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| PHOTOGRAPHY INTERNATIONAL | | January 10 - 17, 2024 | |
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| | Photo50 (17 ‐ 21 January) is London Art Fair’s annual exhibition of contemporary photography. Guest curated each year, it highlights a timely theme in current photography and adds a space and context to the photography presented by galleries at the Fair.
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| | | Man with log, 1928, photo by Tina Modotti / Colección y Archivo de Fundación Televisa, Ciudad de México. | | | | | | | | ... until 31 January 2024 | | | | | | | | | | | | | Foam is delighted to announce a large overview and tribute to the work of the remarkable photographer Tina Modotti (1896-1942), an iconic figure in the world of photography, known for her unique blend of artistry and activism. She played an active role in the major political events of the 1920s and 1930s. Her portraits of iconic figures and artists like Diego Rivera or her partner Edward Weston provide a unique window into their world, while her depictions of Mexican peasants and laborers reflect her unwavering commitment to social causes.
Born in Italy, Modotti's journey led her to the epicenter of early 20th-century art and politics, from her early days as a silent film actress in Hollywood to her connections within the Mexican art movements where Frida Kahlo and Diego Rivera played a central role. With her camera, Modotti captured the sights and people of Mexico, focusing on women, folklore and religious art. Her raw photographic work firmly positions her as a central figure in the world of Modernist photography. However, Modotti's story extends far beyond artistic frameworks. Her connection to revolutionary ideals pushes her to the forefront of social change. After settling in Moscow and joining the Communist Party of the Soviet Union, she gave up photography altogether in 1931 to devote herself to politics. Modotti passed away in 1942 at the age of 45. For decades after her life her talent was overshadowed by mysteries and the absence of biographical information. It turned her life into a legend.
The exhibition brings together close to 250 vintage prints on loan from 9 important international institutions and various private lenders and collections including illustrated magazines and original works by photographers from Modotti’s close circle, such as Edward Weston. | | |
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| | | The Salad Zone © Sarah Abu Abdallah / Greenbox Museum. | | | | | | | Contemporary female artists from Saudi Arabia | | | | | | | | ... until 14 February 2024 | | | | | | | | | | | | | Foam proudly presents the exhibition Fonāna (فنانة meaning ‘female artist’ in Arabic). This unique showcase delves into the world of contemporary female artists from the Kingdom of Saudi Arabia, capturing their candid perspectives from within the nation.
The exhibition brings together the work of eight contemporary female artists who live or have lived in Saudi Arabia. It offers a unique perspective on a country that, by Western standards, is often seen as conservative and of which the accessibility to outsiders is sometimes underestimated.
Fonāna serves as a platform for female artists from Saudi Arabia, offering an international audience a glimpse into their artistic perspectives as they navigate the multifaceted aspects of contemporary Saudi society, which include unique societal norms and local dynamics. Through their work they express personal concerns and explore their ideals. | | |
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| | | © Carlijn Jacobs | | | | | | | | ... until 21 January 2024 | | | | | | | | | | | | | | | Foam proudly presents the first solo exhibition of the internationally recognised fashion photographer Carlijn Jacobs. This Dutch talent works with today's leading brands and celebrities but manages to keep her images quirky and alienating. As a recent highlight, she photographed the album cover of Beyoncé's Renaissance.
Masquerade
Carlijn Jacobs has a fascination with traditional forms of costume and disguise. She relates phenomena such as the Japanese geisha and the age-old tradition of the Venetian carnival to today's beauty and fashion scene dominated by social media, influencers and make-up tutorials.
Jacobs: "I am fascinated by the idea of the mask. You hide behind something and can become someone else. The whole fashion world is actually a form of escapism: you create a new persona. Changing looks and combining the existing with something non-existent is something that plays a big role in my work. 'Beautifying' reality, and thus shaping a world that does not yet exist." | | |
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| | | | | | An Atlas of the Foto Colectania Collection | | | | | | | Wed 17 Jan 20:00
18 Jan – 2 Jun 2024 | | | | | |
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| | Jan Scheffler
B 68.287 ° L 14.016 °, Lofoten/Norwegen
Pigment Print
60 x 60 cm
© Jan Scheffler | | | | | | | | 13 January – 7 April, 2024 | | | | Opening: Friday, 12 January, 7–9 pm | | | | | | | | | | | | | For twenty years, Jan Scheffler has travelled to northern Europe, especially to Iceland, Norway, and Finland to make photographs, longing for the silence and the light characterizing these pristine landscapes. It is not just the grandiosity of nature, one still nearly untouched by mankind, that fascinates the traveler to the north, but also the light that illuminates the landscape. The radiant light of the north leaves an indelible mark.
