Wohin geht all das Weiss, wenn der Schnee schmilzt ?, 2014

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Glacier, 2013-2014

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Ruinaulta, 2011-2012

The series Ruinaulta, taken during the winter of 2011-2012, is a more radical version of Surselva. The landscapes, which are muted miniatures taken with a Polaroid in an austere valley hemmed in by the steep hills of the Anterior Rhine, no longer dialogue with the frozen remains of daily life but with four faces. These are the fragments of portraits of the members of a single family who are now dead.

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Surselva, 2009-2011

Ester Vonplon decided in 2009 to turn her attention to the Swiss region of Surselva where a part of her family still lives. The series alternates between mountainous landscapes, exterior views of chalets in ruins and interiors strangely preserved. According to Simon Maurer, “What Ester Vonplon presents is no picture-postcard Switzerland. It is a Switzerland that even the Swiss themselves are unfamiliar with, or perhaps just prefer to ignore.”

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Und in der Nähe die See, 2009

Taken in a few days in the company of the photographer Roger Eberhard, the series differs from the rest of Ester Vonplon’s work which usually focuses on the duration of time and solitary wanderings. The pictures, which the two artists often made, using expired Polaroid film, produce the effect of a dark, silent road movie shot along the Polish coastline.

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Wenn das Wetter nicht mehr kaputt ist, werden wir spazieren gehen, 2007-2009

The artist’s journeys took her to the village of Rahovec/Orahovac, where she shared the day-to-day life of a Rom family in this Serbian enclave in Kosovo. Ester Vonplon started off by responding to the Gashi family's request for souvenir photos before photographing for herself in constant interaction with the family.

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Es gibt nicht mehr Sonne, 2007-2009

The series confirms the relevance of photography practised in a spontaneous and playful way made possible by the relationship Ester Vonplon built with a Rom family during her regular visits to their village in Kosovo. Because of her decision to share these images immediately, Ester Vonplon also decided to use a Polaroid camera.

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Cudesch da visitas, 2006-2007

Ester Vonplon used photography as a companion during her solitary peregrinations and put her pictures in a "guest book" – in Romanch, cudesch da visitas. Perpetually in transit, she sees travel as a form of isolation, as the many shots from the windows of trains and buses demonstrate.

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