| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 1 – 7 September 2022 | |
|
| |
|
| |
| |
| | Images Vevey, the most notable visual arts biennial in Switzerland is back, with a new constellation of stars and, as always, its unique concept of custom-made photography exhibitions and installations for one and all to discover free of charge, exclusively throughout the town of Vevey from 3 to 25 September 2022. The Biennial presents the opportunity for Images Vevey to showcase its very own publishing house for photography books: Editions Images Vevey.
For over three weeks, the town of Vevey will be displaying 50 custom-made photography installations for visitors to explore free of charge. The biennial event creates links by bringing together the artwork of over fifty artists from 25 countries including Japan, Guatemala, Spain, Italy, India, and South Africa, all focusing on the theme Together. La vie ensemble. |
| | | | | | | | | |
|
|
| |
| | The idea and main goal of BERLIN PHOTO WEEK 2022 is to combine contemporary and traditional photography. The festival is presenting iconic photography from 75 years of MAGNUM Photos, new talents and award-winning photographers from different disciplines and integrate Berlin's vibrant art scene with many galleries, artists and creative corners. |
| | | | | | | | | |
|
|
| |
| |
|
| |
| |
|
| |
| |
| | ADEOLU OSIBODU
NEVER ENOUGH TIME, 2020
Gliclée print on Hot Press Natural
image size 70 x 56 cm
Edition of 10 plus 2 artist's proofs | | | | | | | | | | | 27 August - 25 September 2022 | | | | | | | | | | | | | With Maurice Mbikayi and Adeolu Osibodu, ARTCO Galerie Aachen presents two emerging artists from Africa.
Maurice Mbikayi was born in 1974 in Kinshasa, Democratic Republic of Congo. He obtained a BA in Graphic Design in Kinshasa and completed his Master of Fine Arts at the University of Cape Town in 2015.
Mbikayi questions the proliferation of technological trade in our geopolitical system. The dependence of technology on mining, for example, has left African countries and their populations vulnerable to resource exploitation and the abuse of low-wage labour. Mbikayi collects remnants of rapidly developing technology and incorporates them into his work. This results in sculptures, works on paper, photographs and performances that relate the materials to their political context.
Mbikayi has been featured in exhibitions around the world, including Belgium, Germany, Austria, Italy, South Africa, the DRC and the USA.
Adeolu Osibodu, born in 1997, is a photographic artist from Lagos, Nigeria.
He began to explore photography at the age of 18. Osibodu was constantly moving between dreams and ideas at a young age. Inspired by life and his experiences, he witnesses moments in time that express a sense of multi-reality, hallucination and a sense of lost memory. Photography became his refuge and visual diary - his home.
Osibodu's work has been shown in exhibitions in Germany, France, Nigeria, Canada and the USA, among others. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Barge Reflection, Miami River, 2021, from the series Floridas | Archival Pigment Print | 100 x 80 cm | Ed. 5 + 2 AP | | | | | | | | 2 September – 8 October 2022 | | | | Opening reception: Friday 2 September 17:00 | | | | | | | | | | | | | Florida. The political swing-state. The swampland paradise. The refuge of excess. The tourist fantasy. The real estate deception. The sub-tropical fever dream. The elusive place where image and reality become inseparable. Floridas, a recent series by the American photographer Anastasia Samoylova (b. USSR, 1984), documents it all in a layered portrait of contemporary Florida. The project establishes a dialogue with the oeuvre of Walker Evans, employing a visual language similar to his detached and laconic imagery. The book Floridas was published in 2022 by Steidl and edited by David Campany. It combines Samoylova’s contemporary photographs with the historic archive of Florida images by Walker Evans, obtained from The Met Museum’s digitized collection.
In 1934, Walker Evans created a list of subjects for documenting the "American life" as he was staying in Florida. People of all backgrounds, from the upper class to the new down-and-out. Automobiles and the automobile landscape, architecture and the American urban taste. The commerce of small and large scale, the city street ambiance and the hateful stuff. Amusement industry, fake culture, bad education, religion in decay. This is just a part of the topics reflected in Evans’ photography. Anastasia Samoylova has aimed her lens at similar subjects of culture and social values as Walker Evans between the 1930s and the 1970s. Both photographers observe, document and elegantly keep subjectivity out of the frame.
The semantics of the everyday and the framing angle give away the similarities between the working methods of Evans and Samoylova. There is a certain alerting hollowness behind the rust, the glossy cars and the pristine pinks of Florida’s buildings… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Performance, 2022 © Michael Bailey-Gates/td> | | | One of a Kind | | | | A 10-year anniversary show with unique pieces | | | | | | | 3 September - 22 October, 2022 | | | | Opening: Saturday, 3 September, 5 - 7pm | | | | | | | | | | | | | The Ravestijn Gallery is thrilled to announce "One of a Kind", a specially conceived exhibition to mark and celebrate the gallery’s 10 year anniversary. To reflect this unique occasion, the exhibition will bring together a selection of new and, unique and previously unseen works, each made a by a different artist the gallery represents or has worked with in the past.