Despite the harshness of the treks at temperatures as low as minus thirty-five degrees, the physical conditions are not evident in the images. Rather, they express the peace and happiness Jan Scheffler felt during the moments of outer and inner silence. His travels to the north are inner journeys, towards a state of arriving in a landscape that is capable of bringing to the surface feelings of utmost tranquility, the deepest peace, and greatest inner strength: “The aesthetic of this nature, which is untainted by man, is based on the absence of disharmony. There is nothing disturbing it. In this landscape you’re not searching for anything. It comes to you. I can set up the camera almost anywhere, the motif comes to me. The landscape has to exert its pull on me, so that I’m inspired to get out my camera, then I forget space, time, eating, drinking, then I am the landscape.”
The word “light” is connected to positive values such as brightness, warmth, and hope, it is the opposite of darkness and symbolizes what’s good, knowledge, awareness, and truth. Jan Scheffler’s photographs do not speak, however, of the grandeur of nature nor the experience of the sublime. They do not possess a transcendent dimension. And yet, on his travels to the north, he works with the origin, cause… | | |
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| | Yoko in spring, Tokyo 2016 © Meg Hewitt
Courtesy Anne Clergue Galerie | | | | | | | | ... until 27 January 2024 | | | | | | | | | | | | | CHAUSSEE 36 Photo Foundation is thrilled to present the solo exhibition "Tokyo is Yours" by the Australian photographer Meg Hewitt, featuring the artist’s work for the first time in Germany.
Meg Hewitt, born in 1973 in Sydney, Australia, studied sculpture, painting and media. Since 2010 she has dedicated herself to photography.
"Tokyo is Yours" is a black-and-white series that came into being between 2015 and 2017 during her travels through Tokyo. The cycle shows Hewitt’s deep reflection on Japan and the uncertainties and fragility that followed after the catastrophe in Fukushima. The ecological disaster of 2011 almost led to the evacuation of Tokyo, a city with more than 13 million residents. The title “Tokyo is yours” derives from a graffiti that had been written on the city wall.
The photographer finds her inspiration in manga and movies. It is life in the streets of Tokyo that particularly interest her.
The scenes which Meg Hewitt embeds in her film have movie-like qualities. People converge, and odd situations appear and fade away again. Meg had travelled to Japan seven times between 2015 and 2017. Every day she would walk through the city for twelve hours, taking strolls through parks, stopping by at night bars and the animal park, and traveling to Fukushima or visiting the seafront. She captured the small details that spontaneously caught her interest and eternalized the habitants she encountered. The fact that she can neither speak and read Japanese, nor understand conversations, gave her a feeling of absolute freedom and creativity. The people she met and the scenes she attended were transformed into symbols, archetypes, and metaphors. The photographer Daido Moriyama, whose work M… | | |
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| | Flashes of Memory. Photography During the Holocaust, Installation view Museum für Fotografie 2023
© Staatliche Museen zu Berlin / David von Becker | | | Flashes of Memory. Photography During the Holocaust | | | | ... until 28 January 2024 | | | | | | | | | | | | | Yad Vashem, the World Holocaust Remembrance Center in Jerusalem, in cooperation with the Kunstbibliothek of the Staatliche Museen zu Berlin and the Freundeskreis Yad Vashem e.V., presents the highly acclaimed exhibition Flashes of Memory. Photography during the Holocaust at Berlin’s Museum für Fotografie (Museum of Photography). Featured for the first time in Germany, the exhibition presents a critical account of visual documentation – photographs and films – created during the Holocaust by German citizens and Nazi propaganda photographers, by Jewish photographers in the ghettos, and by members of the Allied forces during liberation. The exhibition focuses a spotlight on the circumstances under which each photograph was captured. It shows how the worldview of the documenting photographer – both official and private – influenced the image captured, while emphasizing the different and unique viewpoints of the Jewish photographers as direct victims of the Holocaust.
For the German Nazi regime, photography and film played a crucial role in manipulating and mobilizing the masses. These forms of propaganda were an elementary part of the National Socialist ideology. Conversely, the work of Jewish photographers during the Holocaust was part of their struggle for survival – depicting the living conditions of those incarcerated in ghettos. For the Jews, unsanctioned photography in the ghetto was punishable by death. Nonetheless, it was critical for them to document the atrocities so that the truth could one day be transmitted to all of humanity.
