| | | | | | | | RaMell Ross
Man (which is his nickname), 2019
from the series South County, AL (a Hale County), 2012-present
© RaMell Ross | | | | | CURRENCY: PHOTOGRAPHY BEYOND CAPTURE | | | | 8th Triennal of Photography Hamburg 2022 | | | | | | | ... until 18 September 2022 | | | | | | | | | | | | | | | | Claudia Andujar
Casulo humano (ritt mortuário)
from the series Human Cocoon. Mortuary Rite from the Houses series, 1976
© Courtesy Gelria Vermelho | | | | | | | The exhibition CURRENCY: PHOTOGRAPHY BEYOND CAPTURE at Deichtorhallen Hamburg explores conceptual engagements with photography in the "retinal age". In our accelerated era of circulation and instrumentation, images not only act as records of events and imprints of experience but also fundamentally shape acts of seeing and being seen. Approaching photographs as contextual frames for narrative invention, the exhibition critically considers how knowledge has been sought through the photographic apparatus over the course of its history and reimagined by artists and photographers through conceptual and poetic approaches to the medium. CURRENCY looks at how these practitioners have challenged the meaning and value of photographic images and investigated the extended lives, temporalities, and materialities of image cultures beyond the moment of capture. | | | | | | | | | Akinbode Akinbiyi
From the series Lagos: All Roads Lagos, Victoria Island, 2006 © Akinbode Akinbiyi | | | | | | | The exhibition weaves experimental modes of appearance, multisensory evocation, and archival and documentary practice as novel possibilities and vocabularies for seeing and interpreting. In staging works by twenty-nine artists and photographers, the exhibition draws connections across geographies and eras, tracing intergenerational and transnational affinities through several motifs: the deconstruction and transformation of photographic canons; countermapping in the Anthropocene across landscapes of extractive capitalism, military occupation, and appropriation; tenderness as a relational framework for photography; and material explorations into the medium’s alchemical processes. These motifs structure CURRENCY and offer through lines across a range of perspectives. | | |
| | | | | | | | | | | | | | Christoph Irrgang
From the series: Behind the Scenes, 2022
© Christoph Irrgang | | | | | BEHIND THE SCENES | | | | 8th Triennal of Photography Hamburg 2022 | | | | | | | ... until 14 August 2022 | | | | | | | | | | | | | | | | | | Christoph Irrgang
From the series: Behind the Scenes, 2022
© Christoph Irrgang | | | | | | The two-part exhibition BEHIND THE SCENES in the PHOXXI, the Temporary House of Photography at the Deichtorhallen Hamburg, revolves around processes of exchange and change confronting the institution's photography collection.
The photographer, businessman, and collector F.C. Gundlach (1926–2021) never thought of collecting solely as an investment, and instead primarily pursued his passion for and commitment to supporting photography. Nonetheless, the private F.C. Gundlach Collection, with its great cultural value, is a powerful cultural "currency" that led to the establishment of the House of Photography in the southern hall of the Deichtorhallen in 2003.
The focus of this exhibition, conceived by Sabine Schnakenberg, is the relocation of the F.C. Gundlach Collection, which became necessary due to the extensive three-year renovation of the building. The Hamburg-based photographer Christoph Irrgang, who previously conducted detailed on-site research on the French Impressionists for the Museum Barberini in Potsdam and ultimately juxtaposed Monet’s landscape paintings with current views of the same places, understands the relocation of the F.C. Gundlach Collection as an artistic challenge, which he documents in photography both matter-of-factly and poetically. While he is fascinated by the non-public and very intimate work situation in the storage areas, he uses conceptual opposites such as light/dark and interior/exterior to depict visible details of the work with the collection as well as those that remain hidden from view. | | | | | | | | | Denis Brudna
From the series: Paris Photo
(Here in the picture: F.C. Gundlach)
© Denis Brudna | | | | | | Irrgang’s analytical photographic work is complemented by a cooperation with the Hamburg-based photography magazine Photonews. The atmosphere and international flair of Paris Photo—since 1997 the world’s largest photography fair featuring international galleries, publishers, and prominent figures—is regularly photographed by Photonews editors Anna Gripp and Denis Brudna. The international fair, which takes place every November in the Grand Palais with some 200 participating galleries and publishers, has long since attained the status of a powerful “stock exchange” for photography. For the collector F.C. Gundlach, Paris Photo was an annual event of supreme importance: there he met other collectors, friends, gallerists, and artists, maintained contacts, made new connections, and purchased photographic artworks.
While Irrgang’s color and black-and-white photographs offer detailed insights into the microcosm of a private collection, in videos and numerous photographs from Paris Photo, Denis Brudna and Anna Gripp reveal an exciting and atmospherically concentrated view of the pulsating activity at the international event under the glass dome of the Grand Palais.
Curated by Dr. Sabine Schnakenberg (curator of the F.C. Gundlach Collection) | | | | | | | | | Christoph Irrgang
From the series: Behind the Scenes, 2022
© Christoph Irrgang | | | | | | | | | Denis Brudna
From the series: Paris Photo
(Here in the picture: Karl Lagerfeld)
© Denis Brudna | | | | | | unsubscribe here
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© 15 May 2022 photo-index UG (haftungsbeschränkt)
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