When, in 2012, Narda van ‘t Veer and Jasper Bode founded "The Ravestijn Gallery", they were amongst the few galleries in the Netherlands who felt photography was more than simply a way to hold a mirror up to the world. Instead, photography for them was a means to do more; to interrogate, to imagine, to construct, to play. Whilst others sought to exhibit only what they deemed beautiful, Jasper and Narda sought to exhibit what they found compelling. Such art did not always meet what many expected from photography. It was not always flat, it was inquisitive, it often eschewed likeness and sometimes made no attempt to hide the marks and manipulation of the artist. Whilst this type of photography had lived under the umbrella of conceptual photography since the 1960s, many galleries in the Netherlands were reticent to exhibit it. As such, it was The Ravestijn Gallery’s openness to what photography could be that established it as a place apart from what existed at the time. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Johanna-Maria Fritz: Afghanistan, 2017
© Johanna-Maria Fritz | | | | | | Dancing through Times of Uncertainty | | | | 1 September – 29 October, 2022 | | | Special opening hours during BERLIN PHOTO WEEK:
1 - 4 September, 12 - 6pm | | | | | | | | | | | | | CHAUSSEE 36 Photo Foundation showcases two exhibitions for this year's BERLIN PHOTO WEEK. The exhibitions were conceived parallel to one another, making room for dialogue between them. The first exhibition, "Dancing through Times of Uncertainty", presents the works of Magnum photographer Inge Morath (1923-2002) and Johanna-Maria Fritz (*1994), recipient of the Inge Morath Award, to commemorate Magnum Photo's 75th anniversary. "Updating a Family Album" is the second exhibition on view and it features the works of the acclaimed Iranian photographer Malekeh Nayiny (*1955).
The photographs selected for this exhibition present a more complex perspective than the images we know from our news channels of countries such as Iran, Afghanistan and Palestine. Inge Morath and Johanna- Maria Fritz’s photograph performers- jugglers, clowns, musicians and dancers- in countries known for their political conflicts and difficult living conditions. Arts and entertainment meet a harsh reality. We see people mourning by a grave at a refugee camp. We also see armed soldiers surveilling the Gaza strip, yet a colourfully dressed clown on stilts looks back at them holding his juggling pins. Creativity and freedom of expression can also be found in harsh environments.
Inge Morath documented everyday life on the streets of numerous countries, particularly Iran, throughout her career as a photographer. Her subjects included musicians, dancers and other artists. The exhibition assembles some of the photographer’s iconic works as well as her lesser-known works. The photographs, most of which were taken in the 50s and 60s, carry a timeless aesthetic that is simultaneously gentle and energetic.
Morath was one of the first female phot… | | |
| |
|
|
| |
| |
| | Malekeh Nayiny: Friday at my Grandmothers House, 2004
© Malekeh Nayiny | | | | | | | | 1 September – 29 October, 2022 | | | Special opening hours during BERLIN PHOTO WEEK:
1 - 4 September, 12 - 6pm | | | | | | | | | | | | | | | Malekeh Nayiny is one of the most prominent Iranian photographers of our time. Nayiny left Iran to study but was unable to return home when the Iranian Revolution struck. She was finishing up her BFA at Syracuse University in New York when her family advised her to stay abroad. She enrolled in an Advanced Photography Course at the International Center of Photography and later continued her studies in Paris where she currently resides.
"Updating A Family Album" consists of digitally re-worked family photographs and is Malekeh Nayiny's most well-known series of works to date. The original family photographs were taken before the Iranian Revolution (1979). The women in her family appear to wear voluminous hairstyles and are bare-legged. Nayiny integrates western landscapes, postal stamps, accessories, and colour into the images, a gesture that assimilates her own biography. Her experimental practice continuously refers to her present surroundings as they relate, or rather clash with, the history of her country. Her family history, memory, and personal insights are integral to her practice. Her works put forward an intimate insight into the disconnected cultural influences of her upbringing in and outside Iran.
"Updating a Family Album" romanticises a place that never was and provides an insider's perspective on Iran which compliments the observations put forward in Dancing through times of Uncertainty. While Morath and Fritz capture life and people in the countries they visit, Nayiny’s works reveal her and her family's experiences as native Iranians. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
| |
|
| |
|
| | | | | | | | © Maria Jauregui Ponte, Hondarribia 2012, Pigmentprint |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| | | | | | | | Holger Biermann: "Original! Berlin", Tempelhofer Feld, Berlin, 2006 |
| | | | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Dennis Stock
Montgomery Clift during the shooting of "The Misfits", Nevada, USA, 1960
© Dennis Stock / Magnum Photos | | | | | | | | | | | 3 September – 20 November, 2022 | | | | Opening: Friday, 2 September, 6pm | | | | | | | | | | | | | "Magnum Photos. The Misfits" in the project room of the Helmut Newton Foundation is the second parallel exhibition to the extensive main exhibition "HOLLYWOOD" on the museum’s upper level. With "The Misfits", we look back to an important era of major film productions. Arthur Miller’s play was filmed by John Huston in 1960 with a star-studded cast, and nearly all of the Magnum members took photographs on its set in Reno. This was the first and only such occasion with this combination of participants. We see Marilyn concentrating on her lines in a shot by Inge Morath, Montgomery Clift in the rear of a car, photographed by Dennis Stock, and the famous group shot with the actors and actresses flanked by the director and writer, photographed by Elliott Erwitt. In addition, the exhibition brings together photographs from the film set by Henri Cartier-Bresson, Bruce Davidson, Cornell Capa, Ernst Haas, and Erich Hartmann – in short, a who’s who of the history of photography at that time.
The Magnum members make us posthumous witnesses to the making of a Hollywood classic while remaining almost invisible during their work. This marks a shift from the staged star photos of earlier times, carried out on behalf of the major film studios, which we encounter in the "HOLLYWOOD" exhibition on the upper floor, and a decisive development in the visualization of cinema.