Upon liberation, the Allies recognized the need to document what they discovered in order to, combat future denial of these atrocities, justify their enormous losses on the battlefield, and gather … | | |
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| | Alice Springs
Helmut as a nun
Advertisement for Jean-Louis David, Paris 1970s
© Helmut Newton Foundation | Alice Springs
Princess Caroline of Monaco with her son Andrea and Karl Lagerfeld
La Vigie, Monaco 1986
© Helmut Newton Foundation |
| | | | | | | | ... until 21 January 2024 | | | | | | | | | | | | | In celebration of the 100th birthday of June Newton aka Alice Springs, over 200 photographs will be displayed throughout the entire exhibition space of the foundation.
While major Alice Springs exhibitions were already hosted at HNF in 2010 and 2016, many of the photographs in this new retrospective have never been seen by the public. Extensive research into the foundation’s archives, particularly the holdings recently transferred to Berlin from the Newtons’ apartment in Monaco, has provided new insight into the work of Alice Springs. Now, some of these spectacular results will be shown for the first time as vintage or exhibition prints.
June Newton started working in 1970 as a professional photographer under the name Alice Springs, focusing mainly on portraiture. It all started with a case of the flu: when Helmut Newton fell ill in 1970, his wife June came to the rescue. He explained to her how to use his camera and light meter, and she took his place in shooting the advertising image for the French cigarette brand Gitanes in Paris. This portrait of a model smoking launched the new career of the former Australian stage actor, who had little chance of acting in France due to the language barrier. In the wake of that initial success, José Alvarez, then running an ad agency in Paris, arranged commissions for her to shoot ads for pharmaceutical products. Later, as head of the publishing house Editions du Regard, Alvarez published the first book of portraits by Alice Springs in 1983.
Alice Springs shot many portraits from the mid-seventies onward. Her images are full of empathy, conveying her characteristic blend of curiosity and understanding for the individuals she encountered over the years. In her portraits of fellow pho… | | |
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| | | | | | | | Frédéric Batiers: La Palma, 2005 |
| | | | | | | | | | | | Fri 12 Jan 18:00
13 Jan – 2 Feb 2024 | | | | | |
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| | | Serie With You (part 3), 2022 © Sanja Marušić | | | Saison 2023 – 2024: FORMENSPRACHE | | | Free access to the outdoor exhibitions, daily, all year | | | | | | | ... until 7 October 2024 | | | | | | | | | | | | | Clervaux - Cité de l'image enters its new season 2023-2024 with 6 new open-air exhibitions.
We dive into a world full of fantastic forms, approaches, themes and techniques. The six photographers invited this year use their own formal language to express emotions, convey stories or present certain concepts. In this open-air exhibition, the focus is on playing with contrasts, experimenting with techniques or on the most diverse stylistic elements.
With depictions of fundamental themes in the life of a young woman, the artist Sanja Marušić attracts full attention with her colourful photographs on the market square. Heading towards the church, we pass the arcades with the photographic works of Christine Erhard, which have been developed out of a sculptural process in her studio. Opposite the church, Thaddäus Biberauer takes us on his journeys through nature. The snapshots, almost painterly in scene, invite us to dream. In Steph Meyer's works, the focus is on the photograph and the viewer. The picture within the picture, in which the viewers in the arcades of the Grand-Rue are included in the snapshot of the documented photo exhibition or even become voyeurs. On the castle plateau, Liz Lambert gives us a deep insight into her very personal story. In a poetic and partly symbolic way, she explores the questions of how relationships come into being and develop. In Tina Lechner's works in the garden of the castle, she focuses on the exploration of identity and the female body. Covered with self-produced props, this becomes a retrofuturistic sculpture.
Through their creative and poetic manner, the photographers a… | | |
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| | SOLO EXHIBITION AT MUSEUM DEICHTORHALLEN HAMBURG
Phoxxi © 2023 Kathrin Linkersdorff. All rights reserved. | | | | | | | | ... until 21 January 2024 | | | | | | | | | | | | | Kathrin Linkersdorff’s (*1966) fascinating large-scale works fluctuate between art and science. With experiments in which the artist explores the nature of plants and thus offers an enlarged view of their fragile inner structures, she works at the intersection of photography and botany. She deliberately sets processes of decay in motion in order to expose the inner structure of flowers and other plants. She captures their revealed structures in staged photographs, for which she uses a variety of photographic techniques, from dye transfer to high-quality archival pigment prints on special cotton paper. Her thinking and the aesthetics of her photographs are rooted in the Japanese concept of wabi sabi, according to which beauty is the acceptance of impermanence, imperfection, and vulnerability.
