Jakob Tuggener

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Jakob Tuggener (born February 7, 1904 in Zurich ; † April 29, 1988 there ) was a Swiss photographer .

Life

Jakob Tuggener did an apprenticeship as a machine draftsman in Zurich. In 1930/1931 he studied graphics, typography, drawing, window dressing and film at the Reimann School in Berlin , which was then the largest private arts and crafts school in Germany. His work at that time was published in the school magazine Color and Form . After returning to Switzerland, he worked as an industrial photographer. In 1934, Tuggener bought a Leica and took photos for the first time at the Grand Bal russe in Zurich. The dance ball theme never left him for two decades. He photographed Swiss noble balls in the Grand Hotel Dolder in Zurich , in the Baur au Lac , in the Palace Hotel in St. Moritz and the Vienna Opera Ball . He also devoted himself to topics such as country life and technology.

In 1943, Tuggener achieved the breakthrough to the avant-garde of Swiss photography with his book Fabrik , a photographic essay on the relationship between man and machine. After the Second World War, his pictures were shown in the New York Museum of Modern Art and published, among others, in the illustrated Leica-Fotografie , "Du" . A first large overall exhibition of his "Ballnächte" pictures took place in 1969 in Munich. In 1951, Tuggener founded the College of Swiss Photographers with Werner Bischof , Walter Läubli , Gotthard Schuh and Paul Senn .

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The "picture poet" Tuggener is regarded as a representative of social documentary photography , one of the most important areas of photographic art. For him, people, truth and the concern for social justice were at the center of his work. His work is characterized by the interplay of the artistic media painting , photography and film with the three main themes of work in the factory , life in the country and glamorous balls in splendid hotels . He created expressionist photography and knew how to assemble radical excerpts and dynamic perspectives into film-like image series. Like a moving camera, he captured the “pulse of life” and condensed fleeting moments into a poetic overall view.

In 1950 Tuggener wrote: The expressionist photographer does not exist in the commercial register. He is the freest and most free. Detached from all purpose, he only photographs the pleasure of his experience.

His archive is in the Swiss Photo Foundation in the Photo Center in Winterthur .

Exhibitions

  • Strauhof, Zurich. 1954
  • State Museum of Applied Arts, Munich: Fine festivals . 1969
  • Helmhaus, Zurich: Photographs 1930 to today . 1974
  • Kunsthaus Zürich : photographs . February 4 - April 9, 2000
  • Laurence Miller Gallery, New York, USA: Important Photographs from a Private Swiss Collection. November 4 - December 24, 2004
  • Museum Folkwang , Essen in the Photographic Cabinet: Ball nights. April 16 - June 19, 2005
  • Swiss Photo Foundation , Winterthur / Switzerland: ball nights. November 27 - February 20, 2005
  • Museum Hermesvilla , Vienna: Ball nights. December 8 - March 12, 2006
  • Pavillon Populaire, Montpellier: Factory: une épopée industrial 1933 - 1953. July 1 - October 18, 2015
  • Fondazione MAST, Bologna: Factory 1933-1953 / Nuits de Bal 1934-1950 . January 27th - April 17th, 2016
  • Swiss Photo Foundation, Winterthur / Switzerland: Machine time . October 21, 2017 - January 28, 2018

Publications

  • Photographs . Kunsthaus Zurich. Jakob Tuggener Foundation, 2000.
  • Ballnights 1934–1950. Scalo Verlag, 2005.
  • Factory . Reprint of the original edition from 1943. Steidl, 2012.
  • Photo reports: Jakob Tuggener . In: Living Industry. Look at the corporate archive of Georg Fischer AG , Here and Now, Baden 2018, ISBN 978-3-03919-427-8 , pages 158-185

Web links

Individual evidence

  1. ^ S. Kuhfuss-Wickenheiser: The Reimann School in Berlin and London 1902–1943. A Jewish company for art and design education of international character up to the destruction by the Hitler regime. Aachen 2009, ISBN 978-3-86858-475-2 , pp. 305 f., 574.
  2. Color and Form , Berlin 1931, p. 185.