| | | | | | | | | | | | | | | | | | | | | | Photo London 2022 | | | Photo London brings the finest international photography to the British capital every year. The Fair presents the best historic and vintage works while also spotlighting fresh perspectives in photography. Along with a selection of the world’s leading photography dealers and galleries , Photo London’s Discovery section is dedicated to the most exciting emerging galleries and artists. In addition, each edition sees a unique Public Programme including special exhibitions and installations; a Talks Programme curated by William A. Ewing, former Director of the Musée de l’Elysée, and former Director of Exhibitions at the International Center of Photography, New York; and several Awards announced, headlined by the Photo London Master of Photography Award.
VIP Preview Day: Wednesday 11 May 11am-9pm Public days: Thu 12 May 12-9pm; Fri 13 & Sat 14 May 12-7pm; Sun 15 May 12-6.30pm | | | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | Blade of Light for Alexander McQueen, 2004 © Nick Knight | | | | Photo London Exhibitions » | | | This year’s Photo London Master of Photography Nick Knight » presents an exhibition of key works that spans the length and the breadth of his extraordinary career presenting works from the 1980s through to new pieces made this year. Encompassing fashion, portraiture, still life, landscape and the nude — across images manifested as photography, film, painting, porcelain, sculpture and installation — the exhibition is an invitation to consider new ways of looking at the world. Photo London presents a homage to the legendary photographer Frank Horvat » (1928 – 2020) curated by his daughter Fiammetta Horvat as part of this year’s Public Programme. | | | | |
| | | | | | | | | | | | | FLORIDAS BY DAVID CAMPANY AND ANASTASIA SAMOYLOVA
Friday 13 May 2022 | 2:30 pm - 3:30 pm
SOMERSET HOUSE, W17 - THAMES & HUDSON | GROUND FLOOR – WEST WING (C) | | | Photo London | Talks » | Tours »
Book signings »
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| | | | | | | | | | | | | | | | | | | | Nick Brandt
Lineth and Kini, 2022
© Nick Brandt courtesy of Atlas Gallery | | | | | | | | | | | | | | | | | |
BASTIAAN WOUDT
Hyde, 2021
Archival pigment print
© Bastiaan Woudt courtesy of Atlas Gallery |
George Hoyningen-Huene
Divers, Swimwear by Izod (Horst and Lee Miller), 1930
© The George Hoyningen-Huene Estate Archives |
| | | | | | | This year’s presentation focuses on environmental crisis and how our artists are responding to it. We are proud to represent many photographers with insightful works that pivot around the landscape, documenting its changes. Our display allows great exposure to younger artists as well as established ones. Bastiaan Woudt’s images of Himalaya from his series ‘Peak’ interact with the work of Polish photographer Kacper Kowalski, as he flies over frozen territories and explores melting glaciers in his new series ‘Event/Horizon’. A few earlier works by Kowalski consider the impact of industry on the land, echoing a pre-release selection of images from Nick Brandt’s new chapter of ‘The Day May Break’—shot in South America— that focuses on climate change. Choosing a more philosophical approach, Andreas Gefeller explores how natural structures are a metaphor for cultural and technological phenomena of today’s society. While Frauke Eigen searches for symmetry and harmony within nature, Franco Fontana’s eye extracts beauty out of an untouched landscape as much as out of a highway view or design on a road tarmac. A separate section of the booth will showcase fashion prints. A selection of works by George Hoynigen Huene will celebrate the beginning of Atlas’ representation of the Estate. We will also display Arthur Elgort, William Klein and Sam Haskins. | | | | |
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| | | | | | | | | | | | | | Hannah Hughes
Mirror Image #55 (Version II), 2020-22
12.9 x 15.1 cm
Archival pigment printed papers
Unique piece, collage |
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Hannah Hughes
Reverse (Mirror Image #62), 2022
13.9 x 11.3 cm
Archival pigment printed papers
Unique piece, collage |
Hannah Hughes
Mirror Image #37, 2019
19.7 x 12.3 cm
Archival pigment printed papers
Unique piece, collage |
| | | | | | Robert Morat Galerie will present a solo booth dedicated to the work of the British-born artist Hannah Hughes. It will feature works from her Mirror Image series, including around 10 new unique works.
Hannah Hughes is a visual artist working across photography, collage and sculpture. Her work explores the relationship between image, sculpture and language, focusing on the potential of negative space, and the salvaging and re-use of discarded materials. Her research takes root from histories of recycling and archaeology of discarded materials, where value is found on the sidelines. It is in part a response to ‘Femmage’ (a feminist term coined by Miriam Schapiro and Melissa Meyer in the 1970s to describe covert art practices from matter found in the home), reconsidering our relationship to domestic materials today, and how these can be saved and re-configured.