For her series "Fairies", the artist first collects tulips and carefully dries them over a period of several weeks. During this time, she extracts the pigments from the flowers, which she then reconcentrates into a natural dye. She then immerses the dried, translucent flowers in a liquid medium in which their petals unfold.
In her new research project, which will be shown for the first time at PHOXXI she makes use of bacteria. The resulting new series of works will be created in collaboration with the microbiologist Prof. Dr. Regine Hengge from Excellence Cluster Matters of Activity at Humboldt-Universität zu Berlin. In order to visualize processes that materials undergo in nature, discolored plants and fruits will serve as a growth substrate for bacteria, which form morphologically differentiated and spectacularly colorful colonies with their colored antibiotics. The complex interplay of growth and decay in nature is thus made directly visible. | | |
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| | | | | | | | | | 瓦落叢生 Photo Book And Exhibition | | | Fri 12 Jan 18:00
12 Jan – 25 Feb 2024 | | | | | |
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| | Simone Nieweg
Garden Shed (with Carpet Tiles), Meldorf-Holstein, 1986
© Simone Nieweg, VG Bild-Kunst, Bonn 2023 | | | | | | | | ... until 21 January 2024 | | | | | | | | | | | | | "You have to hurry up if you want to see something; everything disappears." This observation made by the French Impressionist Paul Cézanne based on his own experience also applies to the work of photographer Simone Nieweg (b. 1962). For the master student in Bernd Becher’s class at the Düsseldorf Art Academy, the view of nature and the arable land created by human hand formed important starting points for her artistic work back in the 1980s. Even then, she was already preoccupied by urgent questions about how we treat our natural resources.
Her color photographs, which Nieweg shoots in the Rhineland and other regions of Germany as well as in France using a large-format camera, draw our attention to the often overlooked outskirts of towns and industrial areas. They highlight the aesthetic qualities that unfold when these still un-zoned areas are cultivated in a limited fashion, usually upon individual initiative, for gardening or agriculture. Elements that give the land structure and continuity are captured here: alternative allotment gardens, future building land, patches of meadow, fields going to seed with wild vegetation, vegetable beds, plowed fields in winter, or blossoming fruit trees as harbingers of spring. Structures built by simple means, whether sheds or compost racks, reveal themselves to be typical components of their particular landscapes.
The exhibition will be accompanied by an eponymous catalogue, published by Schirmer/Mosel Verlag. | | |
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| | August Kotzsch: grain doll + sweet chestnut, ca. 1865
© Public Domain / Courtesy Kicken Berlin | | | | | | | | ... until 21 January 2024 | | | | | | | | | | | | | August Kotzsch (1836–1910), one of the early masters of German photography, offers a historical counterpart to Simone Nieweg. He takes us with him on his rambles through nature in his home region of Loschwitz near Dresden. Landscape scenes, garden corners, still lifes, and the fruits of his own harvest, but also houses and farms, were his preferred motifs. Depicting in loving detail, these cherished views paint an at once realistic and romantic picture of his surroundings. A self-taught photographer and son of a winemaker, Kotzsch used a complex process to produce his photographs. He made his negatives using the wet collodion process, and his prints on albumen paper. Thanks to this method, his images shimmer in iridescent sepia tones.
The works on loan come from the estate of August Kotzsch in cooperation with KICKEN BERLIN. They are complemented by exhibits from the in-house collection. | | |
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| | Laurenz Berges
View on Mudersbach, 2019, from the series The Becher House in Mudersbach,2018-2022
© Laurenz Berges / VG Bild-Kunst, Bonn 2023 | | | | | | | | ... until 21 January 2024 | | | | | | | | | | | | | In the series "The Becher House in Mudersbach," Laurenz Berges (b. 1966) explores the history of a half-timbered house in the Siegerland region that has been home to over three generations and which has become something of a monument. Originally the house of the grandparents of Bernd Becher (1931–2007), it was afterward inhabited by his two aunts. Becher loved the house from childhood on and later cherished it with his own family as an occasional domicile. A number of biographies are intertwined within these walls, as reflected in the furnishings and in the numerous items left behind. At many moments, it seems as if time were standing still.
