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| PHOTOGRAPHY INTERNATIONAL | | 6 – 13 April 2022 | |
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| | | The red bags are used for the seeds, 2021 © Ana Núñez Rodríguez. | | | | | | | | 8 April – 10 July 2022 | | | | Opening: Food tasting and tour through Cooking Potato Stories: Thursday 8 April on 19:00 CET | | | | | | | | | | | | | “When you say ‘potato’ the response is often an autobiography; potatoes provide a way for us to speak about ourselves.” Rebecca Earle (2019)
Foam proudly presents the exhibition of Ana Núñez Rodríguez. By collecting stories small and large, personal and historical, factual and fictional, Núñez Rodríguez investigates how “[t]he potato packs a universe of symbolic information on identity, domination and social differentiation.”
Cooking Potato Stories
The potato is cultivated almost everywhere, and globally cherished as an important part of local food cultures. What can a potato tell us about ourselves? Tracing the trajectory of the potato across the world, Ana Núñez Rodríguez asked herself this question. Núñez Rodríguez set out on a quest to unearth local ‘potato stories’ across the world, including her own childhood memories and her migratory trajectory between Spain, the Netherlands and Colombia. The resulting harvest of verbal and visual anecdotes, recipes, myths and memories surrounding the potato forms a mosaic of how the humble crop universally inspires cultural and individual identities. The many stories told in this exhibition present the humble potato as the product and cause of violence, famine and migration across the world. Yet they also talk about survival, sharing, belonging and family. The continuous transformation and adaptation of the potato becomes a metaphor for human resilience, and for how our identities are rooted in the stories we tell each other. | | |
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| | | | Fred Koch (1904-1947), Bleiglanz. Freiberg/Sachsen, 1932
silver gelatin print on baryta paper
Courtesy Die Photographische Sammlung/SK Stiftung Kultur, Köln/Dauerleihgabe Rainer Stamm | Fred Koch (1904-1947), Distel-Samen.
Compositae - Cirsium lanceolatum
silver gelatin print on baryta paper
Courtesy Stiftung F.C. Gundlach, Hamburg |
| | | Fred Koch » Nature Photography of the 1920s and ‘30s | | | | ... until 24 April 2022 | | | | | | | | | | | | | Fred Koch (1904–47) counts as one of the most important photographers of the Weimar Republic. His black-and-white, New Objectivity-style photographs mainly feature detailed images of plants and crystals, but also frost formations, corals, conchylia, insects, as well as X-ray images. Koch had fallen into obscurity given the anonymity of his published works, his turn toward press photography, and his untimely death. Now, thanks to extensive research and attributions, his work can be discovered in an extensive solo exhibition organized by the Alfred Ehrhardt Stiftung showcasing around 100 works from the 1920s to 1930s. His passion for natural forms unites him with Alfred Ehrhardt (1901–84), for whom Koch’s crystal photographs were a source of inspiration. Friends of the photo aesthetics of Karl Blossfeldt (1865–1932), Aenne Biermann (1898–1933), Albert Renger-Patzsch (1897–1966), or Alfred Ehrhardt will be richly rewarded.
The Alfred Ehrhardt Stiftung has focused on Fred Koch’s work since 2004. That his photographs of crystals and minerals far surpass in quality the photos of the great New Objectivity master Albert Renger-Patzsch was clearly documented in the earlier exhibition Lebendiger Kristall (2004). Koch was introduced to photography in 1922–23 by Renger-Patzsch, then manager of the Folkwang-Verlag image archive of author and publisher Ernst Fuhrmann (1886–1956), for whom he was producing enlarged images of plants. These photographs of plants mark the beginnings of New Objectivity photography. Koch succeeded Renger in 1928 and expanded the plant photo archive, which was featured in Fuhrmann’s publication Die Pflanze als Lebewesen. Eine Biographie in 200 Aufnahmen.
