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| PHOTOGRAPHY INTERNATIONAL | | 1 – 19 January 2022 | |
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| | | | Large fairs such as Art London or ArteFiera had to be postponed, museums and other art institutions are in lockdown in some countries such as the Netherlands or Denmark. Several countries demand masks and proof of vaccination, recovery or negative test results before visitors are allowed to enter museums. |
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| | The Rug, Whiff #6 + #5 (MacGuffin magazine), 2021
Print size 147 x 193,5 cm / plexiglass box frame 150 x 190 x 12 cm
Edition of 8 plus 1 AP | | | | | | | | 15 January - 5 March, 2022 | | | | Opening: Saturday 15 January, 2022 (if lockdown permits) | | | | | | | | | | | | | | A Stain in a Rug was MacGuffin magazine’s commission, but Scheltens & Abbenes decided to approach the theme from another angle. From a local thrift shop the artists borrowed worn-out carpets and with large sweeping gestures they tried to remove the hideous stains they carried. The soap splashes not merely freshened up some colour patches, but also caused surprising new patterns. The fleeting moments were caught by the camera’s eye and the photos featured in MacGuffin’s Nº 9 issue. While being happy with the series of revived rugs, Maurice Scheltens and Liesbeth Abbenes felt the photos deserved yet another context. For their upcoming show at The Ravestijn Gallery, which opens on January 15th 2022, the photos gain a next life, this time by returning to the rugs’ three-dimensionality. The original photos, the size of which had been limited by the dimensions of the magazine, are now blown up to a considerable magnitude and encased in somewhat smaller Plexiglas boxes. As a result, the heavy prints lean against the back and slightly curl up at the bottom. A three-dimensional reality, a doubling of the illusion - Soap (MacGuffin magazine, 2021) has become Whiff. | | |
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| | Fred Koch (1904-1947)
Gypsum Crystals, Eisleben, enlarged, before February 1931
silver gelatin print on baryta paper
12,3 x 14,3 cm
Courtesy bpk-Bildagentur, Fred Koch | | | | | | | Nature Photography of the 1920s and '30s | | | | 15 January – 24 April, 2022 | | | | Opening: Friday, 14 January, 7–9pm | | | | | | | | | | | | | 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. | | |
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| | Jens Knigge "Tenojoki", 2015
© Jens Knigge | | | | | | | | | | | | | ... until 11 March 2022 | | | | | | | | | | | | | Winter, those are memories. The crunching of deep firn under the boots; wondrous ice flowers on the window panes; the sweet sightings of early snowdrops. But above all, winter is the season when the world becomes quieter. Thomas Mann once caressed a snow-covered mountain landscape with his words as "padded soundlessness". It is not only the world that becomes quieter, but also the colours. Grey light, white fields, black branches. The paint of winter is as monochrome as it is rich in contrast; and yet the winter colouring is a nuanced one. In her upcoming group exhibition, Johanna Breede creates a multifaceted picture of the quietest of all seasons. With a love of detail, Breede condenses various aesthetic approaches and photographic signatures into a small kaleidoscope of winter.
You think you can hear it, the silence in the photographs on display. It lies in the meditative and formally clear landscapes of the Japanese artist Koichiro Kurita; it sits in the snow-covered tips of Nomi Baumgartl's firs and in the bare branches that stand out against the white in Jens Knigge's photographs like calligraphic characters of an unknown alphabet. A quiet solitude also envelops the silhouette of a male figure portrayed by Donata Wenders, who walks in the snow, in a blur, as if he wants to escape the visible together with the world. Even the penguins in tails turn away from the photographer and waddle into the all-swallowing expanse of Antarctica.
Isa Marcelli, Ulrike Ottinger and Stefan Moses also visualise the quiet side of winter. The snow stains the world, it rubs against the trees. Only from a portrait of Herbert List does the cold clink at us in the form of two tin milk cans. The Magnum photographer casts a surreal, magical glance at a w… | | |
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| | Helmut Newton, Thierry Mugler Fashion, US Vogue, Monte Carlo 1995
© Helmut Newton Foundation | | | | | | | | ... until 22 May 2022 | | | | | | | | | | | | | 31 October 2021 marks the opening of the expansive retrospective exhibition "HELMUT NEWTON. LEGACY" at the Helmut Newton Foundation in Berlin. Originally scheduled to coincide with the photographer’s 100th birthday, it was postponed for a year due to the pandemic. Visitors can now look forward to seeing not only Helmut Newton’s many iconic images, but also a number of surprises.
