you!