Iren Stehli
What brought you to Prague in the 1970s? Why did you stay here and begin taking photographs?
After completing my school leaving exams in Zurich, I didn’t know what I wanted to do. So my parents sent me to then Czechoslovakia to study Czech for foreigners at the Charles University: so I could improve my grammar skills. My mother was in fact Czech and had emigrated to Switzerland in 1948, because she had married a Swiss man. In 1949 she went home for the last time and then they closed the borders. I first made my way to Prague in 1963 as a ten-year-old girl. I met my greatgrandparents. I was glad to see them and at that time I liked everything: it all seemed miraculous to me. I remember how my teacher in Switzerland asked if I had seen a Communist and commented on how life in Czechoslovakia had to be terrible. I told him no. But then again children don’t realise these things. I asked my mom about everything and she began to explain a lot to me. The second “miracle“ occurred in the 1970s, when I travelled from Switzerland to Prague: everything was new and special to me – and colourful in its own way. I took a liking to the Czech language. People seemed kind and friendly to me. Students of many nationalities, for example Mongolian, lived in the student dorm, Windmill (Větrník). I liked that a lot too.
I was more or less in a permanent state of amazement – at everything. I loved the tram. I would sit in it and watch the world pass by – surprised by the novelty of these experiences. I went regularly to the Koruna Buffet and the Rybárna on Wenceslas Square (neither exists today). Their differentness from everything that I had known up until that time fascinated me. And on the Charles Bridge
I fell in love …
#13 Family
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Content
- ––– Profiles
- Tammy Rae Carland
- Yuri Manríque Figueroa
- Justine Kurland
- ––– Theory
- Amateur family photos in the corners of the mind
- ––– Events
- Transphotographiques Lille 2009
- Les Rencontres d'Arles 2009
- Photo zero-nine (Krakow Month of Photography and other festivals in Poland)
- ––– Reviews
- Jindřich Toman: Photo/montage through printing
- Marie Šechtlová - The Sixties
- Štěpán Grygar
- ––– Action
- Mothers and fathers
- ––– Portfolios
- Iren Stehli
- Seiichi Furuya
- Michal Kalhous
- Simon Roberts
- Dagmar Hochová
- ––– Tendencies
- Anna Leppälä
- Petra Steinerová
- Klára Žitňanská
- Silvie Kolevová
- Peter Fabo
- Tereza Janečková & Pavlína Míčová
- Jarmila Uhlíková
Archive
- #45 hypertension
- #44 empathy
- #43 collecting
- #42 food
- #41 postdigital photography
- #40 earthlings
- #39 delight, pain
- #38 death, when you think about it
- #37 uneven ground
- #36 new utopias
- #35 living with humans
- #34 archaeology of euphoria
- #33 investigation
- #32 Non-work
- #31 Body
- #30 Eye In The Sky
- #29 Contemplation
- #28 Cultura / Natura
- #27 Cars
- #26 Documentary Strategies
- #25 Popular Music
- #24 Seeing Is Believing
- #23 Artificial Worlds
- #22 Image and Text
- #21 On Photography
- #20 Public Art
- #19 Film
- #18 80'
- #17 Amateur Photography
- #16 Photography and Painting
- #15 Prague
- #14 Commerce
- #13 Family
- #12 Reconstruction
- #11 Performance
- #10 Eroticon
- #9 Architecture
- #8 Landscape
- #7 New Staged Photography
- #6 The Recycle Image
- #5 Borders Of Documentary
- #4 Intimacy
- #3 Transforming Of Symbol
- #2 Collective Authorship
- #1 Face