In the photographs by Laurenz Berges, a master student of Bernd Becher at the Düsseldorf Art Academy, the aspect of time comes into play in a heightened form. The subdued lighting that characterizes his compositions contributes to a haunting atmospheric density.
An exhibition catalogue has been published: Laurenz Berges: "Das Becherhaus in Mudersbach," with an essay by Hanns-Josef Ortheil, Munich: Schirmer/Mosel, 2022 (in German only). | | |
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| | | Installation view: Richard Mosse » BROKEN SPECTRE | | | | | | | | | | | | | | | | A CARTE BLANCHE GIVEN TO VIRGINIE OTTH | | | | | | | ... until 25 February 2024 | | | | | | | | | | | | | Richard Mosse (Ireland, 1980) gained recognition for his socially committed documentaires often presented via immersive and monumental installations. He is known for his landscapes in shades of red and pink from the series Infra (2010) depicting the civil war in the Democratic Republic of Congo. More recently, he has focused on migratory flows, which he captures with military thermal imaging cameras (The Castle, 2017, Incoming, 2018).
The work of Deborah Turbeville (1932-2013) defies classification. The American photographer belonged to no school or movement. Her unique visual signature has been recognisable since she emerged as a major talent in the 1970s; a certain timelessness melancholy and a patina emanate from her haunting photographs taken over four decades. This retrospective will present Turbeville's photographic explorations, from fashion photos to her very personal work.
A key figure in contemporary photography in Lausanne, Virginie Otth (Switzerland, 1971) presents four previously unseen works, as well as her first film. This monographic exhibition brings together works that combine the various interests and reflections that have animated the artist for many years, and which question the relationship to the fragmentary, lacunar and ever-renewed world offered by photography, but also by our gaze and our perception.
In this photographic exploration, Mathieu Bernard-Reymond (France, 1976) has chosen to combine extracts from the writings of C. F. Ramuz with image-generating artificial intelligence tools. In D’après Ramuz, a project initiated by La Muette – literary spaces, he gives form to the mental images that are shaped when reading a text, gradually transforming them into a visual reality.
>In tandem with her exhibition A Lake in the Eye, Virginie Otth (Switzerland, 1971) has invited ten artists with whom she has crossed paths at the Vevey School of Photography (CEPV) over the past two decades.
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| | | | | | | Catherine Opie
Raven, 1990, 1990/2024.
Pigment Print 30 x 30 inches (76.2 x 76.2 cm)
Regen Projects, Los Angeles |
| | | | | | | | | | | | Thu 11 Jan 18:00
11 Jan – 3 Mar 2024 | | | | | |
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| | Thomas Struth, Hermitage 2, St. Petersburg, 2005
© Thomas Struth. Courtesy der Künstler und Marian Goodman Gallery | | | | | | | The Eva Felten Photoraphy Collection | | | | | | | | ... until 7 April 2024 | | | | | | | | | | | | | The exhibition "This Is Me, This Is You" provides the public with a first glimpse into an internationally significant photo collection that has grown over four decades. The generous donation of the Eva Felten Photography Collection enlarges the Museum Brandhorst inventory by 429 works by more than 140 artists from the 1930s to the present day. The donation marks a historic moment in the history of the museum, whose collection it not only decisively enlarges, but also enriches with the medium of photography, a central practice of 20th and 21st century art. It thus also closes a gap at Museum Brandhorst, which since its opening in 2009 has grown into one of the most important museums for contemporary art in Germany.
"This Is Me, This Is You" brings together renowned positions in the history of photography from Robert Frank, Evelyn Hofer, Gordon Parks to Isaac Julien, Sherrie Levine, Richard Prince, Zoe Leonard, Arthur Jafa and LaToya Ruby Frazier. In a selection of some 140 works, it addresses the complex relations of the gaze in photography, reflecting on questions of intimacy and desire as well as on power relations and structural inequalities inscribed in the medium. The exhibition is titled after a work by Roni Horn. With "This Is Me, This Is You" (1997-2002), the U.S. artist created a key work that raises questions about the fleetingness of identity as well as the presence of photographers within her works.