Some of "The Misfits" images by Inge Morath and Eve Arnold are also on display in the main exhibition, opposite set photographs by Steve Schapiro, who accompanied Polanski’s film Chinatown in the mid-1970s. In a way, these serve as a link to the display of nearly 50 black & white images in the Project Room on th… | | |
| |
|
|
| |
| |
| | | | Steve Schapiro
Jack Nicholson as Jake Gittes in 'Chinatown' by Roman Polanski
Los Angeles 1974
© Steve Schapiro | Helmut Newton
Elizabeth Taylor, Vanity Fair
Los Angeles, 1989
© Helmut Newton Estate |
| | | | | | | | | | | | | ... until 20 November 2022 | | | | | | | | | | | | | On 2 June 2022, the Helmut Newton Foundation in Berlin will open its new exhibition "HOLLYWOOD" featuring works by Eve Arnold, Anton Corbijn, Philip-Lorca diCorcia, Michael Dressel, George Hoyningen-Huene, Jens Liebchen, Ruth Harriet Louise, Inge Morath, Helmut Newton, Steve Schapiro, Julius Shulman, Alice Springs, and Larry Sultan. Photographs by George Hurrell and publications by Annie Leibovitz and Ed Ruscha will also be on view in glass displays.
Helmut Newton is always the point of departure and reference for group exhibitions like this one. His photographic works often include references to film and even quote specific scenes, such as by Alfred Hitchcock or the French Nouvelle Vague. Starting in the 1960s, some of his fashion photographs seem cinematic in their staging, while from the 1970s onward, some of his portraits look like artful film stills. In the 1980s and ‘90s, Newton photographed actors at the Cannes Film Festival and fashion on the Croisette.
In addition to those images by Newton, this new group exhibition features 13 photographers and their interpretations of Hollywood, presented as usual in larger groups of works. The main exhibition space is dedicated to the medium of film and the Hollywood system. It features portraits of actors from Hollywood’s early years by Ruth Harriet Louise and George Hoyningen-Huene, as well as later film stills and on-set photographs by Steve Schapiro and several Magnum photographers, including Eve Arnold and Inge Morath, who documented the 1960 production of the John Huston film, Misfits. | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | | Thomas Hoepker: New York City, Lovers Lane, 1983 © Thomas Hoepker / MAGNUM PHOTOS | | | | | | | | 4 September – 20 November 2022 | | | | Opening reception: Saturday 3 September 18:00 | | | | | | | | | | | | | | Thomas Hoepker became a full member of the Magnum Photos agency in 1989 and served as its president from 2003 to 2007. The exhibition My Way celebrates Thomas Hoepker with a tribute to his adopted country – the USA, especially New York City. Large-format color photographs from the Big Apple in the 1980s are juxtaposed with a selection of shots from his first legendary road trip across the US in 1963. This photo reportage for the magazine Kristall shows the extraordinary talent of the then- young photographer. Hoepker found his subjects on this journey, creating visual narratives that move us to this day: precisely observed situations from day-to-day life on the streets, in casinos and bars, back alleys, and poverty-stricken neighborhoods. This close and intense look at a country marked by racial discrimination, mass consumption, and spirituality marked the start of Thomas Hoepker’s career in photojournalism. The selection of large-format color photographs from the 1980s perfectly captures the myth of New York – with kissing couples at a lonely spot before the Twin Towers, pop art icon Andy Warhol in a theatrical moment, and Central Park, filled with a crowd of thousands, captured from a spectacular bird’s-eye view. With these images, in dialogue with the black-and-white photographs taken two decades earlier, the exhibition My Way presents a photographic era spanning the country, its history, and those shaping that history. The images decipher the myths of the time, even while becoming mythical images themselves. With the new works, the exhibition comes full circle back to his first trip, generating a sense of the “visual transatlantic feedback” that fascinates us to this day. | | |
| |
|
|
| |
| |
|
| | | | | | | | Stefanos Pavlakis / Sabine Wild: "Horseshoe Bend Revisited", 24 x 18, Pigmentdruck, gerahmt, Edition 3 |
| | | | | | | | | | | | Sat 3 Sep 19:00
4 Sep – 1 Oct 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| | | | | | | | "Mann mit Mütze, 2004" aus "beautiful" 2002 – 2013 © Loredana Nemes |
| | | | | | | | Fotografien und poetische Texte | | | Sun 4 Sep 12:00
4 Sep – 23 Oct 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | © Sebastião Salgado
Shaman Ângelo Barcelos, Yanomami Indigenous Territory, State of Amazonas, Brazil, 2014.
Gelatin Silver Print | | | | | | | ... until 1 October 2022 | Robert Klein Gallery, Boston | | | | | | | | | | | | | Acclaimed Brazilian photographer Sebastião Salgado has created numerous in-depth bodies of work documenting life on Earth, from crushing images of unimaginable hardship facedby gold miners in Brazil and pictures of hell on earth from blazing oil wells in Kuwait toscenes of serene, magnificent wilderness, Salgado has touched the depths of the human condition. Through his expansive, yet finely detailed black-and- white photographs, Salgado reveals both awe-inspiring and horrifying scenes from some of the most far-flung corners of the world, presenting us with his own unique vision of our vast planet.