The entire exhibition space on the first floor of the museum will chronologically trace the life and visual legacy of the Berlin-born photographer. With around 300 works, half of which are being shown for the first time, the foundation’s curator Matthias Harder will present lesser-known aspects of Newton’s oeuvre, including many of his more unconventional fashion photographs, which span the decades and reflect the changing spirit of the times. The presentation will be complemented by Polaroids and contact sheets that give insight into the creation process of some of the iconic motifs featured, as well as special publications, archival material, and statements by the photographer.
It was in the 1960s that Newton found his inimitable style in Paris, as seen in his photographs of the revolutionary fashion designed by André Courrèges. Working for well-known fashion magazines, Newton not only took classic studio shots but also ventured into the streets, where he staged models as participants in a protest, protagonists in a paparazzi story, and more. His clients’ sometimes stringent requirements and narrow expectations were an incentive for him to challenge traditional modes of representation.
In the 1970s, Newton began to enjoy unlimited creative possibilities while… | | |
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| | | | | | | | Marie Kratochvílová: aus der Serie "Urbane Strukturen", 1975 - 86 |
| | | | | | | | Eine Ausstellung mit Ina Bierstedt, Bettina Carl und Silke Leverkühne | | | Fri 14 Jan 11:00
14 Jan – 13 Mar 2022 | | | | | |
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| | | | | | | | "Selbstporträt mit Mutter", 1992 © Christa Mayer |
| | | | | | | | | | | | Sun 16 Jan 11:00
16 Jan – 13 Mar 2022 | | | | | |
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| | | Arne Svenson, A Beautiful Day No. 8 + No. 2, 2020 | | | | | | | | 15 January – 26 February 2022 | | | | | | | | | | | | | In Svenon’s own words regarding this series, “For ‘A Beautiful Day,’ I photograph from only two windows, one facing north, the other west. The intentional restriction narrows my focus on behavioral minutia. I create a visual narrative about my unknowing subjects from the subtlest of movements, postures, and positions.”
A BEAUTIFUL DAY: ARNE SVENSON
from $30.00
Photography by Arne Svenson
Designed by Laura Lindgren
Printed by Puritan Press
Pre-order Arne Svenson's signed limited edition color catalog of new photographs for $25 here. | | |
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| | | Champagner im Keller © Nina Röder | | | Nina Röder » Champagner im Keller & other series | | | | ... until 23 September 2022 | | | | | | | | | | | | | Nina Röder’s quest for the essence of what she depicts leads her to scratch at the surface of her subjects. Visually, this is communicated through distortion: veiling, hiding, overlapping or camouflaging the displayed form.
The familiar contours of faces and bodies are variously cracked open and dissolved in order to place them in a new dialogue. The well-known traits of those around her, including her own mother, or her surroundings are expanded and completed. Through rejection of natural perception, the viewer is relearning the act of seeing. We recognize here a variant of the artistic principle of "creation through destruction".
Bodies, immersed in water, only reveal fragments of themselves. Nina Röder covers portraits with delicately crocheted doilies, switching individuality for anonymity in the blink of an eye. Another image shows a face "disfigured" by algae suspended before it. A figure wrapped in fabric is transformed into an abstract sculpture. But Röder deconstructs not only the norms of the form, but also of formality, of conventional expectations. The difference between the object and the subject, between a "thing" and a living organism, seems abolished.
But this artistic act, in all its subversion, is not a brutal gesture. The paradox is shown in all its subtle facets: nonsensical, illogical, askew, risible, ambivalent. The shock preceding the destruction of the form is softened by the humour inherent in the photograph.
