Yannick Mosimann

Mike and Jeanne get to know each other, meet family and friends, touch each other, sleep together, go on holiday together, celebrate birthdays and say "I love you". What complicates things between them: their relationship is based on a contract of 14 clauses that are supposed to define all areas of being together. A small video camera is their constant companion.

In July 2022, a forest fire broke out on Monte Gambarogno in Ticino, Switzerland. Wound Edges is my emotional response to this landscape, filmed on 16mm and hand-developed with the forest’s ashes. Each frame carries physical traces of the land’s memory, blending destruction with resilience. The soundscape—field recordings, burned wood, contact microphones on trees, and the presence of fire—echoes the forest’s wounds. A reflection on human impact, impermanence, and the haunting beauty of transformation.

Borametz—half plant, half animal—a hybrid of the incurable vegetable lamb, firmly rooted to the ground as a four-legged plant, complaining about nature—what does it want to tell us, standing there in the drizzling rain, inconsolable and indignant, as it speaks for the last time?

A postmodern Swiss-Tyrolean ensemble ventures into remote mountainous regions, embracing the sonorous variety of local vernaculars. A poetic road movie with stunning shots and an emphatic approach to a new alpine aesthetics.

"Our Ears Are In Excellent Condition" is a live concert film with a focus on the experience of listening.

In SUNSPOTS, several 16mm shots of the sun are layered and superimposed, paired with a soundscape consisting of volcanos, fire, plastic and the audible solar sounds recorded by the Solar and Heliospheric Observatory (SOHO).

Mike and Jeanne get to know each other, meet family and friends, touch each other, sleep together, go on holiday together, celebrate birthdays and say "I love you". What complicates things between them: their relationship is based on a contract of 14 clauses that are supposed to define all areas of being together. A small video camera is their constant companion.

In July 2022, a forest fire broke out on Monte Gambarogno in Ticino, Switzerland. Wound Edges is my emotional response to this landscape, filmed on 16mm and hand-developed with the forest’s ashes. Each frame carries physical traces of the land’s memory, blending destruction with resilience. The soundscape—field recordings, burned wood, contact microphones on trees, and the presence of fire—echoes the forest’s wounds. A reflection on human impact, impermanence, and the haunting beauty of transformation.

Borametz—half plant, half animal—a hybrid of the incurable vegetable lamb, firmly rooted to the ground as a four-legged plant, complaining about nature—what does it want to tell us, standing there in the drizzling rain, inconsolable and indignant, as it speaks for the last time?

A postmodern Swiss-Tyrolean ensemble ventures into remote mountainous regions, embracing the sonorous variety of local vernaculars. A poetic road movie with stunning shots and an emphatic approach to a new alpine aesthetics.

"Our Ears Are In Excellent Condition" is a live concert film with a focus on the experience of listening.

In SUNSPOTS, several 16mm shots of the sun are layered and superimposed, paired with a soundscape consisting of volcanos, fire, plastic and the audible solar sounds recorded by the Solar and Heliospheric Observatory (SOHO).

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A contemplative and musical journey which takes us along the Rhine and through the Alsatian countryside.

The „Haelgung“ films are charmingly impressionistic diary entries, crafted as mini homages to my closest friends, captured with a delightful lack of planning or structure and edited in camera.

"Four Roses" is a film-performance hybrid in which Giulin Stäubli portrays several characters who are all visitors to a nightclub.

The „Haelgung“ films are charmingly impressionistic diary entries, crafted as mini homages to my closest friends, captured with a delightful lack of planning or structure and edited in camera.

Hand-processed, in-camera edited 16 mm footage of a desolated Italian beach meets four poems by Jeannette Hunziker, evoking loss, memory, and the unsettling stillness of a space caught between land and sea.

“Here are some Images” is an short film exploring the interplay between internal and external images, using hand-processed 16mm footage and musings on perception and memory.

A recurring drone changes and reshapes the land and sea.

In "Mitzukos Dream" you watch sleeping people, each filmed for one night with a willdlife camera that reacts to movement. So only the active parts of sleep were captured on film - the moments when we dream?

A ferry drifts along the Weser. Slow 16mm images of boats, railings, industrial shores, and cranes—scarred and clouded by the river itself, hand-processed with its water, marked by sediment and rust—dissolve into Annina Mossoni’s text: some people want the world on a string.

