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Raphael Dallaporta

Geneva, Switzerland (GenevaLunch) – Raphaël Dallaporta’s landmines are things of great beauty: small, perfectly designed for the job they are meant to perform, fine colours and shapes. Elegantly photographed, simply framed, starkly displayed, they are at first sight remarkable for their esthetic value. View five and wonder at the art, view two more and shivers start to go down your spine as the realization sinks in that they have one purpose: sheer cruelty.

Dallaporta’s images are part of an effort by Switzerland and Geneva to use art and theatre to draw public attention to the deadly damage caused by landmines and cluster bombs.

The cultural approach to building awareness is linked to two major international political events. The first was the ninth annual meeting of states that are signatory parties to the Ottawa Convention, which took place 24-29 November 2008 in Geneva. The second is the signing in Oslo, Norway 3 December of the Convention on Cluster Munitions.

Geneva, as host of last week’s meeting, worked with the Geneva gallery Imaginaid to organize a series of three events: “Mines de rien,” 20 evocative pictograms by Exa Concept of Geneva that were on display in the city centre during the Ottawa Convention meeting, a specially-choreographed dance programme for the end of the five-day meeting, called “Censures,” by Foofwa d’Imobilité, and the extraordinary photo exhibit on landmines by Raphaël Dallaporta at Imaginaid’s gallery in Geneva.

Dallaporta’s show continues to 30 January, giving Genevans time to view this display that makes the simplicity and perfection of landmines all the more chilling for their beauty. The name 1:1, or one on one, sinks in gradually, for landmines are small and innocent-looking, and the photos capture this in part because their real size makes them appear harmless, in part because the photographer has taken a neutral stance on them.

The labels also have a strong impact that affects the viewer gradually, for it slowly becomes apparent that many, many countries manufacture them.

“The US is the country that does the most to remove landmines,” says the young photographer, noting the source of one of them. “But the US is also a big manufacturer of them. Imagine a cigarette manufacturer being praised for making nicotine patches.”

The mines were all photographed in France, where he makes his living as a commercial photographer. They come from the archived international collection of the French army. France was one of the first countries to  destroy its own stocks when it signed the Ottawa Convention on Landmines.

Dallaporta’s own interest in mines grew out of a meeting with a deminer he met when he was traveling. The man described his work and the photographer found he wanted to know more. “These are very special people,” he says. “Charismatic.”

Ed. note: click on images to view larger.

“Antipersonnel 1:1,” to 31 January 2009 at Imaginaid Galerie, Serge Macia
28, Rue des Grottes / 1201 Genève, Suisse
T/F +41 22 734 1964 / M +41 79 332 3843
E sergemacia@imaginaid.org
Hours: 14h-19h
Wed – Sat 14:00-19:00

Related story: “Switzerland signs cluster bombs ban Wednesday,” 01 December 2008, GenevaLunch