Is everything one? – And what is the meaning we can draw from this? | | |
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| | Bernd & Hilla Becher: Düsseldorf Rheinhafen, 1978
© Estate Bernd & Hilla Becher, vertreten durch Max Becher,
courtesy Die Photographische Sammlung/SK Stiftung Kultur – Bernd und Hilla Becher Archiv, Köln. | | | | | | An exhibition of Die Photographische Sammlung/SK Stiftung Kultur, Cologne,
in cooperation with Studio Becher and the state capital Düsseldorf | | | | | | | | 15 January – 29 May 2022 | | | | Opening reception: Friday 14 January 2022 6pm | | | | | | | | | | | | | | Sifting through the archives of both August Sander and Bernd and Hilla Becher always brings to light new perspectives on their photographic work. Thus, the exhibition dedicated to the two positions juxtaposes two previously largely unknown circles of motifs. On the one hand, there are more than 50 black-and-white photographs by August Sander, mainly from the 1930s, of history-charged water castles, industrial plants, and views of towns (including Düsseldorf), for example, which paint a multifaceted portrait of the cultural landscape of the Lower Rhine. On the other hand, equally black-and-white, large-format views by Bernd and Hilla Becher, taken in the Rhine Harbour in Düsseldorf and surrounding industrial areas, prove to be a discovery. Between about 1973 and 1994, they had documented historic warehouses and functional buildings there in the objective style typical of their work. | | |
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| | Laura J. Padgett
"A Place of Study", 2021
Archival Pigment Print
64,67 cm x 96 cm
edition of 3 + 1 AP | | | | | | | | 15 January – 26 February 2022 | | | | Opening: Saturday, 15 January, 11am — 4pm | | | | | | | | | | | | | The spaces we create have meaning. These spaces are enclosed by structures. These structures definitely have meaning. What we don‘t see at first glance is the resonation of those who occupy and use these spaces, but they are there, they are palpable. Laura J. Padgett has spent time in the Frankfurt Westend Synagogue recording resonances, making images between space, structure, spirit and time. Through them we learn what resilience can be and how it expresses itself in the presence of things small and large.
Laura J. Padgett (b. 1958 in Cambridge, USA) received her BFA in painting from Pratt Institute in Brooklyn, New York. She continued her studies in film and photography with Peter Kubelka and Herbert Schwöbel at the Städelschule from 1983 to 1985 and received her MA in Art History and Aesthetics in 1994 from the Johann-Wolfgang-Goethe University, both in Frankfurt am Main.
Since the 1990s Laura J. Padgett has produced a complex body of work. She exhibits widely, while also participating in international film screenings, at, for example, Galleria d’Arte Moderna, Bologna, Fotomuseum Winterthur, Städel Museum, Frankfurt, House of World Cultures, Berlin, Centre Georges Pompidou, Paris, Pharos Centre for Contemporary Art, Nicosia, and Museum Giersch, Frankfurt am Main.
In addition to her exhibiting activities, the artist regularly writes on film, art and aesthetic theory. Since 1990 she has taught and lectured at various universities, among them Bauhaus-University in Weimar, Hochschule für Gestaltung in Offenbach, Paderborn University, the German Jordanian University in Amman and J. W. Goethe Universität in Frankfurt am Main.
Her work is held in various major public and private col… | | |
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| | Elliott Erwitt
New York City, 1946
Gelatin silver print
21 x 30,5 cm
© Elliott Erwitt, courtesy Galerie Esther Woerdehoff | | | | | | | | 13 January – 5 March 2022 | | | | Opening: Thursday, 13 January, 12 - 9 p.m. | | | | | | | | | | | | | The exhibition "Found Not Lost" devoted to the American photographer Elliott Erwitt proposes the meeting of two views that the artist has been able to bring to the world.
First, that of the genius reporter from the Magnum Agency, whose daring photographs underline with humour the absurdity of the human condition. On the other hand, that of a man in the last stage of his life who decided, in 2018, to re-examine the photographs taken at the beginning of his career, far from the tumult of commissions.
By revisiting this sea of contact sheets, Elliott Erwitt was able to listen to the voice of the young photographer he was. With this re-examination, it is his vision of the world that he questions.
If most of the artist's photographs have iconic status today, it is because they possess a strength linked to the deep human commitment that emanates from them. It is a look that is interested in the way the living inhabit the world, with all that this entails in terms of incongruity and gravity.
It is an attention that makes us think about and understand the environment that surrounds us, with humour as a highlight.
The unpublished photographs, which have long been awaited, have a very special force, due to the melancholy that emanates from them.
The languor that pervades these black-and-white scenes differs from the spectacular images of film stars, the acerbic humour of the dog series or the Hollywood-style shots with which we usually associate the artist. They are, on the contrary, images that remain on the margins, captured during moments of breath in the frantic rhythm of the commissions.