Fred K… | | |
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| | | | | | | | | | Eine Ausstellung mit Roman Ehrlich | | | Thu 7 Apr 19:30
7 Apr – 30 Jun 2022 | | | | | |
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| | | | | | | | © Moritz Haase, Heritage, 2021 |
| | | | | | | | | | | | Fri 8 Apr 13:00
7 Apr – 19 Jun 2022 | | | | | |
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| | Plattform Potsdamer Platz, Berlin West, 1985
©Barbara Wolff, Collection Regard | | | | | | | | ... prolonged until 10 June 2022 | | | | | | | | | | | | | In the exhibition "Barbara Wolff: Photographs" at the Goethe-Institut Bordeaux, works from the series "Biography" (1982 - 1989), "Metropolis" (2018 - 2020) as well as "Amazonia" (2019) will be shown in collaboration with Collection Regard Berlin.
In the series „Biography“ she observed life on both sides of the Iron Curtain. Like few photographers, she has been able to reflect on her images and experiences in both German countries - before the fall of the wall. Fixed points in Barbara Wolff‘s work are always records of biographical moments and formative stations of her life in the GDR and in the FRG. In capturing those photographic moments charged with personal and subjective significance, Barbara Wolff‘s shares her individual world of experience. At the literally decisive moment, the photographer succeeds in sensitively capturing her subjects in high photographic quality and in balanced compositions. At the same time, Barbara Wolff‘s artistic language has a strong humanistic component. Many images show us people in their immediate and uncompromising dignity, in the tension between strength and fragility.
The series "Metropolis" reflects the urban space in the 21st century. The images tell of residents and their urban environment. Patterns of the city emerge, networks of relationships between people, architecture and (artificial) nature. It is about the transformation of the city, about provocation and chaos. The idea is to perceive secret places but also to share visions. We visit S-Bahn stations, Berlin waterways, graffiti walls and full shopping malls, but also see the famous (empty) Berlin squares and stand in front of closed doors of techno clubs in the Corona y… | | |
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| | | Lois Conner, Canyon de Chelley, Arizona, 1996 | | | | | | | | 9 April – 21 May 2022 | | | | Opening: Saturday 9 April 3pm | | | | | | | | | | | | | Robert Klein Gallery is pleased to present Flat Earth, a solo exhibition of vintage photographs by New York City-based artist Lois Conner, curated by Leandro Villaro of the Penumbra Foundation. Please join us on opening night for an exclusive in-person viewing, featuring an artist talk with MFA Curator Nancy Berliner.
Conner has been photographing in Asia, Europe and America since the 1980s. Her photographs are astounding in their composition and detail, and confirm the possibility of an image that is both specific and general in regards to time, place and history. Inspired by hand-scroll Chinese paintings and seduced by the exquisite tonal and quality reproduction of the platinum printing process, Conner’s meticulous contact-printing practice suggests simplicity. Yet it conceals the complex technical and formal decisions she makes with remarkable clarity of purpose. | | |
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| | | | | | | Hartmut Neumann
aus der Serie: "Vogelsäulen - Handtücher", 2009
© Hartmut Neumann und VG Bild-Kunst, Bonn 2022 |
| | | | | | | | in dialogue with Michael Bauer, Tim Berresheim and Sam Evans | | | Fri 8 Apr 13:00
9 Apr – 12 Jun 2022 | | | | | |
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| | | | Lebohang Kganye:
Setupung sa Kwana Hae II, 2013
© The artist. Courtesy The artist, AFRONOVA GALLERY, Johannesburg und The Walther Collection, Neu-Ulm/New York. | Samuel Fosso:
Self-Portrait [Selbstporträt] (Angela Davis), 2008
© The artist. Courtesy The artist, Jean Marc Patras, Paris und The Walther Collection, Neu-Ulm/New York. |
| | | | | | | Photography from The Walther Collection | | | | | | | | 9 Apr – 25 Sep 2022 | | | | Opening reception: | | | | | | | | | | | | | How are cultural and historical processes of transformation reflected in the medium of photography? With more than 500 photographic works from Africa, its diaspora, and Europe, the exhibition "Shifting Dialogues. Photography from The Walther Collection" traces the development of photography as a history of transnational parallels and contradictions: showcasing the beginnings of ethnographic images during the colonial era, self-determined studio photography — and politics of self-fashioning — from the 1940s onwards, and the potent visual activism practiced by a constituency of contemporary artists in the present. The photographic and lens-based media artworks assembled here systematically reveal the ambivalent — and shifting — relationship between image and self-image, portraiture and social identity, representation and performance.