Hughes’s practice involves strategies of fragmentation and reconstruction. Her two-dimensional collages are often described as either flat sculptures or sculptural photographs. The shapes in the collages originate from outside edges and negative areas surrounding figures and objects, which have evolved into an ongoing regenerative alphabet of forms.
She uses materials that invite the memory of everyday touch, such as paper stocks used in glossy magazines, pulp packaging, and clay. This focus on tactility positions the work in relation to the boundaries of the body, and the spaces created where bodies intersect with their surroundings.
She examines edges within the photographic image, capturing movement through internal layers and seams. For example, In her most recent series of C-Type collages, one form inter-sects the surface of another creating a visible border within the photograph, which can be viewed fully from the side.
Hannah Hughes (b. 1975) graduated from the University of Brighton in 1997 and has since exhibited in the UK and internationally. | | |
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| | | | | | | | | | | | | | Luzia Simons
JARDIM 8, 2014
Scannogramm, pigment print on Mitsumata Awagami paper
127 x 90 cm | | | | | | | | | | | | | | | |
Andrej Lamut
Impatiens Glandulifera Study 02, 2021
from the series "INVASIVE ALIEN SPECIES"
Liquid emulsion on handmade Japanese knotweed paper
41 x 30 cm |
Andrej Lamut
Acer Negundo Study 01, 2021
from the series "INVASIVE ALIEN SPECIES"
Liquid emulsion on handmade Japanese knotweed paper
41 x 30 cm |
| s | | | | | Luzia Simons (Brazilian living in Berlin) developed her own shooting technique, the scanogram – a way of looking at things without a central angle or focus where all details become heightened. Her artistic focus is primarily on the diversity and plurality of perceptions in relation to their different cultural heritage. Her flowers appear in her works as signifiers of historic, cultural, or colonial meanings and are used to discuss the question of social identity and globalization.
In his series Invasive Alien Species, emerging Slovenian artist Andrej Lamut (*1991) considers environmental destruction as a catalyst for sustainability. By combining paper made from invasive plant species with various analog film techniques (including liquid emulsion), Lamut recontextualizes the subject matter of invasive foreign plants. He utilises these plants, known for destroying native ecosystems, as a medium from which to build new strange abstract forms. The ensuing works showcase harmful plants like Japanese Knotweed and Canadian Goldenrod. By revealing their true character, they become reminiscent of otherworldly alien forms. Lamut is shortlisted for the Photo London and Nikon Europe Emerging Photographer of the Year People's Choice Award.
Established in 2003, the Galerija Fotografija gallery is the first and only private gallery in Slovenia dedicated for contemporary and classic photography. It aims to popularize high-quality photography of established Slovene and international artists. Alongside the exhibitions, the gallery also organizes lectures, round tables, and project presentations. The gallery entered the international art market in 2009. The gallery also runs a bookshop with a wide selection of photography literature. | | |
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| | | | | | | | | | | | | | Anastasia Samoylova
Barge, Miami River, 2021
Archival Pigment Print
100 x 127 cm, mounted, framed
Edition of 5 + 2 AP | | | | | | | | | | | | | | | |
Anastasia Samoylova
Blue Courtyard, Hollywood, 2019
Archival Pigment Print
100 x 80 cm, mounted, framed
Edition of 5 + 2 AP |
Alia Ali
Blue Tide, 2022
Archival Pigment Print with UV laminate
mounted, upholstered frame (wood, fabric)
125 x 89 x 7.5 cm
Edition of 5 + 1 AP + 1 EP |
| | | | | | At this year’s Photo London Galerie—Peter—Sillem is delighted to present two solo shows. The fair will be the official launch of Alia Ali’s new series Liberty. Numerous works from Anastasia Samoylova’s most recent project Floridas will be on view for the first time.
Anastasia Samoylova (b. 1984) is an American artist who moves between observational photography, studio practice and installation. By utilizing tools and strategies related to digital media and commercial photography, her work explores notions of environmentalism, consumerism and the picturesque.
Her new book Floridas: Anastasia Samoylova & Walker Evans was published by Steidl in 2022. In 2020-2021 her ongoing project FloodZone was presented in solo exhibitions at the Chrysler Museum of Art; HistoryMiami Museum; Contemporary Art Museum, Tampa; and The Print Center Philadelphia. In 2022 the project will be exhibited at the Eastman Museum. Samoylova is shortlisted for the Deutsche Börse Photography Foundation Prize 2022. In 2021 she was awarded the first KBr Photo Award by KBr Fundación MAPFRE.
Alia Ali // عاليه علي (b. 1985) is a Yemeni-Bosnian-US multi-media artist. Having traveled to sixty-seven countries, lived in and between seven, and grown up among five languages, her most comfortable mode of communication is through photography, video, and installation. Working between language, photography, video, textile, and installation, Ali’s work addresses the politicization of the body, histories of colonization, imperialism, sexism, and racism through projects that take pattern and textile as their primary motif.