With her striking statement "Where you look from is always half the picture," U.S. artist Zoe Leonard (*1961) got to the heart of how central the historical, social and physical perspective of the photographer and the viewer is for the interpretation of art. The encounter with photography is thus not only… | | |
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| | | | | | | © Mengwen Cao
Eddy, 2021
Archival pigment print
24 x 16 inches (61 x 41 cm)
Edition of 7
Courtesy of the artist and Eli Klein Gallery |
| | | | Queerness in Chinese Contemporary Photography | | | | | | | – 31 Jan 2024 | | | | | |
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| | | | | | | | Elinor Carucci, “South African Collar: Ginsburg’s favorite collar, worn in her official portrait,” 2020. |
| | | | | | | | Photographs by Elinor Carucci | | | – 28 May 2024 | | | | | |
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| | DIETER APPELT
Der Fleck auf dem Spiegel, den der Atemhauch schafft (La tache sur le miroir que la respiration souffle), 1977
© Dieter Appelt, Courtesy Les Douches la Galerie, Paris | | | I want to see art (Je veux voir de l'art) | | | | Homage to Christian Bouqueret (1950-2013) | | | | | | | ... until 24 February 2024 | | | | | | | | | | | | | Françoise Morin and Les Douches la Galerie are pleased to invite you to the opening of the new collective exhibition, 'I want to see art', curated by Eric Rémy. This exhibition is a vibrant tribute to Christian Bouqueret (1950-2013), historian, gallery owner, and collector, who passed away ten years ago. It’s a rare opportunity to explore vintage prints from photographers, particularly those from the interwar period, which he passionately advocated during his lifetime. The exhibition also showcases the contemporary German photographic scene.
Five years ago, I discovered Les Douches la Galerie, located two streets over from the flat where I had lived with Christian Bouqueret for thirteen years. The gallery's director, Françoise Morin, was surprised by this random coincidence when I explained my connection to him, as she was in the very process of consulting the catalogues of the photographers Pierre Boucher, Jean Moral and René Zuber that Christian had written. I took that as a sign pointing to a future collaboration to bring those photographs from the interwar period to light and thereby preserve the memory of his work. – Eric Rémy
As a young man drawn to the artistic avant-garde, Christian Bouqueret regularly visited the Musée d'art moderne de Paris and the galleries on the Boulevard Saint-Germain, especially those managed by Denise René. In 1973, while an active member of FAHR1, a romantic involvement led him to abandon his Chinese studies in Paris and head for Berlin where he studied art history and German. In the cosmopolitan city, where the wall still rose as a bulwark between two world views, he discovered the Bauhaus school that brought photography into the educat… | | |
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| | | Galerie Nikolaus Ruzicska: Olaf Otto Becker | | | | | | | | Last days until 12 January, 2024 | | | | | | | | | | | | | "I want to create a window on what I have seen", Olaf Otto Becker (b. Travemünde, D, 1959) says about the imposing landscape pictures taken all over the world in which, for over thirty years, he has recorded the changes in nature.
The unifying theme in his most recent series of works is the North Atlantic Gulf Stream, which flows along Europe’s western coastlines northward from Spain until it sinks to the bottom of the sea east of Greenland. In the ongoing project, begun in 2019, Olaf Otto Becker uses his camera to capture both primordial landscapes that owe their existence to nature alone and changes wrought by humans that have become imprinted on the scenery. He takes up to fifty individual shots of a chosen motif from a variety of perspectives and vantage points, which he then “stitches together” on the computer in a painstaking postproduction process to obtain the final image. This technique gives Olaf Otto Becker's works an unrivaled depth of focus, making them precise renditions of what he has seen: each discoloration in the landscape, each rock fold, each breaking wave stands out.
In the exhibition, large-format depictions of giant rock formations that rise from the sea to majestic dominance, vouchsafing vistas of the endless horizon as though seen through a curtain, contrast with ephemeral “natural drawings” in the sands of beaches. These pictures evince a graphical quality, balancing between abstraction and figuration. The striking phenomena are engendered by the rising and falling tides wherever different strata of sand abut. When the water recedes, delicate shapes, patterns, and lineaments remain that suggest drawings made by human hands. Olaf Otto Becker's camera im… | | |
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| | | Galerie Nikolaus Ruzicska: Giovanni Castell | | | | | | | | Last Days until 12 January, 2024 | | | | | | | | | | | | | New works by Giovanni Castell (b. Munich, D, 1962) are on display in the gallery’s upstairs showroom. The technically complex silkscreen prints on epoxy resin have the aura of luminous paintings fixed on the support medium by photographic means. "Light, to me, is a symbol of love, hope, and salvation, of finding new guidance in this dark and gloomy world," Giovanni Castell emphasizes.
The intense shimmering colors and the three-dimensional structure endow the works with a blazing radiance and a beguiling evocation of spatial depth. They pose a challenge to our visual habits while eliciting a kind of nostalgia rooted in our cultural memory. Pictures full of intensity and bracing emotional power are reminiscent of an ideal world steeped in utopian visions and a creative gesture that blends figurative elements with abstract landscapes.