An important point of reference is the 2010 group exhibition "Events of the Self: Portraiture and Social Identity," curated by Okwui Enwezor (1963–2019) for The Walther Collection. Enwezor, one of the most influential curators of recent decades, utilized the example of portrait photography to illustrate how photographic image production did not always develop in geographically or historically uniform, homogenous ways, characterized by multiple ruptures, contrasts as well as intimate dialogues. With his presentation, he emphasized "the conceptual and comparative relationship between different traditions of image-making" as well as the unfolding "changes in African identities and subjectivities from colonial to postcolonial modernity."
A decade later, the Kunstsammlung Nordrhein-Westfalen pays tribute to Okwui Enwezor’s pioneering curatorial vision and… | | |
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| | | Eddy Novarro: Gino Severini + Hans Hartung | | | | | | | | 6 April – 6 May 2022 | | | | | | | | | | | | | Eddy Novarro (born Vasile Novaru) was probably born in Bucharest in 1925. He began his photographic career in the 1950s as a press photographer. His first subjects were actors, heads of state and, above all, artists. Novarro's photographs were first exhibited in Madrid in 1960. Under the title "Kaleidoscope of Modernity - Chagall, Miró, Picasso and the Avant-garde", the portraits were juxtaposed with works of art that had been given and dedicated to Novarro by the respective artist in gratitude for the portrait. The dates of origin of the portraits have only survived in a few cases.
The exhibition presents around 40 portraits of famous artists by photographer Eddy Novarro. Portraits of Pablo Picasso, Joan Miró, Man Ray, Alexander Calder, Hannah Höch, Joseph Beuys and many other well-known people from the art world will be shown. | | |
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| | | | © Namsa Leuba, Sarah, Lagos, Nigeria, 2015
(The New Black Vanguard) | © Namsa Leuba, Damien, from the series NGL , 2015 |
| | | THE NEW BLACK VANGUARD | | | | Photography Between Art and Fashion | | | | | | | | | | | | | | | | | | | | | | | | ECAL - SMELLS LIKE QUEER SPIRIT | | | | l’ECAL/Ecole cantonale d’art de Lausanne dans le cadre du Bachelor Photographie. | | | | ... until 24 April 2022 | | | | | | | | | | | | | Through four exhibitions, the MBAL examines the themes of the fluidity of bodies, identities and nature. It brings together a range of outstanding artists from Switzerland, the United States, South Africa, Nigeria and Ethiopia.
GUIDED TOUR: 24 April at 2.30 pm
LA GRANDE TABLE: Sunday 10 April at 11 am
Digital art, artists, galleries, institutions, art collectors, art historians, what are we talking about?
The MBAL invites several specialists for a discussion.
MEETING WITH THE ARTISTS: Sunday 10 April at 1pm:
Tour of the exhibitions with the artists and signing of the book by Namsa Leuba. | | |
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| | | Deana Lawson, Chief, 2019 © Deana Lawson, Courtesy of Sikkema Jenkins & Co., New York; David Kordansky Gallery, Los Angeles | | | | | | | | | | | | | ... until 12 June 2022 | | | | The winner of the £30,000 prize will be announced at a special award ceremony held at the Gallery on 12 May 2022, with the other finalists each receiving £5,000. | | | | | | | | | | | | | Deutsche Börse Photography Foundation Prize 2022 shortlist announced
The four artists shortlisted for the Deutsche Börse Photography Foundation Prize 2022 are Deana Lawson, Gilles Peress, Jo Ractliffe and Anastasia Samoylova.
Originally established in 1996, the Deutsche Börse Photography Foundation has been awarding this long-standing and influential annual prize in partnership with The Photographers' Gallery in London since 2016. The prize identifies and rewards artists and projects considered to have made the most significant contribution to photography over the previous 12 months. Over its 26-year history, the prize has become renowned as one of the most important awards for photographers as well as a barometer of photographic development, foregrounding outstanding, innovative and thought-provoking work that pushes the boundaries of the medium and exemplifies its resonance and relevance as a cultural force.