Alia Ali is a graduate of Wellesley College and the California Institute of the Arts. Her work has been featured in the Financial Times, Le Monde, Art Review, Vogue, and Hyperallergic. It is in collections at the British Museum, Princeton University, the New Orleans Museum of Art, the Tucson Museum of Art and numerous international corporate and private collections. Alia Ali lives and works in New Orleans and Marrakech. She was selected for the Artsy Vanguard 2021. | | |
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| | | | | | | | | | | | | | Le Jardin d’Haggadah, 2012
© Marianne Marić/Courtesy of Christoph Guye Galerie | | | | | | | | | | | | | | | | | | | Le Baiser, 2015
© Marianne Marić/Courtesy of Christoph Guye Galerie | | | | | | Christophe Guye Galerie is pleased to present a solo exhibition by French artist Marianne Marić (*1982). The exhibition shows works from different series – Les Statues Meurent Aussi, Rose Sarajevo, Odalisques – as well as various single works.
Since 2007, Marić has been developing a transdisciplinary body of work, in which she deconstructs the boundaries between various mediums by using the body as a sculptural tool. In her creations, art, fashion, design, photography, music, and video merge through the use of women's bodies as 'an extraordinary and fascinating architecture'. She deconstructs stereotypes to better re-use them and has fun playing with symbols to give them another twist. | | |
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| | | | | | | | | | | | | | Kourtney Roy
Enter as fiction 3, 2015
Pigment inkjet print on archival paper
Courtesy Galerie Esther Woerdehoff | | | | | | | | | | | | | | | | | | | | Gemma Pepper: Reality Shifting |
| | | | | | | The artistic programme of Galerie Esther Woerdehoff continues to focus on established and mid-career photographers and those whose work ‘explodes’ the dimensions of the medium of photography with the integration of video, drawings and other fine-art mediums. The Geneva space also looks to present the new generation of Swiss talent that deserves to be recognised. With six exhibitions a year in Geneva as well as shows in Paris and a regular presence at international fairs, the two galleries are turning points in the world of photographic creation. | | |
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| | | | | | | | | | | | | | Todd Hido
11925-2492
96,52 x 121,92 cm
38 x 48 inch
2020 | | | | | | | | | | | | | | | |
Daido Moriyama
DM-4_5512
1971/2001
Gelatin on Silver Print
Image Size: 29.6 x 21.8cm
Paper Size: 30.5 x 25.3 cm |
Roger Ballen
0196-1A
10,8 x 8,6 cm
Unique Piece
Shot in period 2018-2021 |
| | | | | | | | A presentation with new works by Todd Hido
Polaroids by Roger Ballen and Vintages by Daido Moriyama | | | | |
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| | | | | | | | | | | | | | Ingo Arndt
Lesser Flamingos, Kenya | | | | | | |
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Marie Cecile Thijs
Origin Sphere, 2022 |
Francesco Bosso (Italian)
Big Roots, Puglia, Italy, 2021 |
| | | | | | SmithDavidson Gallery exhibits a dynamic range of leading modern and contemporary art in various mediums. The gallery’s mission is to acquire and present the work of significant artists in different disciplines, whose work has either defined or is expanding the parameters of the visual arts. The Gallery, founded more than 50 years ago in The Netherlands, is internationally known today for its collections of Modern, Contemporary and Australian Aboriginal Art.
For Photo London 2022, the gallery is presenting new work by three international artists: Francesco Bosso, Ingo Arndt and Marie Cecile Thijs.
Nature has been a well-know subject in photography since Ansel Adams in the early Twentieth Century; in the recent works by Francesco Bosso the monumental style of Adams resonates, celebrating the beauty of nature but Bosso also warns about the stress we as humans put on the environment. The monumental centuries old Olive trees of Southern Italy, pictured by Bosso, are dying because of changes in the climate and the way the land is being used; and imposing icebergs are presented as magnificent floating sculptures, but simultaneously they are a symbol of the rising temperatures in the Arctic.
Ingo Arndt is a celebrated nature photographer, working for Natural Geographic, GEO and other magazines, for more than 30 years.. With over 20 publications in different languages and many museum exhibitions his fascination for and knowledge of the natural world is clear. Arndt researches both the building processes of animals and also the way single animals coordinate together and function as new multi-organisms, just like the sparrows moving fluidly in the sky creating cloud like shapes.
For her latest series Marie Cecile Thijs creates a parallel dream world in which humans are no longer present, but have left their mark to create a new landscape of new and mesmerising symbioses, just like we are presented with a Margaret Atwood novel. For Marie Cecile this new world is filled with new possibilities and challenges. Her latest works have become more abstract and Thijs has, for the first time, used moving images for her Green Scenes; a premiere to Photo London 2022. | | |
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© 10 May 2022 photo-index UG (haftungsbeschränkt)
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