When it comes to describing its scenery, Switzerland presents a singular and somehow ambivalent context. With a total of nearly one thousand, the country ranks among nations with the most museums per capita. Taking into account the size of its territory, it might also vie for the highest density of cultural institutions in the world. These assets reflect the diversity of the country and, above all, illustrate the ‘federative’ credo enabling regions, namely the cantons, to develop their own cultural legacies. Besides Zurich, which remains an uncontested magnet, Switzerland plays host to an abundance of institutions that have few dealings with one another. Indeed, they often operate in relative isolation. Since their programming relies mostly on the choices or reputation of a certain director or curatorial team, it is common to have significant shows in unprecedented locations. For example a museum near so-called Swiss Siberia in the Jura Mountains, the Musée of Fine Arts in Le Locle, is soon to host an important exhibition of Japanese artist Hiroshi Sugimoto. In many Western countries, provincialism is a term commonly applied to the cultural desert of non–metropolitan areas. In regards to this removed cultural sphere, the notion expresses a contrasting reality when it comes to the Helvetic context. Substantial private and public funding, autonomous structures and international standards: these are the characteristics that best define provincialism in Switzerland.

Basel and Lausanne provide two distinct illustrations of this situation in the field of photography. Thanks to its art fair and other related events, Basel has become a landmark for contemporary art. It is no surprise that its predominance has a huge impact on the cultural life of the canton. However, despite numerous museums and collections that have emerged as a result of the fair’s success, the city does not offer an art institution specifically dedicated to photography. Attention to photography at Art Basel is mostly restricted to the work of heavyweights like Andreas Gursky or Cindy Sherman. But things are changing. The first solo show of Wolfgang Tillmans planned for next year at the Fondation Beyeler is a key indicator. This will be the first time the foundation dedicates a show to a photographer and it is no coincidence that it takes place during Art Basel.

Launched in 2015, Photo Basel reflects the current photography zeitgeist and the event’s website clearly indicates this shift: ‘If you are interested in art, you have to visit Art Basel, if you are interested in photography, you have to be at Photo Basel. Such superlatives make the place of photography in Basel seem almost inextricable from the global imperatives of the art world, but this alignment could present difficulties when it comes to finding exhibitors. Major photography galleries would no doubt be seeking to be part of Art Basel as the future of photography in the city depends heavily on the contemporary art market.

The region of Lausanne presents another configuration. The Musée de l’Elysée, for instance, is a government-supported institution launched in 1985. It has recently held a string of stimulating exhibitions. Nevertheless, the new curatorial team has brought a conservative shift, with more emphasis being placed on the museum’s collection. Together with the Cantonal Museum of Fine Art (MCBA), and the Museum of Contemporary Design and Applied Arts (MUDAC), theMusée de l’Elysée will move into a new space next to Lausanne train station. Plateforme10 aims to become the new cultural hub of the ‘Arc lémanique’, the region on the north shore of the lake that stretches out from Geneva to Lausanne and Montreux. Festival Images in Vevey, a city situated twenty kilometers from Lausanne where Nestlé has its headquarters, plays an important role in the promotion of contemporary photography in the Lake Geneva area. Thanks to a rich programme of events bringing together established artists and local talents, there is an informal extension of the two influential photography schools: the Centre d’enseignement professionnel de Vevey (CEPV), founded in 1945, and ÉCAL in Lausanne, the latter of which is about to launch the first Masters programme dedicated to photography in Switzerland.

When it comes to photography, the students of these schools will without doubt be the biggest assets to the region, which should seek to provide young photographers with opportunities to make the most of their talents, while taking care to avoid the loopholes of provincialism.