CLACK!
Work Series / 2004 - 2010  
The images were presented in both a group and a solo exhibition titled Verso Sud, in collaboration with Gallery Max Bollag, and were also shown in the southern part of Switzerland. The Clack! images shown below were meticulously printed on A6 baryta paper, each in a limited edition of 25. The works and exhibitions were featured on the blog of Tina Roth Eisenberg, founder of swissmiss.com, as well as in an article in the German-language newspaper Tessiner Zeitung.

The invention of Bakelite cameras in the mid-1930s marked a significant shift in photography, making image-making accessible to a wider public. In the late post-war period, alongside economic recovery and the rise of mass tourism, millions of these small, easy-to-use cameras were sold. Photographs became a form of proof, visual evidence of travel experiences to be shared with those back home.

In post-war Europe, as societies emerged from the devastation of the war, there was a growing desire to escape everyday life and explore beyond familiar surroundings. The 1950s were still marked by modest travel—trips to nearby regions, often under simple conditions. However, with the economic boom of the 1960s, increasing prosperity, labour reforms, and the introduction of the five-day workweek, travel became more accessible and gradually evolved into a marker of aspiration and social status.

Southern Europe, with its sunlit landscapes and cultural imagery, became a primary destination for Northern Europeans. What had once been distant and unattainable now became part of a shared visual culture. Travel photography played a central role in this shift, with images serving both as personal memory and as a means of communication. Slide evenings at home became collective rituals of sharing and reliving these journeys. 

The series Clack! revisits this cultural moment from a contemporary perspective, opening up a field of narratives that translate historical practices of image-making into an artistic context. The project began in 2004 with several old Bakelite cameras from the 1950s and 60s and evolved through numerous technical experiments over six years, ultimately resulting in a body of images captured across Southern Europe and the Mediterranean Sea, and concluding in 2010 with two exhibitions.  
 References

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Bates, M. (2010) Plastic cameras: Toying with creativity. Oxford: Focal Press.
Agfa (c.1950s–1960s) Product literature and user manuals for the Agfa Clack camera. Leverkusen: Agfa-Gevaert.
Sparke, P. (1986) Design for the masses. London: Studio Vista.
Urry, J. (1990) The tourist gaze: Leisure and travel in contemporary societies. London: Sage.
Rojek, C. and Urry, J. (eds.) (1997) Touring cultures: Transformations of travel and theory. London: Routledge.
Shaw, G. and Williams, A.M. (2004) Tourism and tourism spaces. London: Sage.
Benjamin, W. (2008) The work of art in the age of mechanical reproduction. London: Penguin.
Sontag, S. (1977) On photography. New York: Farrar, Straus and Giroux.
Barthes, R. (1980) Camera lucida: Reflections on photography. London: Vintage.
Spence, J. and Holland, P. (1991) Family snaps: The meaning of domestic photography. London: Virago.
Ott, K., Tucker, J. and Buckler, P.B. (eds.) (2006) The scrapbooks of American life. Philadelphia: Temple University Press.
Edwards, E. and Hart, J. (eds.) (2004) Photographs objects histories: On the materiality of images. London: Routledge.
Kuhn, A. (2002) Family secrets: Acts of memory and imagination. London: Verso.
Selection of Clack!
Postcard from Camping spot in Rimini, 1959