Sebastião Salgado was born in 1944 in the Brazilian mining state of Minas Gerais and now lives in Paris. Initially an economist with the World Bank, Salgado began his photographic career in Paris in 1973. He worked with the Sygma, Gamma, and Magnum Photos agencies until 1994, when he and his wife Lélia Wanick Salgado founded Amazonas Images, dedicated exclusively to his work. He has traveled to morethan 100 countries for his photographic projects, resulting in many books including Other Americas (1986); Sahel, lʼhomme en détresse (1986); Sahel: the end of the road (1988); An Uncertain Grace (1990); Workers (1993); Terra (1997); Migrations and Portraits (2000); Africa (2007), Genesis (2013) and Amazonia (2021) | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Aloha Wear(y) © Brandon Ng |
| | | | | | | | | | | | Fri 2 Sep 17:00
2 Sep – 21 Sep 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | | Anne Pöhlmann 2022, DARKRED_2013_0186 crop
32 × 25 cm, Foto Transferdruck auf Mikrofaser
© Anne Pöhlmann 2022 | Natascha Borowsky, untitled 17, 2020
52 x 43 cm, analoger C Print,
© VG Bild Kunst, Bonn 2022 |
| | | | | | | | | | | ... until 30 October 2022 | | | | | | | | | | | | | Natascha Borowsky (*1964 in Düsseldorf), former student of Bernd & Hilla Becher and Anne Pöhlmann (*1978 in Dresden), former student of Thomas Ruff and Rita McBride, represent different photographic approaches representing two generations of Düsseldorf photography. Textiles, fabrics, and materiality in general permeate the exhibits in this exhibition. Their use on the motivic level or as image carriers, or as an extension of the image, marks a common interest that needs to be described and distinguished according to the artists' individual approaches.
Natascha Borowsky works predominantly with the classical means of analog photography in recording and enlargement. Her pictorial strategy is ostensibly documentary, with an emphasis on the still-life genre. Found objects of natural or civilized origin form the starting elements of her pictorial compositions: Stones, shells, dried parts of plants, objects from the Asian art of healing or found objects from cultic contexts. Likewise, she arranges deformed plastic scraps, styrofoam objects, or bars of soap in her paintings. The objects are placed on more or less colored textile pictorial backgrounds and photographed in daylight.
The works on display originated in the context of a working fellowship in Mumbai, which the artist completed in 2012 at the invitation of the Kunststiftung NRW (Arts Foundation of North Rhine-Westphalia). This is true for the photographs taken in 2013/14 as part of the series "untitled", this is even more recognizable for the works from the series "transition" from 2014 to 2017. In this series, the artist performs a change of perspective for the first time, from small-format object photography to large-format landscape sections. The selected views visualize situations … | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Thomas Wrede
Rhonegletscher III (Triptych)
pigment print on Fine Art Paper, 2019
150 x 280 cm (3-teilig)
© Thomas Wrede, VG Bild-Kunst, Bonn 2022 | | | | | | | | 2 September - 29 October 2022 | | | Opening as part of »DC Open« gallery weekend
Friday, 2 September, 1—9 pm
Saturday, 3 September, 1—7 pm
Sunday, 4 September, 1—5 pm | | | | | | | | | | | | | The boundaries of staging and reality have always been in a tense relationship in Thomas Wrede's photography. Landscapes are his main subject: here he is concerned with constructions that he seeks out in nature or that he recreates, as in his series of Real Landscapes. The former began with one of his earliest series Samsö from the 1990s: mountains of plastic sheets on the Danish island of the same name, which develop an oppressive beauty in nature in atmospheric black-and-white photography.
With his latest series of glacier pictures, Thomas Wrede takes up this aspect and finds stagings in the Alpine mountains in which man has played a decisive role. The starting idea of his glacier photography is the wrapped landscape. To counteract the melting of the glaciers, the ice is covered over large areas - temporarily or permanently. These presented stagings are an interplay of the weathered fleece covers and the visible consequences of the rapid melting of the ice caused by climate change. The artist is not interested in documenting this process - the result of his artistic examination of the glaciers are disturbingly beautiful images. As in Wrede's earlier groups of works, the series of glacier pictures thus lies motivically between idyll and catastrophe.
The series began in 2017 with photographs taken on the Rhone Glacier in Switzerland. Here there are both exterior views 'outside' and interior shots 'inside' the glacier cave there. The weathered covers - dirty and blown away - reveal boulders and dirty snow. The morbid aesthetics of the drapery, the chosen detail and the myriad nuances of grey tones create very unique painterly motifs.
Shots from inside the glacier cave create an exciting interplay in … | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Iris Hutegger, 2106 - 532, 2021
Analog photography, silver gelatin print, cotton thread 75 x 110 cm, unique
© Iris Hutegger, courtesy Galerie Esther Woerdehoff | | | | | | | | ... until 24 September 2022 | | | | | | | | | | | | | The exhibition No Wind Today is devoted to the work of the Austrian artist Iris Hutegger, where photography and embroidery meet. Her works are unique pieces that raise the question of our reaction to the flood of images in an era of hyper-reproducibility.
Iris Hutegger takes analogue photographs of the mountains on a colour negative, enlarges the resulting images and prints them in black and white. The image is then subjected to the slow and delicate process of embroidery on her sewing machine.
The landscapes Iris Hutegger creates are the layers of an intimate geology.
Her approach is to erase the landscape until it is almost naked, by means of discolouration. The mountain thus becomes a blank page on which her inner world comes to life. In these landscapes, captured during trips to the Alps, Iceland and elsewhere - the precise locations do not matter - the artist tries to find a grey matter.
Everything starts with a black and white print.
Photography is the place of revelation, the mental space where vision takes shape through embroidery. The coloured threads in turn shape the landscape and awaken the image to its lost meaning. They animate the static dance of the rocks and form an organic structure that brings the landscape out of its coldness and silence.