This year's shortlist is no exception, with each artist offering very distinctive approaches to visual storytelling, while collectively tackling some of the most urgent issues facing us today. Despite the difference in perspectives (generational, geographical, racial, cultural) and artistic strategies, each of the shortlisted artists show an acute awareness of their present context, of the burden of history, the problematics of legacy and language (visual or otherwise) and a responsibility to address their own position in relation to their subject matter.
The exhibition of the shortlisted projects will be on show at The Photographers' Gallery, London from 25 March to 12 June 2022. The exhibition will then tr… | | |
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| | Clara Gutsche » | | | | | | | | | | | | Clara Gutsche From the Series Milton-Park (1970-1973), The Cencic Sisters (1974-1976), Sarah (1982-1989), Jeanne-Mance Park (1982-1984), Siblings and Singles (2008 - 2022) | | 9 Apr – 11 Jun 2022 | | | | | | | |
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| | | | | | | Thomas Wrede: Rhonegletscher IV, 2020
© Thomas Wrede; VG Bild-Kunst, Bonn 2022 / Courtesy Beck & Eggeling |
| | | | | | | | The glacier project | | | 8 Apr – 17 Jul 2022 | | | | | |
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| | | | | | | Lisette Model, Woman with Veil, 1949, San Francisco. Gelatin silver print.
© 2022 Estate of Lisette Model, courtesy Lebon, Paris/ Keitelman, Brussels |
| | | | From the collection of Dr. Daniel Jelitzka | | | | | | | Thu 7 Apr 19:00
7 Apr – 15 Jun 2022 | | | | | |
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| | | © Merry Alpern // © Harry Gruyaert | | | | | | | | | | | ... until 30 April 2022 | | | | | | | | | | | | | The spring 2022 exhibition at Galerie Miranda brings together two cult and pioneering photographic series, Dirty Windows by Merry Alpern and TV Shots by Harry Gruyaert, in a reflection on the convergence since the 1960s of real life with screen life and on the commoditisation of the human experience.
In the winter of 1993, photographer Merry Alpern visited a friend’s New York loft, situated in the Wall Street district. He led her to a back room and from his window, one floor below, she could see a tiny bathroom window from which pounded the heavy bass of nightclub music. She realized that she was looking into the bathroom of an illegal lap-dance club, where "stock-brokers and other well-to-do businessmen handed over hundreds of dollars and drugs to women in G-strings and black lace." Transfixed by the spectacle, the artist started taking pictures of what she saw, using a fast black and white film that gave the photos a peep-show quality. In 1994 she submitted the series to the NEA (National Endowment for the Arts) only to find her work, along with that of co-candidates Andres Serrano, and Barbara DeGenevieve, rejected and vilified by conservatives who sought to undermine the NEA, creating a huge debate that paradoxically served to promote the series.
Acquired by major museums worldwide, the series has since become a reference point for exhibitions on female exploitation, surveillance, censorship and the female gaze. In 1999, following the Dirty Windows series, Merry Alpern produced the series Shopping whereby, equipped with a tiny surveillance camera and a video camcorder hidden in her discreetly perforated purse, Alpern wandered through department stores, malls, and fitting rooms, capturin… | | |
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| | | | KOKKURISAN TATTOO 2008; Lambda print 83 x 52 cm
Courtesy: ANOMALY and MUJIN-TO Production, Tokyo | Don’t Follow the Wind 2015
Courtesy: Don’t Follow the Wind Committee |
| | | | | | | | Celebrating Japan’s Most Radical Artist Collective in Their Largest Retrospective | | | | ... until 29 May 2022 | | | | | | | | | | | | | Equipped with highly original ideas and impressive energy, artist collective Chim↑Pom has undertaken numerous projects intervening in society in ways that constantly confound our expectations. With themes ranging from cities and consumerism to gluttony and poverty, Japanese society, the atomic bomb, earthquakes, images of stardom, the mass media, borders, and the nature of publicness, their works serve as powerful statements on a plethora of phenomena and challenges in modern society, delivered mostly with a healthy dose of humor or irony.
