The exhibition features two series of works by Swiss artist Andreas Seibert, who, after living and working in Tokyo for 16 years, has been living and working in Switzerland again since 2013.

The first series, *Floodplain Forest* (2016–2017), was photographed using black-and-white analog film and depicts a self-sustaining floodplain forest: an immersion into the tangle of branches and leaves, where the gaze becomes physical and tactile. Like Dante’s dark forest, this forest is a place of bewilderment and, at the same time, of revelation—a living entity that envelops the observer, as if it were a sensitive substance with which to attune oneself.

The images in the second series, *Vergegenwärtigung aller Zeiten* (2018–present), were taken from a great height. From a distance, the landscapes appear almost abstract. Only gradually do they become recognizable as spaces shaped by human hands. Roads, ditches, oil pipelines, fields, and reservoirs no longer appear as mere acts of appropriation within an unspoiled natural environment. They themselves have become part of its morphology—inscriptions of economic, technical, and political processes on the Earth’s surface.

Every landscape is a process unfolding in slow motion. It is never simply what it depicts, but rather the visible result of countless overlapping forces. Geology, water, vegetation, climate, human labor, and political decisions are all elements inscribed within it.

Some changes occur within a few years; others so slowly that they escape our perception. Both works revolve around the same question: How is time inscribed in the world? Not as memory. Not as history. But as a form we call landscape.

The exhibition thus presents two radically different forms of observation: the immersive, close-up view and the detached, abstract view from a great height. Here, photography becomes visual speculation and is no longer simply a document. Between these two poles, Seibert poses a question to the visitor about their own position in the world: are we still within the landscape, or have we already stepped outside of it?


Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.