By: Emily Barnabas ’26
Tucked away on the north shore of the Lac Leman lies Vevey. A true jewel of the Swiss Riviera, Vevey is known for its panoramic lake views, terraced vineyards, and surrounding Alpine scenery. Home to the world headquarters of Nestle and Charlie Chaplin’s former residence until his passing in 1972, the town has evolved into a destination for food and culture. However, Vevey has recently established itself as the host city of Switzerland’s leading visual arts festival, organizing the acclaimed Images biennial celebration.
And I can attest: During my semester abroad this past fall, I had the incredible opportunity of being able to participate in a homestay based in Vevey and experience the wonder of Images firsthand.
Every two years, Vevey’s Images invites the worldwide arts community to experience made-to-measure indoor and outdoor photography exhibitions, interactive monuments, and other varied forms of scenography. The purpose of Images is to highlight the assets of the Swiss Riviera through tailor-made installations and experiential exhibits. The theme of the 2024 Images festival was (DIS)CONNECTED; drawing inspiration from Chris Marker’s Letter from Siberia in which he expresses, “It is pretty rare to be able to take a walk in an image of childhood”. The festival’s collection was curated to craft the experience of childhood nostalgia; specifically, considering how the exhibitions could evoke the “vague but ever-present feeling that reveals both the instability and excitement that surrounds us.”
One of my favorite ways to spend time in Vevey was to simply go for a walk: along the lake esplanade, past new cafes, through neighborhood parks, and by quaint squares. In turn, I discovered a new piece of the Images festival every time I went on a walk. Over the course of my time in Vevey, I grew to appreciate certain works more than others, finding myself returning to particular parts of town to re-experience my favorite pieces.
Belle Epoque is the largest work of the Images collection. Spanning 1,000 square meters, this tarpaulin was installed on the front of the Nestle headquarters building. Aside from the sheer size of Belle Epoque, its installation on the sea-colored glass right in front of the glimmering waves of the Lac Leman made it seem like the ship was actually on the water, providing a stunning facade. The image itself is rather basic; yet, it represents the longer history and tradition of paddle steamboats in the Canton de Vaud. Emerging with the establishment of of the Compagnie Générale de Navigation, the major steamboat operator of the region, these fleets became an integral part of the lake scenery. When asked about the deeper meaning behind Belle Epoque, creator and photographer Vincent Jendly evoked that paddle steamboats are reminiscent of childhood trips on the lake as well as the memories of passing tourists and residents.
A landmark of Vevey that I found particularly amusing was the Musee Suisse du Jeu, or the Swiss Museum of Games. The museum is located in the Château de La Tour-de-Peilz, an idyllic building which sits on a small hill overlooking the shores of the lake. The grounds’ hilly greens displayed Benjamin Freedman’s Positive Illusions, a collection of photographs and computer generated images which depict the artist’s experience of a family road trip from Montreal to Maine at the age of 9. Freedman’s whimsical exploration of contrasting colors, shapes, textures, and childhood motifs is intended to transport viewers into the joyous world of childhood. Yet, Freedman’s utilization of CGI challenges how childhood nostalgia and memory can be reassembled by technology.
The location of Positive Illusions truly enhanced its meaning as families and children would often walk through the outdoor exhibit after visiting the Museum of Games. On days where it was sunny, the image panels would blow softly in the lake breeze, representative of the fleeting nature of childhood and emulating its temporality.
Hess and Polli’s One Bed, Two Blankets, Seventy-Six Rules was one of the premier installations of the Images festival; centrally located to the main town square and lakefront promenade, this installment invited visitors to walk amongst it and truly immerse themselves in art. While each photograph focuses on a different focus and subject, the project was created to represent unique qualities of Hess and Polli’s relationship and life together. Additionally, the couple’s installation offers an evolved interpretation of the sacred rules and standards that are established by couples who live together. Revised and reworked at residencies including the Val Verzasca and La Becque, Hess and Polli’s piece is a testament to the evolving and dynamic nature of long-term partnerships. An incredibly emotional and authentic installation, One Bed, Two Blankets, Seventy-Six Rules depicts domesticity and cohabitation as processes that are synonymous with revision, negotiation, and discovery.
In reflection, I feel extremely lucky to have had the opportunity to experience the Images festival in Vevey and gain meaningful insight into contemporary art on a global scale. What I loved most about the Images festival was the experiential component; with integration into the environment and local establishments, the careful presentation of each piece added depth to its original meaning. Blurring the boundaries between art and everyday life, Images allows for the contemplation of how context can transform perception.
Sources
- Vevey Images Presskit: Excerpts on Belle Epoque, Positive Illusions, One Bed, Two Blankets, Seventy-Six Rules (September 2024)
- Chris Marker, Letter from Siberia (1958)