Nevertheless, these now rehabilitated photographs exert the same power of attraction on the viewer as the most… | | |
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| | | | | | | Herbert Döring-Spengler
Tanz, 1992
Polaroid
72 x 60 cm
Unikat |
| | | | | | | | | | | | Rheinischer Kunstpreis 2020 | | | Sat 15 Jan 19:00
15 Jan – 19 Mar 2022 | | | | | |
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| | | | | | | | Sabine Weiss: Neuilly sur Seine, Felix Labisse, 1952, Silbergelatine 40 x 30 cm |
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| | | Florian Merkel, from the series "Think Tank", 2020 | | | | | | | Photography Today | | | | | | | | ... until 3 April 2022 | | | | | | | | | | | | | The fascination for analog photography is experiencing a new revival. While digital photography dominates the field of documentary and everyday photography, analog photography is increasingly asserting itself as an artistic medium and regaining significance in society. The special exhibition shows the range of contemporary developments in analog photography through unique works, series and photographic installations. With a total of 24 artists from the German-speaking countries, different nuances of this medium are illuminated in four thematic groups. The exhibition shows a clear focus on materiality and experimentats in dealing with light, chemistry, and technology.
In chapter "Camera-less Photography" we show contemporary interpretations of photograms, chemigrams or lumen prints. By using these techniques, the artists quote and reinterpret the beginnings of photography.
In "Photographic Time Travel" it becomes clear that the photographic medium offers the possibility to travel through time: Images from today's world as silver daguerreotypes or ambrotypes trigger a sense of anachronism. In this room artists and photographers approach, appropriate or analyze old photographic techniques from the 19th and 20th centuries through their own photographic work.
In the chapter "Light and Process" we find different forms of photography taken with or without cameras. Examples are photographic paper converted as a pinhole camera and exposed directly, experimental and playful cameras as well as other forms of exposure. The focus is on the performative, the interaction between man and camera or between man and photography. | | |
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| | | Melanie Bonajo in collaboration with Kinga Kielczynska, Metamemory from the series Modern Life Of The Soul, 2007, dye coupler print, 23 5/8 × 34 5/8 in., promised gift of The Sir Mark Fehrs Haukohl Photography Collection at the Los Angeles County Museum of Art and Brooklyn Museum, © Melanie Bonajo and Kinga Kielczynska, digital image courtesy of the artists and AKINCI, Amsterdam | | | | | | | Gender and Nation in Europe, Selections from the Sir Mark Fehrs Haukohl Photography Collection | | | | | | | | ... until 13 February 2022 | | | | | | | | | | | | | | In the Now explores and challenges traditional categories of gender, nation, and photography, featuring works made since 2000 by women artists born or working in Europe. Many artists contend with representations of the body, with individual perspectives on beauty, femininity, objectification, and what it means to be an artist who identifies as a woman today. Though born or based in Europe, these artists may or may not locate their practices geographically or in accordance with nationalistic assumptions around identity. Finally, the wide-ranging material and conceptual approaches testify to the expediting force of technology, which has made photography subject to greater circulation, alteration, and abstraction. Selected from the collection of Sir Mark Fehrs Haukohl—donated to LACMA and the Brooklyn Museum in 2021—the exhibition suggests that women photographers practicing in Europe today are global citizens pointing toward a future in which limiting statements can yield to productive questions. | | |
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| | | Gillian Wearing in collaboration with Wieden+Kennedy, Wearing, Gillian, 2018. Color video, with sound, 5 min. Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Photography Council, 2019.67. © Gillian Wearing, courtesy Maureen Paley, London; Tanya Bonakdar Gallery, New York/Los Angeles; and Regen Projects, Los Angeles. | | | | | | | | .... until 13 June 2022 | | | | | | | | | | | | | Profoundly empathetic and psychologically intense, Gillian Wearing’s photographs, videos, sculptures, and paintings probe the tensions between self and society in an increasingly media-saturated world. Gillian Wearing: Wearing Masks is the first retrospective of Wearing’s work in North America. Featuring more than 100 pieces, the exhibition traces the artist’s development from her earliest Polaroids to her latest self-portraits, all of which explore the performative nature of identity.
