{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O93898"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O93898/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2006AF4452/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2006AF4452/","_alt_iiif_image":[],"imageResolution":"low","_images_meta":[{"assetRef":"2006AF4452","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":null},"record":{"systemNumber":"O93898","accessionNumber":"PH.7136-1987","objectType":"Photograph","titles":[{"title":"A few days in Geneva","type":"series title"}],"summaryDescription":"Mari Mahr was born in Santiago, Chile, brought up in Budapest, where she worked as a photojournalist, and then settled in London. She had become dissatisfied with documentary, finding it misleading. Mahr began a new photographic career, making tableaux based on  the lives  of Georgia O’Keeffe and Lili Brik. Another series was set in ancient China. This one is based on a visit to Geneva to see friends. Mahr took photographs from the cathedral tower and later acquired sheet-music of a melody which kept coming into her mind during the visit - Chopin’s La Grande Polonaise Brillante. With these ingredient and her characteristically light touch, Mahr transformed a few objects in a corner of her studio into a few days elsewhere.","physicalDescription":"Photograph of a torn off strip of sheet music with number notations. It is placed on top of an image of the windows and roofs of buildings.","artistMakerPerson":[{"name":{"text":"Mahr","id":"A10299"},"association":{"text":"photographer","id":"AAT25687"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"photographic gelatin","id":"AAT183863"},{"text":"silver halide","id":"AAT130942"},{"text":"photographic paper","id":"AAT14190"}],"techniques":[{"text":"gelatin silver process","id":"AAT139114"}],"materialsAndTechniques":"Gelatin-silver print","categories":[{"text":"Photographs","id":"THES48910"}],"styles":[{"text":"contemporary","id":"x31258"}],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2006AF4452"],"imageResolution":"low","galleryLocations":[{"current":{"text":"A","id":"THES304256"},"free":"","case":"","shelf":"","box":""}],"partTypes":[[{"text":"photograph","id":"AAT46300"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Geneva","id":"x32975"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"1985","earliest":"1985-01-01","latest":"1985-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"Copyright Mari Mahr","dimensions":[{"dimension":"Height","value":"50.5","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"75","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"'Most of Mahr's work is done at home in the corner of a studio. Here the still lives are assembled by putting real objects in front of photographic backgrounds. There is a danger in this kind of work of producing gimmicky photographs but Mahr does not fall into this trap. The images seem natural and the viewer soon gets used to the distortions in scale, so much so that the pictures seem real. The creation of atmospheres and experience, of events and feelings beyond the photograph, is a hallmark of her work; the pictures create a setting for the viewer's imagination.' Eamonn McCabe","historicalContext":"","briefDescription":"Photograph from the series 'A Few Days in Geneva', by Mari Mahr, 1985","bibliographicReferences":[],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[{"text":"'Most of Mahr's work is done at home in the corner of a studio. Here the still lives are assembled by putting real objects in front of photographic backgrounds. There is a danger in this kind of work of producing gimmicky photographs but Mahr does not fall into this trap. The images seem natural and the viewer soon gets used to the distortions in scale, so much so that the pictures seem real. The creation of atmospheres and experience, of events and feelings beyond the photograph, is a hallmark of her work; the pictures create a setting for the viewer's imagination.' Eamonn McCabe","date":{"text":"","earliest":null,"latest":null}}],"partNumbers":["PH.7136-1987"],"accessionNumberNum":"7136","accessionNumberPrefix":"PH","accessionYear":1987,"otherNumbers":[],"copyNumber":"From a series of ten photographs","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2026-02-06","recordCreationDate":"2004-02-25","availableToBook":true}}