Reconstructing iconic images in 3D

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Terror attack on the World Trade Center in New York — "Making of 9/11“ (by Tom Kaminski, 2001), 2013. Jojakim Cortis & Adrian Sonderegger

Spanish Civil War — Making of “Death of a Loyalist Militiaman, Córdoba Front, Spa" (by Robert Capa, 1936), 2016. Jojakim Cortis & Adrian Sonderegger

The decisive moment - Making of "Derrière la Gare de Saint-Lazare“ (by Henri Cartier-Bresson, 1932), 2016. Jojakim Cortis & Adrian Sonderegger

Moon landing — Making of "AS11-40-5878“ (by Edwin Aldrin, 1969), 2014. Jojakim Cortis & Adrian Sonderegger

Making-of "Last Photo of the Titanic Afloat“ (by Francis Browne, 1912), 2014. Jojakim Cortis & Adrian Sonderegger

Man stands before a column of tanks on June 5, 1989, as part of the Tiananmen Square protests in Beijing, China — Making of "Tian’anmen“ (by Stuart Franklin, 1989), 2013. Jojakim Cortis & Adrian Sonderegger

Concorde plane crash in Paris — Making-of "Concorde“ (by Toshihiko Sato, 2000), 2013. Jojakim Cortis & Adrian Sonderegger

Tsunami in the Indian Ocean — Making of "Tsunami“ (by unknown tourist, 2004), 2015. Jojakim Cortis & Adrian Sonderegger

The world's first photograph — Making of "La Cour du Dumaine du Gras“ (by Joseph Nicéphore Niépce, 1826), 2013. Cortis & Sonderegger

Cover of the the "London Calling" album by the British rock group The Clash — Setting of "Paul Simonon at the New York Palladium” (by Pennie Smith, 1979), 2016. Cortis & Sonderegger

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Is it possible to recreate an iconic photograph as a 3D model? That is the concept behind the “Double Take” project by Zurich-based artists Adrian Sonderegger and Jojakim Cortis.

The World Trade Center’s twin towers terrorist plane crash, Tian’anmen Square, Abu Ghraib, or Marilyn Monroe in a white dress standing over a subway grate – all these iconic images are engraved in our minds, whether we like them or not.

The Swiss artist duo Cortis & Sonderegger have re-produced these and other iconic photographs in their studio as detailed three-dimensional models. The mind-bending effect is like looking at the original photograph.

Each model is meticulously built using glue, scissors, tweezers, cardboard, sand, lamps, tripods, cotton wool and plaster. But each time the visual illusion is shattered by the inclusion of the studio and articles used to build the scene.

The “Double Take” exhibition, currently at the Fotostiftung WinterthurExternal link near Zurich until September 9, is an intelligent and entertaining exploration of how we perceive and understand photography. The exhibition can also be read as a visual commentary on our ‘post-factual’ age.

Translated from German by Simon Bradley