Wearing’s work often involves her asking a diverse group of volunteers to represent their authentic selves, a process that highlights distinctions between public and private identities, and spontaneous versus rehearsed behavior. For her landmark piece Signs that say what you want them to say and not Signs that say what someone else wants you to say (1992–93), Wearing photographed strangers holding placards with messages they wrote themselves. In so doing, she changed the terms of documentary street photography and performance art by giving voice to the subjects of her art. Wearing also repeatedly turns the camera on herself to examine how one’s sense of self is established within familial, social, and historical contexts, especially in the aftermath of traumatic experience. Throughout her works, masks serve as both literal props and metaphors for the performances each of us stage every day as individuals and as citizens.
Gillian Wearing: Wearing Masks is organized by Jennifer Blessing, Senior Curator, Photography, and Nat Trotman, Curator, Performance and Media, with X Zhu-Nowell, Assistant Curator, and Ksenia Soboleva, Jan and Marica Vilcek Curatorial Fellow. The show is accompanied by a comprehensive monograph that will survey the… | | |
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| | | | | | | | Adam Broomberg, Glitter in My Wounds #1 , 2021, C-type hand print, unframed, 20 x 16 inches (50 x 40 cm), Edition 2 of 3, +1 AP |
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| | | | | | | | | | | | | | Wed 12 Jan 17:00
– 19 Feb 2022 | | | | | |
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| | | 유크로니아 Uchronia 2111-2, 42x80.5cm, Pigment print,2021 | | | | | | | | ... until 19 February 2022 | | | | | | | | | | | | | | The Museum of Photography, Seoul(MoPS) holds a solo exhibition, entitled mirrorscape , of artist CHO Duck Hyun, who has presented ‘photo-like’ drawings and installation works in which faded photos are transferred to canvas. In this show, CHO introduces not only photography, but also various works that have been used photography as motifs. It is an exhibition that shows the artist's thoughts on the role, meaning, and relationship with other genres of photography that have been asked and conceptualized through his work along with his idea of "photo-like picture, picture-like photo." Since the 1990s, CHO has been working on ‘photo-like’ drawings that recall and re-illuminate the figures of the past in the photos by using pencils and charcoal to elaborately transfer them on canvas. Photography, which guarantees the facts of the past, is an important medium that forms the starting point and foundation of the artist's work. The exhibition introduces about 30 pieces of ‘picture-like’ photographs, including the series of mirror walk, uchronia, and painterly, as well as 6 large-scale installations, and 5 middle and small-scale paintings. Among them are installation works and drawings that homage to Korean modern and contemporary photography collection of MoPS. Furthermore, approximately 200 photographic works will be shown on FHD display. In this exhibition, the mirror is a key device and a keyword. The artist place photography in a cube filled with mirrors or by installing a mirror under the canvas to create a double image through mirror reflection. In addition, the works directly reveal the image reflected in the mirror like decalcomania, or are closely connected in the form of 'black & white and color' and 'photo-like picture and picture-like photo' facing each ot… | | |
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| | | | | | | VITA MACHINICALIS
inkjet print, 2018 |
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| | | | | | | | ©Ayano Sudo, Courtesy of MEM |
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| | | Claudia Andujar, The young Susi Korihana thëri swimming, infrared film, Catrimani, Roraima, 1972-74 © Claudia Andujar | | | | | | | | ... until 13 February 2022 | | | | | | | | | | | | | For five decades, photographer Claudia Andujar (b. 1931) has dedicated her life and work to the indigenous Yanomami communities in the Amazon region of Northern Brazil. In the late 1970s, when the community found itself subjected to severe external threats, the Swiss-born photographer, who is based in São Paulo, began fighting for the Yanomami’s rights. She subsequently went on to join the community, thus deepening relations between them.
Her fourteen-year battle alongside Yanomami leader Davi Kopenawa and other concerned parties led to an official demarcation of the community’s land in 1992. Today, Andujar’s activist efforts are as relevant as ever – as is illustrated by current events, such as the ongoing deforestation and environmental destruction caused by mining and ranching, human rights violations in the region or the spread of malaria and COVID-19. The exhibition brings into focus the humanitarian and environmental crises that have been exacerbated by the pandemic.
