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In the context of the World Economic Forum (WEF), an absurd
practice has emerged in Davos over the last few years: for the
short time of the event, the main street is almost entirely
rebuilt. Thus, a pop-up industry has grown up that generates an
enormous short-term demand for reusable spaces, blank walls and
empty rooms. The street scene of the alpine city is altered in
favor of the self-representation of companies, corporations and
organizations. The existing infrastructure is transformed, at
horrendous prices, into a space of communication for the respective
agenda. In his most recent series Davos Is a Verb, the Swiss photo
artist Jules Spinatsch focuses on something that is typical of
events around the world: the temporary appropriation of local
spaces and infrastructures by major international corporations. In
view of the debates over the WEF's future, this photobook gains its
relevance and presents itself as a contemporary witness of the WEF
in Davos. By using photo-essayistic, conceptual and investigative
artistic strategies, Spinatsch documents the aesthetics and actions
of the financial, technological and new media industries as well as
the various political agents. The British ecological economist Tim
Jackson, known for his critical attitude towards growth, comments
on the hegemonic practices in Davos and the world in an extensive
essay.
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