low-country: Beat Streuli - Bruxelles 05/06 II, 74_7821 (2006) Streuli’s Brussels series was mostly shot in the neighbourhood around his home in the centre of the city, which is largely populated by immigrants and diverse ethnic groups, many of whom he has photographed. While the business of representing the ‘other’ can be a tricky and sensitive issue, Streuli’s approach is refreshingly non judgmental, and unpretentious despite being decidedly voyeuristic. He is interested in all people – regardless of the colour of their skin – and in the surface of things, the ‘skin’ of humanity, not in the politics of representation. The people in his photos are not chosen because they embody a particular social or political reality, but because they are there; there to be looked at, to be observed. In fact, all of his work is as much about what the artist calls ‘the insisting act of seeing’ – in life as in photography - as it is about the people portrayed. (site)

low-country:

Beat Streuli - Bruxelles 05/06 II, 74_7821 (2006)

Streuli’s Brussels series was mostly shot in the neighbourhood around his home in the centre of the city, which is largely populated by immigrants and diverse ethnic groups, many of whom he has photographed. While the business of representing the ‘other’ can be a tricky and sensitive issue, Streuli’s approach is refreshingly non judgmental, and unpretentious despite being decidedly voyeuristic. He is interested in all people – regardless of the colour of their skin – and in the surface of things, the ‘skin’ of humanity, not in the politics of representation. The people in his photos are not chosen because they embody a particular social or political reality, but because they are there; there to be looked at, to be observed. In fact, all of his work is as much about what the artist calls ‘the insisting act of seeing’ – in life as in photography - as it is about the people portrayed.

(site)