« I am fascinated by the subject of perception, the questions of reality and illusion, of location and delocalisation. Analogue photography with its reference point
in the real world is necessary so that I can play with perception and illusion by manipulating the image through stitching. »
Iris Hutegger's approach is that of dissolving topographical markers in order to bring out what she calls "a real image of fiction". The threads of colour phagocy… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Mila Teshaieva: aus der Serie "Moments of Life: Diary from Kyiv", 2022 | | | | | | | A cooperation with Odesa Photo Days Festival | | | | | | | 3 September – 6 November 2022 | | | | Opening: Friday, 2 September, 7pm | | | | | | | | | | | | | The exhibition "THE NEW ABNORMAL" at PHOXXI, the temporary House of Photography of Deichtorhallen Hamburg, is a cooperation with Odesa Photo Days Festival under the direction of Kateryna Radchenko. From September 3 to November 6, 2022 works by twelve Ukrainian photographers will convey an impression of everyday life in the face of the war.
The escalation of war and the full-scale invasion of the Russian troops into the territory of Ukraine on February 24, 2022, had a significant impact on the course of history and life in Ukraine. These events have affected every citizen of the country and all the spheres of social and political life. In an instant, life has divided into "before" and "during." The Ukrainian people went through all the stages of transformation—shock, denial, fear, acceptance, and adaptation.
The goal of the exhibition is to show a new form of life during the war, the processes of adaptation in the social and public space, the transformation of usual rules of conduct and daily routines, and the combination of emotional states of fear, anger, and joy.
The international festival of contemporary photography Odesa Photo Days was founded in 2015 as a reaction to the war Russia started in the eastern part of Ukraine accompanied by the outbreak of propaganda and media manipulation. Held annually for 7 years, Odesa Photo Days Festival in 2022 was canceled due to the full-scale Russian attack in February. Now the festival team is working to spread the word about the situation in Ukraine and to support Ukrainian documentary photographers and photography-based artists affected by the war. Among the House of Photography of the Deichtorhallen Hamburg the… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Katja Stuke, Osaka, 2006 | | | Photographic Concepts and Treasures | | | | Works from the Collection Part 2 – Urban Life, Architecture, Industry | | | | | | | 2 September, 2022, to 8 January, 2023 | | | | | | | | | | | | | With the interlocking themes of "Urban life, architecture, industry", Die Photographische Sammlung/SK Stiftung Kultur is once again presenting a selection from its own holdings with historical and contemporary series of works in its anniversary year. The exhibits in this exhibition were collected over a period of about 30 years, some of them have already been shown in presentations, others are being presented for the first time. In total there are over 300 exhibits by 21 photographers from Germany, Italy, the USA and Japan, who have realized their works in various cultural contexts.
But as different as the concepts of the image authors are, they are united by the motivation to capture the environment they experience in visual documents and to convey it in the most differentiated and authentic way possible. What captivates them is the visual exploration of the world, as well as the possibilities of an aptly designed photographic realization with a far-reaching withdrawal of their own influence. Buildings, products, constructions, specific inventions, production processes, equipment, as well as interventions in the landscape are brought before the eye and transformed into revealing views and series of works. Measures to secure livelihoods and to meet needs, aesthetic ideas and cultural identities emerge. The focus is on evolved structures, moments that have been overlooked or those owed to chance. They are examined concisely, humorously and critically. Direct images of people tend to recede into the background, no matter how much their everyday life and work is often the origin of what is reflected in the photographs shown and becomes the motif of the picture. What becomes clear is that urban life moves within the framework of a wealth of architectura… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Self-portrait from the Shelton Hotel Looking East, 2005 © Arno Rafael Minkkinen | | | | | | | | ... until 27 November 2022 | | | | | | | | | | | | | Finnish born Arno Rafael Minkkinen became a writer and photographer in America before becoming a teacher in Fin- land. Like a triplestranded coil of climbing rope, Minkkinen has interweaved his three pursuits continuously into his life as a Finnish American artist, essayist/curator, and educator for more than five decades now. After obtaining a Bachelor of Arts degree in English from Wagner College, Minkkinen launched into a career as a Madison Avenue copywriter. A headline he wrote for Minolta cameras (What happens inside your mind can happen inside a camera) persuaded him to take up photography at Rhode Island School of Design where he earned a Master of Fine Arts degree studying there from 1972 to 1974 with Harry Callahan and Aaron Siskind. With double two-year stints (the mid-1970s and mid- 1980s) teaching at Helsinki’s University of Industrial Arts (Aalto University today) and four years as assistant professor at MIT, Minkkinen served 28-years as a tenured Professor of Art at the University of Massachusetts in Lowell where he holds a Nancy Donahue Emeritus Professorship today. Along with a ten-year parttime teaching stint at Vevey’s École d’Arts Appliqués in Switzerland, Minkkinen also serves as a docent at Aalto University in Helsinki.
Major monographs include Frostbite (Morgan & Morgan, 1978); Waterline (Marval, Aperture, and Otava, 1995 (Grand Prix du Livre, 25th Rencontres d’Arles); Body Land (Motta, Nathan, and Smithsonian Institution Press, 1997); SAGA: The Journey of Arno Rafael Minkkinen: Thirty-Five Years of Photographs (Chronicle Books, 2005); Homework: The Finnish Photographs, 1973 to 2008; Balanced Equation (Lodima Press, 2010); and Minkkinen (Kehrer Verlag, winner of th… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Martine Gutierrez, Supremacy, 2021. Collection of the artist; courtesy Ryan Lee Gallery, New York | | | | | | | | 2 September 2022 – 1 March 2023 | | | | | | | | | | | | | In Martine Gutierrez’s Supremacy a brunette model lies on a saccharine pink shaggy rug—her “broken doll” pose recalls Tyra Banks’s early-aughts show America’s Next Top Model. With mouth open in an apparent state of rapture, the model is played by LGBTQ rights activist and artist Martine Gutierrez (b. 1989), in an image that she also conceived, produced, and photographed. Blonde Barbie-like dolls are scattered across her body, echoing her lingerie and pose. Closer inspection reveals, however, that these are not innocent dolls. One pulls Gutierrez’s hair, another pushes her thigh. The expression one might have mistaken for pleasure now reads of pain; and the pose, in this context, resembles a chalk outline drawn at a crime scene. In this advertisement, the model is under attack by figurines representing sexist ideals of perfection. Written boldly in white, Supremacy is the brand.