With seemingly uncanny foresight, Chim↑Pom has also addressed in a number of their previous works the social issues of infection and discrimination against people with contagious diseases, and of bias, contamination and borders, all thrown into sharp relief by the COVID-19 pandemic. Now more than ever perhaps is the time to observe their thought-provoking knack for raising issues pertinent to the zeitgeist.
This will be the first-ever retrospective of Chim↑Pom, bringing together major works from the start of their seventeen-year career to more recent years, plus new work produced for this exhibition. Artworks will be arranged by theme - e.g., cities and publicness, Hiroshima, the Great East Japan Earthquake - highlighting matters consistently addressed by the artists, while examining the collective’s oeuvre in its entirety. Dynamic exhibition design, rich in creative ingenuity, will also assist in shedding new light on the ever-surprising world of Chim↑Pom.
The title Happy Spring signals Chim↑Pom’s hope for a brighter spring even amid this seemingly neverending pandemic, and that we retain our powers of imagination even if that long-awaited season … | | |
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| | LE SALON: PATHÉ‘O (Ivory Coast, Burkina Faso, Switzerland)
© Flurina Rothenberger in collaboration with Pathé’O, Ben Idriss Zoungrana, other contributors and with Monika Schori | | | | 3rd Session: L'Appartement - Espace Images Vevey | | | | | | | ... until 1 May 2022 | | | | | | | | | | | | | For its third exhibition, L’Appartement – Espace Images Vevey has given free rein to photographer Flurina Rothenberger. Born in Switzerland and raised in the town of Zuénoula in Ivory Coast, she devoted most of her career to taking photographs of the continent where she grew up. Her personal narrative and resolutely cooperative artistic practice demonstrate Africa’s multiple reality. In keeping with her strong unifying spirit, she has taken over all the rooms in L’Appartement, while respecting their specific uses, to showcase a series of projects in which collaboration is key.
In LES CHAMBRES, the NICE & UNFOLDED exhibition invites us to question our perceptions by juxtaposing Flurina Rothenberger’s photographs, Monika Schori’s spatial intervention, and the three issues of NICE, a collaborative magazine initiated by Flurina Rothenberger and Rahel Arnold.
In LE COULOIR, four children took on the role of curators to create A BRIDGE IS NOT SOMETHING TO LOOK AT. YOU WALK ACROSS IT TO FEEL IT. The young group chose fourteen of Flurina Rothenberger’s photographs taken throughout Africa and commented on their choices.
In LE SALON, the biography of the fashion designer Pathé’O is the focus of the eponymous editorial project PATHÉ’O that traces the history of fashion and the textile industry in West Africa. The exhibition preludes a book to be published in 2022 and highlights the work of Flurina Rothenberger in dialogue with archival images by the Burkinabe photographer and journalist Ben Idriss Zoungrana, and an illustration by Monika Schori.
Finally, the area called LE CINEMA screens N’ZASSA, a series of raw rhythmic videos hatched from correspondence between photography students in Vevey and slammers in Abidjan. Flurina Rothenberger and the Ivorian poet Bee Joe initiated this collaborative project as part of the activities the photographer conducts at the CEPV vocational school. | | |
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| | | | | | | | | | | | | | Thu 7 Apr
8 – 10 Apr 2022 | | | | | |
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| | | | | | | | | | | | | | Thu-Fri 7-8 Apr
9 – 10 Apr 2022 | | | | | |
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| | | | | | V edizione Le forme del ritratto | | | | | | | – 24 Jul 2022 | | | | | |
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| | | | | | | | | | Rencontres de la jeune photographie internationale 2022 - 27 artists | | | | | | | – 28 May 2022 | | | | | |
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| | | | | | European young photography festival | | | | | | | – 29 May 2022 | | | | | |
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| | | | | | First edition of Jeu de Paume festival: exhibition, performance, film | | | | | | | – 22 May 2022 | | | | | |
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| | | | | | Denmark, Estonia, Finland, Iceland, Norway, Sweden | | | | | | | – 19 Jun 2022 | | | | | |
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© 6 April 2022 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photo-index.art . T +49.30.24 34 27 80 |
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