The exhibition Claudia Andujar: The Yanomami Struggle, which brings together photographs, audiovisual installations, Yanomami drawings and other documents, is based on two years of research in Andujar’s archive. It is the first major retrospective dedicated to the work of the Brazilian activist, a survivor of the Holocaust, who has devoted her life to photographing and defending the Yanomami. | | |
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| | | | | | Butterflies Frolicking on the Mud: Engendering Sensible Capital | | | | | | | – 31 Mar 2022 | | | | | |
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| | | | | | 19 exhibitions of Greek and international photography, of 94 artists from 18 countries | | | | | | | – 20 Feb 2022 | | | | | |
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| | | | African Photobook of the Year | | | | Call for Entries: until 1 March, 2022 | | | The prize will apply to a book published between January 1, 2019 and January 1, 2022.
www.eigerfoundation.org | | | | | | | | | | | | | Initiated by the EIGER FOUNDATION in September 2021, the EIGER FOUNDATION African Photobook of the Year Awards celebrates the photobook’s contribution to the evolving narrative of photography, with a focus on the African continent.
1. Conditions for Entry
* The EIGER FOUNDATION African Photobook of the Year Award distingues a book in which the dominant content is photography, featuring the work of one or more photographer(s). The book must be produced in physical form.
* Books must be produced or published between January 1, 2019, and January 1, 2022.
* Entries for either award may only be submitted by the photographer, the publisher, or a third party acting with the consent of the photographer.
* Books must be by an African photographer or a publisher established on the African continent.
* Books on an African theme by non-African photographers or non-African publishers are also admitted.
* Exhibition catalogues or museum publications, as well as text-only publications, are not eligible.
* The book may be comprised of photographs of any genre or topic.
2. How to Enter
You can generate your submission here before March, 1, 2022.
Please note that you will need to provide the following information on the submittable entry form:
* Book title, year of publication, and publisher information
* Book blurb, a short description/summary of the book
* The photographer or author’s name
* Book dimensions, number of pages
* Distribution information
* An image or render of the book cover (JPG file)
* A digital copy of your book in PDF format
There is no fee for the entry for the Eiger Foundation Book Awards.
By submitting your work to the EIGER Foundation African Photobook of the Year Awards, you are found to be in agreement of the terms and conditions. | | |
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| | August Sander: Zirkusartisten, 1926–1932
© Die Photographische Sammlung/SK Stiftung Kultur August Sander Archiv, Köln
VG Bild-Kunst, Bonn, 2021 | | | August Sander Award - Prize for Portrait Photography 2022 | | | | Open for artists up to 40 years old | | | | Deadline: 28 January 2022 | | | | Application: here | | | | | | | | | | | | | The August Sander Prize for portrait photography, donated by Ulla Bartenbach and Prof. Dr. Kurt Bartenbach, will be awarded for the third time in 2022 in cooperation with Die Photographische Sammlung/SK Stiftung Kultur, Cologne.
The idea behind the award is to promote young contemporary artistic approaches in the sense of objective and conceptual photography. Against the background of August Sander's important portrait photographs, the photographic works of the applicants should primarily relate to the theme of the human portrait. The prize is awarded every two years. Eligible are national and international artists up to and including the age of 40 with a focus on photography. The prize is endowed with 5,000 €. In addition, the Photographische Sammlung/SK Stiftung Kultur will organize an exhibition of the award winner's work, if possible and by individual agreement.
A series of no more than 20 photographs that has already been largely developed is suitable for submission. Only works that follow a thematically bound image group or sequence will be evaluated; individual images will not be considered. The works submitted should not have won a prize in other competitions.
The jury is composed of five members Albrecht Fuchs, artist, Cologne; Dr. Roland Augustin, Saarlandmuseum/Moderne Galerie, Saarbrücken; Prof. Dr. Ursula Frohne, art historian, Westfälische Wilhelms-Universität, Münster; Dr. Anja Bartenbach, donor family, Cologne; Gabriele Conrath-Scholl, director, Die Photographische Sammlung/SK Stiftung Kultur, Cologne.
A shortlist will be published at the end of March 2022. The winner, resulting from the shortlist, will be announced at the end of April 2022.
The award ceremony will take place in September 2022 at Die Photographische Sammlung/SK Stiftung Kultur in a festive setting in Cologne.
The deadline for entries is January 28, 2022.
The detailed call for entries can be downloaded here | | |
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© 12 January 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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