Made in the signature style of Gutierrez’s chameleonic photo-performances, Supremacy continues the artist’s investigation of archetypes of women celebrated by media as brand ambassadors of beauty and authenticity. In this billboard, Gutierrez uses the language of advertisements to expose the ways in which companies are complicit in reproducing ideals anchored in whiteness and gender normativity. In an era of hyper pop-politics circulated by social media where anything can be commodified, can a brand actually be an ally in the fight for liberation? By positioning her body as a target of transphobia and racism, the artist subverts the language of marketing and discloses the ways in which supremacy can replicate in the form of a new ad campaign. Gutierrez’s billboard proposes that supremacy—an o… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Bernd & Hilla Becher
Details, 1983–93
© Estate Bernd & Hilla Becher – represented by Max Becher
Courtesy Die Photographische Sammlung/SK Stiftung Kultur –
Bernd und Hilla Becher Archiv, Köln, 2022 | | | | | | | | ... until 6 November 2022 | | | | | | | | | | | | | In association with Studio Bernd & Hilla Becher and Die Photographische Sammlung/SK Stiftung Kultur, Cologne.
Bernd and Hilla Becher (1931–2007; 1934–2015) are widely considered the most influential German photographers of the postwar period. Working as a rare artist couple, they developed a rigorous practice focused on a single subject: the disappearing industrial architecture of Western Europe and North America that fueled the modern era. Opening at The Metropolitan Museum of Art on July 15, 2022, Bernd & Hilla Becher features some 200 works of art and is the artists’ first posthumous retrospective of their 50-year career. It is organized with full access to the Becher’s comprehensive archive and personal collection of working materials and is the first American retrospective since 1974 (when their mature style was still evolving). | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | JO ANN CALLIS
Untitled, from Early Color portfolio, c. 1976
Archival Pigment print 16 x 20 inch / 40,6 x 50,8 cm
© Jo Ann Callis / Galerie Miranda | | | | | | | | | | | 1 September - 13 November 2022 | | | | | | | | | | | | | To open its autumn 2022 program, Galerie Miranda announces a two-person exhibition by celebrated American artists Jo Ann Callis (b. 1940) and Jan Groover (b.1943-d.2012), both at the heart of the 1970s American 'new color' school of photography. The Paris exhibition will feature selected vintage and contemporary color prints from the landmark series Early Color (1976) by Callis and Kitchen Still Lifes (1979) by Groover.
Working at the peak of the American women's liberation movement, neither artist specifically declared themselves to be feminist artists yet both were producing works within and about their home environment, in the vein of militant feminist artists such as Martha Rosler (Semiotics of the Kitchen, 1975) and Judy Chicago (The Dinner Party, 1974-9). In Los Angeles in the 1970s, Jo Ann Callis was juggling two young children, numerous home moves, night school and a pending divorce. Despite these obstacles, she worked constantly to produce her seminal series Early Color. Influenced notably by Paul Outerbridge but also Hans Bellmer and Pierre Molinier, her cinematographic scenes capture the tensions and anxiety of a claustrophobic domestic environment where freedom, pleasure and curiosity are bridled. Hitchcockian by their exquisite composition, Callis created all the decors for the series that she photographed for the most part in her converted Los Angeles garage, with friends as models and the domestic objects at hand as props - string, tape, sheets, lamps, sand, honey and her household chairs, tables and plants.
Similarly, for her celebrated Kitchen Still Lifes series, Jan Groover created poetry out of a kitchen sink piled up with fork tines, butter knife blades, scalloped… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
| |
| | Kourtney Roy
Marilyn Wig, 2020
Pigment inkjet print on archival paper
40 x 60 cm/ 60 x 90 cm / 80 x 120 cm / 100 x 150 cm, édition de 5
© Kourtney Roy | | | | | | | | ... until 15 September 2022 | | | | | | | | | | | | | Who is Kourtney Roy? By turns rebel woman, fatal beauty or overworked housewife, the photographer plays with stereotypes and enjoys taking on different roles to blur the lines in her colourful self-portraits.
Born in Ontario, Canada, her father was a cowboy... it is not surprising that she conceives the world as a vast movie set ready to welcome her fantasy. Urban landscapes or desert expanses become a set waiting for the artist’s entrance.
Quite an artist... Able to take on all the jobs : from the storyboard she imagines to the styling, including framing, lighting, make-up, directing actors... Kourtney Roy is definitely a jack-of-all-trades.
If the idea of posing in front of the camera while transforming herself is not new - some compare her to Cindy Sherman - few photographers manage to achieve such a degree of perfection in the staging. Without forgetting what makes her work so special, the humour that is always present in her creations.