A flickering diary of time, memory, and erosion, «Things Many Eyes Have Seen» unfolds over a month on an island. Hand-processed in salty seawater, its 16mm images dissolve and transform. The landscape flashes by in broken frames of light and shadow, as if the world itself was stuttering between memory and motion. A meditation on seeing and being seen, the film lingers like a fading dream, where observer and landscape blur into one.

The defective 16mm footage in Yannick Mosimann's "Nature.Meadow.Sky.Long Shot" gives rise to eerie, abstracted images, while descriptions of those images through voiceover and onscreen text create a potent gap between what we are watching and what we’re being told is there.

the ground is bleeding light is the title of an ongoing series of cinematic diaries that emerge from an intuitive process of observation and movement. Each film follows a different long-forgotten path, one of many ancient roads and crossroads that once formed a network connecting human settlements and still function today as invisible signposts through the landscape. This work was created between Indemini and Sant'Abbondio. The footage is partly self-referential, showing me and my working process in moments of interaction between body, camera, and terrain, guided by light, weather, and chance. The sound is a composition of collected sounds recorded during the walks, including the voices of a church choir in Indemini. The 16 mm material was hand-processed on site in a hybrid development process using plants, fungi, and water collected at the locations visited. The films become carriers of the landscape itself, living archives of earth, movement, and memory.

The lovingly compiled collection of shells, the life's work of Maria Cândida Consolado Macedo, comes to life in a rhythmic ritual of hand-processed 16mm footage and trancelike sounds of capiz shells.

An audiovisual documentation about an urban recreation area. Slowly the view moves through the forest. Except for some small hints, the visual level creates the feeling of moving in the middle of nature. The difference between sound and image becomes more and more noticeable. The sequences thus comment on the gap between the human idea of nature and the actual, artificial appearance of the forest.

During a 6-hour performance and in a additional Film, REA and Yannick Mosimann dedicate themselves to the stretching of time and space based on observations of different trees. The tree, the mammoth of floral time, seems to be a gnarled, proud and place-bound existence, nevertheless in low-frequency, flowing movement. Breathing is here a symbol of time and rhythm, carrier of tonal frequencies of our vocal cords.

On Lanzarote — an island that is little more than solidified fire — a hand-built lens turns toward black lava fields, ash and mineral light. The 16mm is developed on the island and reworked through double exposure, chemical alterations and contact printing experiments. Beneath the images runs a composition of the filmmaker's own, drawn from lava stones and ceramic flutes. Its title taken from Lorine Niedecker's Lake Superior — "In every part of every living thing is stuff that once was rock / In blood the minerals of the rock" — the film follows that single thought to its conclusion: that flesh, breath and eye are made of the same slow mineral time as the ground beneath them.

It reveals something from the black. A body floats in the void. A body that never appears complete Instead, we feel the darkness, witness how it reassembles him. There is a movement, a tearing away, a surrender.

The filmmaker captures his environment with the camera, fearing he might be losing it more and more. Strict rules about using the entire clip length and its original audio track inform the editing process. The tableaus and their insistence in duration create a pull into an increasingly isolated state of perceiving the outside world in its unspectacular yet strangely unfamiliar intensity.

Hand-edited Lomokino 35mm footage captures scenes from an island, blending shifting textures with guitars and watery drones. A visual and sonic meditation on place and transience.

A shattered mountain is a audiovisual journey through switzerland.

How can the complex narrative of experience be understood as a coherent whole through the collection of states and thoughts? Since 2016, YR has dedicated itself to the ongoing exchange of its creative processes and focuses on the conscious abolition of any type of judgement. YR uses real life experiences and observations as its basic materials – what emerges is a growing collection of inner and outer realities by way of image, sound and text. The artists see themselves as storytellers who observe and question, document and recycle. This continuum can be understood as a sketchbook without a fixed vision. «notes of forms I» is the first audio-visual collection (journal movie) outside their ongoing blog work, in which YR exclusively uses materials from its artistic processes between January and March 2021

the film „mandà in lunga“ follows a journey from Val Poschiavo, a valley in the Italian-speaking part of the Swiss canton of Grisons, up to the highest point of the Morteratsch Glacier, the largest glacier in the Bernina Range. Shot entirely on 16mm film and edited in-camera, the film captures the changing landscapes and atmospheric shifts along the way. The journey is musically accompanied by the organ drones and violin sounds of Laura and Luzius Schuler.