Their deliberately painterly style reveals Giovanni Castell's admiration for the American painter Mark Rothko, a widely hailed pioneer of color field painting, which grapples with the manifestations of color and their integration into a compelling system within the composition. | | |
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| | PPP - Protest Party Portraits 1995 – 1997
© Jules Spinatsch | | | | | | | Techno Culture in two exhibitions at Photobastei | | | | | | | | 11 January – 31 March 2024 | | | | Opening: Thursday 11 January 6pm | | | | | | | | | | | | | For the very first time, Switzerland’s techno culture is finding its way into the museum. To celebrate this multifaceted youth culture, Photobastei is proud to present two major exhibitions.
"TECHNO WORLDS" is supported by the Goethe-Institut. It engages with local and global techno perspectives through the works of visual artists and wages an experiment by showcasing some significant developments of techno and club culture.
"THE PULSE OF TECHNO" is produced by Photobastei, with a focus on Zurich’s techno scene, which took off in the 90s. The city became a European hotspot for electronic music, so much so that the Federal Office of Culture put Zurich's techno scene on the UNESCO Cultural Heritage list of living traditions in 2017.
The two exhibitions include an extensive supporting programme with parties by international and Swiss stars, concerts, workshops, an oral history series on club history: Zurich Calling, panels by the Zurich Bar and Club Commission and conversations with influential figures of the early days. | | |
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| | | | | | | | | | Photo50 | | | | | | | Tue 16 Jan
17 – 21 Jan 2024 | | | | | |
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| | | | | | | | | | | | | | Wed 17 Jan
18 – 21 Jan 2024 | | | | | |
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| | | Weeteng Poh. Lightness of Being, from the series “Nobody likes Plastic Roses”. 2022 Ditone print, 2023. Canson Platine Fibre Rag paper. 32.1 × 21.5 cm (34 × 23.5 cm). EUR 600–800 // Michael Wesely. 18.1.–25.1.1998, from the series “Tulpen”. 1996/98. C-print. 62 × 48 cm. EUR 3,000–4,000 | | | | | | | | | | | | | Auction: 19 – 28 January 2024 | | | Talk “Fotografische Begegnungen“ Saturday, 27 January, 1pm
Grisebach, Fasanenstraße 25, 10719 Berlin
Talk guests: Caroline von Courten (Der Greif), Christian Ganzenberg (freier Kurator), Diandra Donecker (Grisebach) | | | | | | | | | | | | | Photography “online only“ is delighted to present an exciting cooperation for the first auction of 2024 – together with the contemporary photography organization DER GREIF we bring to auction 15 contemporary photographs from not yet established artists that were submitted to DER GREIF as part of an open call. The sale juxtaposes classic photographic works from artists such as Roger Fenton, Herbert List, Jeanloup Sieff, Elliott Erwitt, Barbara Klemm and Larry Clark with outstanding contemporary pieces. Grisebach and DER GREIF playfully dedicate themselves to this experiment of encounter and dialogue, at the same time we also want to strengthen the young scene of contemporary photography.
The 109 lots on offer take you on a journey through international photographic history with works by René Burri, Anton Corbijn, Nan Goldin, Candida Höfer, Heinrich Kühn, Robert Lebeck, Edward Muybridge, Bettina Rheims, Sebastião Salgado, Bert Stern, Wolfgang Tillmans and others. | | |
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| | Lot 145
VALIE EXPORT
3 Figurationszeichen/3 Konfigurationszeichen (3 parts), 1976
Vintages, gelatin silver prints
Estimate: EUR 30.000/45.000 | | | | | | | Online auction: Thursday 25 January 2024, 3pm | | | | | | | Download lot list as PDF »
View print catalogue » | | | | | | | | | | | | | | |
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| | | | Prix Elysée 2025 | | | | International Photography Prize | | | Apply until January 28, 2024
More information: prixelysee.ch | | | | | | | | | | | | | The Prix Elysée is one of the world's most prestigious photography awards, with a prize of CHF 80,000. Its aim is to support the photographic production of a mid-career artist. Thanks to this financial support, the artist can develop an original project on the theme of his or her choice.
The call for entries for the Prix Elysée 2025 is open from November 10, 2023 to January 28, 2024 on Picter.