The exhibition Queen of Nowhere presented at the Galerie Esther Woerdehoff cleverly reminds us of this by mixing several series made over a decade. Enter as fiction, my favourite, which I chose to exhibit at the Festival du Regard in Cergy-Pontoise as part of the "Intime and Autofiction" theme, but also Sorry, No Vacancy and the one that was the subject of her latest book The Tourist, undoubtedly the most mature...
Did her transition to the fortyish got the better of the enfant terrible? On the contrary, here she is, more glamorous than ever, accompanied by handsome men with bulging muscles; Sue Ellen, not yet decadent but already a great lover of cocktails, abandoning the atmosphere of film noir for technicolor blockbusters. As you can… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | Hiroshi Sugimoto, Villa Mazzacorrati, Bologna, 2015
“Le Notti Bianche”, gelatin silver print |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | | | | | | | Thu/Fri 1/2 Sep
3 – 6 Sep 2022 | | | | | |
| | | | | | | |
|
| |
|
|
| |
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | from the series existential boner © Mahalia Taje Giotto | | | The Images Vevey biennal | | | | TOGETHER. LA VIE ENSEBLE | | | | | | | | | | | | | | | | | Programm 2022
It takes all sorts to make a world! By bringing together over 45 artists from some twenty countries, the Images Vevey biennial aims to create links. Despite the current uncertain international context, this is a time for reunion and togetherness.
Our connection with others and with our environment, the importance and fragility of social and family ties, the joys and sorrows when the collective and the individual coexist: These are just some of the topics the 2022 Festival is looking forward to exploring via:
‘Together. La vie ensemble.’
+ 45 ARTISTS + 22 COUNTRIES + 4 WEEKENDS + 3 WEEKS + 1 THEME
THE CONCEPT OF THE EXHIBITIONS
Images Vevey is renowned for the creation of unique scenography and the impressive dimensions of its installations in various parts of the town of Vevey, thus inviting its audience to experience images differently. To arouse festivalgoers’ curiosity, striking new indoor venues nestled in Vevey’s town centre will welcome seasoned Festival regulars and newcomers alike!
L’APPARTEMENT – ESPACE IMAGES VEVEY: A NEW GATEWAY TO THE FESTIVAL
Images Vevey invites visitors to explore its new permanent art space in the heart of Vevey’s train station, formerly serving as railway workers’ housing. L’Appartement – Espace Images Vevey is showcasing projects by four internationally renowned artists: Bertien van Manen, Alec Soth, Gillian Wearing and Carmen Winant.
As is the custom every two years, there is great suspense as to which colossal photograph Images Vevey has selected to entirely cover the frontage of a building, opposite the train station. This edition, let's be teleported to the legendary Milan Cathedral, a photograph taken by Thomas Struth in 1998, printed on a 500 m2 canvas. This famous German photographer invites the festivalgoers to embark on a novel itinerary to discover four of his masterpieces displayed on distinctive buildings around the town of Vevey.
IMAGES VEVEY NOW PUBLISHES ITS OWN BOOKS
Since 2020, Images Vevey has been pursuing its role as a publisher of photographic books and, during the second weekend of the Festival, on Saturday 10 September 2022, it will present its publishing house. The latest Editions Images Vevey publication is Lux in Tenebris by Vincent Jendly, a Swiss artist whose work was exhibited at the 2020 Biennial.
Publication available on our online shop
Presenting the artists and the myriad of topics addressed – love, family, urbanism, technology, science, tourism, politics, life, death, religion, culture, food, sport, hobbies, and much more – our press kit details the entire programme. | | |
| |
|
|
| |
| |
|
|
| |
| |
|
| |
| |
| | | | | | | | CELEBRATE ICONIC PHOTOGRAPHY with MAGNUM Photos | | | | | | | | 2 – 9 September 2022 | | | | | | | | | | | | | | Our idea and main goal: to combine contemporary and traditional photography. We present iconic photography from 75 years of MAGNUM Photos, new talents and award-winning photographers from different disciplines and integrate Berlin's vibrant art scene with many galleries, artists and creative corners. | | |
| |
|
|
| |
| |
|
| | | | | | Theatre of Dreams | | | | | | | 8 Sep – 23 Oct 2022 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | We, on the Rising Wave | | | | | | | 3 Sep – 6 Nov 2022 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
| |
| | | © Ngadi Smart, Port Loko District (Tombotima Community) | | | | | | | re:sources 2.0 | | | | | | | | 27 August - 2 October 2022 | | | | | | | | | | | | | The Fotofestival 2022 will once again bring the world of photography to Lenzburg and Aarau for an entire month and expand its horizons with new exhibition venues, international partnerships and world-famous authors.
The past three years have presented us with enormous challenges and clearly demonstrated how our resources are distributed. Some of us have been deprived of our livelihood, others have been on the verge of losing it, and some have realized how privileged they are. However, we all have one thing in common - we are thankful that the situation has recovered, and we are no longer so limited. We have the opportunity to meet with people again, to be out and explore the world - perhaps more consciously and using our resources more sparingly and considerately.
As already in 2021, the photo festival will explore the theme of resources and develop an artistic approach that seeks to capture moments of world events. The twelve exhibitions and the planned events of the 5th Fotofestival Lenzburg have been chosen in such a way that a constructive dialogue can develop between the exhibitions themselves, but also between image producers and users, i.e. bringing together contemporary positions of Swiss and international authors with their audience on the topic of resources.
For the 2022 edition, the focus is on the relationship between humans and nature, and their interplay in relation to our health, quality of life and sustainability, as well as the major climatic and societal changes we are currently experiencing.
Thanks to contributions from sponsors and partners who support the festival, each year we manage to offer a stage to international but also lesser-known photographers. We aim to engage a wider a… | | |
| |
|
|
| |
| |
|
| | | | | | NORWEGIAN PHOTOGRAPHY NOW | | | | | | | – 4 Sep 2022 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
| |
|
| |
| |
| | | © Helena Blomqvist, Festival La Gacilly-Baden Photo | | | Festival La Gacilly-Baden Photo 2022 | | | | DUE NORTH | | | | | | | | | | | | | | | | | | | | DUE NORTH is an opportunity to highlight the often little-known creative power of artists from Northern Europe who, since the dawn of photography, have maintained an almost carnal connection with the ruggedness of their homeland. For the inhabitants of Denmark, Finland, Iceland, Norway and Sweden, solitude and wild nature are integral to their relationship with the world. They do not exploit the fruits of nature blindly, but try to understand how everything works and observe it with a caring eye. Their knowledge and constant desire to learn more about flora and fauna lead them to be very committed to respecting nature.
It is no wonder that the countries of the North, with their outrageous economic health, are among the most pleasant nations to live. Regularly crippled by frost and cold and accustomed to the great outdoors, they have developed a centuries-old tradition of political consensus, rejection of conflict and social development based on strict conservation of natural resources. In Copenhagen, 40% of the inhabitants cycle to work, in Stockholm the buses run on bioethanol, and in Reykjavik geothermal energy is now commonplace. Some will see the legacy of Lutheranism, others the more distant traces of the Viking tradition. You can't survive in the far north without a certain willingness to adapt. In countries where warmth and light are vital six months out of twelve, the environment is a crucial challenge. So it is understandable that Swedish teenager Greta Thunberg has become the new face of climate change for the world's youth: she knows that melting glaciers and sea ice are not far from home and that it is not a boreal illusion. If your culture is threatened by the effects of global warming, it is your duty to alert the public.
… | | |
| |
|
|
| |
| |
|
|
| |
|
|
| |
| |
|
| |
| |
| | | Alfredo Jaar: Searching for Africa in Life, 1996. Courtesy of the artist | | | | | | | 12 Exhibitions on "CURRENCY" | | | | | | | | EXHIBITIONS until SEPTEMBER 18, 2022 | | | | | | | | | | | | | With twelve exhibitions starting from May 20, 2022, the 8th Triennial of Photography Hamburg will engage the theme of "Currency" from multiple angles and perspectives. From colonial-era photo albums to visual reveries, social documentary and conceptual approaches to photography, the exhibitions explore the polyphonic ways in which photographs are produced, circulated and interpreted. The exhibition parcours through Hamburg was conceived by artistic director Koyo Kouoh and her international team, alongside the curators of the ten participating museums and exhibition venues in Hamburg. The exhibitions will be accompanied by numerous events and a festival lasting several days in June 2022.
At the Hall for Contemporary Art of the Deichtorhallen Hamburg, Koyo Kouoh, Rasha Salti, Gabriella Beckhurst Feijoo and Oluremi C. Onabanjo examine the "retinal age", in which images fundamentally shape acts of seeing and being seen. The exhibition Currency: Photography Beyond Capture weaves experimental modes of portrayal, documentary and multisensory evocation, as entry points into reimagining how knowledge is sought and constructed through the photographic medium.
Two of the triennial’s exhibitions are devoted to photographer Herbert List » The Magic Eye at the Bucerius Kunst Forum presents the first international survey exhibition of his work in more than two decades. The retrospective spans his career from surrealist works to his visions of life in antiquity and extensive pictorial reports of non-European cultures, all the way to the male nudes with which List avowed his own homosexuality. | | |
| |
|
|
| |
| |
|
| | | | | | | | | | annual event showcasing Nordic and international photography in the Greater Helsinki area | | | – 2 Oct 2022 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | open air festival - VISIONS OF THE EAST | | | | | | | – 30 Sep 2022 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
| |
|
| |
| |
| | Yuki Kihara
Fonofono o le nuanua: Patches of the rainbow (After Gauguin), 2020
Image courtesy of Yuki Kihara and Milford Galleries,
Aotearoa New Zealand. | | | | | | | The Milk of Dreams | | | | | | | | ... until 27 November 2022 | | | | | | | | | | | | | The 59th International Art Exhibition of La Biennale di Venezia, titled The Milk of Dreams, will open to the public from Saturday April 23 to Sunday November 27, 2022, at the Giardini and the Arsenale; it will be curated by Cecilia Alemani and organised by La Biennale di Venezia chaired by Roberto Cicutto. The Pre-opening will take place on April 20, 21 and 22; the Awards Ceremony and Inauguration will be held on 23 April 2022
Read the statement by Cecilia Alemani »
Read the statement by Roberto Cicutto »
THE INTERNATIONAL EXHIBITION
The Exhibition will take place in the Central Pavilion (Giardini) and in the Arsenale, including 213 artists from 58 countries; 180 of these are participating for the first time in the International Exhibition. 1433 the works and objects on display, 80 new projects are conceived specifically for the Biennale Arte.
The artists »
NATIONAL PARTICIPATIONS
The Exhibition will also include 80 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the city centre of Venice. 5 countries will be participating for the first time at the Biennale Arte: Republic of Cameroon, Namibia, Nepal, Sultanate of Oman, andUganda. Republic of Kazakhstan, Kyrgyz Republic and Republic of Uzbekistan participate for the first time with their own Pavilion.
The National Participations » | | |
| |
|
|
| |
| |
|
|
| |
|
|
| |
| |
| |
|
| |
| |
|
| |
© 1 September 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 |
| |