Founded in 2014, the Prix Elysée is the result of an exclusive partnership between Photo Elysée and Parmigiani Fleurier. The eight nominees will be announced in June 2024, and the winner will be chosen by an international jury in 2025.
Who is the Prix Elysée for?
The aim of the Prix Elysée is to raise the international profile of a promising photographer, recognized in his or her own country, and to provide substantial financial support for an ambitious project. Photographers who have built their careers on exhibitions and publications, but who have not yet benefited from a mid-career retrospective, are eligible. Photographers must be recommended by a recognized professional in the field of photography or art (gallery, publishing house, etc.).
How to apply?
Entries can be submitted from November 10, 2023 to January 28, 2024 on the Picter platform. Instructions and prize regulations are available in English and French at prixelysee.ch
How does it work?
Eight nominated photographers are selected on the basis of the quality of their applications. Each nominee receives a contribution of CHF 5,000 to further his or her research. Photo Elysée announces the selection of the eight artists nominated for the Prix Elysée 2025. The winner is then chosen by a jury of international experts and receives CHF 40,000 to complete the project. A further CHF 40,000 is dedicated to promoting the project (publication and/or exhibition). | | | Timeline 10 November 2023: Application open 28 January 2024: Closing date for applications 22 June 2024: Announcement of the 8 nominees for the Prix Elysée 2025 and presentation of the finalized project by Debi Cornwall, winner of the Prix Elysée 2023. June 2025: Announcement of Prix Elysée 2025 winner | | |
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| | | | | | | August Sander: High school student, 1926
© Die Photographische Sammlung/SK Stiftung Kultur - August Sander Archiv, Köln
VG Bild-Kunst, Bonn 2023 |
| | | | | | | | Prize for Portrait Photography | | | Artists up to and including the age of 40
Submissions are open until 9 February 2024
All details: here | | | The August Sander Award for portrait photography, donated by Ulla Bartenbach and Prof. Dr. Kurt Bartenbach, will be awarded for the fourth time in 2024 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.
For the submission is suitable already largely developed series, from which a maximum of 20 photographic prints should be sent. 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: Bernhard Fuchs, artist, Düsseldorf, Prof. Dr. Martin Hochleitner, Salzburg Museum, Salzburg, Kirsten Degel, Louisiana Museum of Modern Art, Humlebæk, Dr. Anja Bartenbach, sponsor family; Gabriele Conrath-Scholl, director, Die Photographische Sammlung/SK Stiftung Kultur, Cologne.
The detailed call for entries can be downloaded here. | | |
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| | | | | | Aliments Terre | | | | | | | 20 Jan – 2 Mar 2024 | | | | | |
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| | LOCAL ACTION(2/3)
𝙈𝙚𝙩𝙧𝙤𝙥𝙤𝙡𝙞𝙩𝙞𝙘𝙖𝙡 𝙍𝙚𝙩𝙧𝙚𝙖𝙩
Artists: Chen Wenqing/Cheng Shida/Huang Yifan/Li Long/Lili Jiacheng Xu
Curator: Lin Linfeng
Institutional Partner: G Art Museum | | | Jimei x Arles International Photo Festival 2023 | | | | | | | |
| | | | | | | | | | | | Jimei x Arles International Photo Festival was co-initiated by Three Shadows Photography Art Centre and Les Rencontres d'Arles in 2015, supported by Jimei District Committee of the CPC and the Government of Jimei District, and co-hosted by Three Shadows and Xiamen Tianxia Jimei Media Co., Ltd. Jimei x Arles International Photo Festival introduces excellent photography works from overseas with an inclusive and multicultural attitude while synchronizing with the latest international insight. It supports and encourages the creation, studies and curation of Chinese photography so as to facilitate its presence in the public as well as on the international stage. Since its inception, Jimei x Arles International Photo Festival has presented nearly 300 exhibitions from China and other Asian countries, as well as a selection of outstanding works from Les Rencontres d'Arles. Over 600 artists’ works have been presented and the festival has attracted a total of 430,000 visitors.
The 9th Jimei x Arles establishes an Art Committee including director of Les Rencontres d’Arles Christoph Wiesner, noted photography critic Gu Zheng, co-founder of Singapore International Photography Festival (SIPF) and founding director of DECK Gwen Lee, Chinese contemporary photographer and co-founder of Three Shadows Photography Art Centre RongRong，executive director of Three Shadows Photography Art Centre Yan Qi.
This year the Art Committee takes over the Art Directors’ jobs to co-organize 32 exhibitions, featuring works by over a hundred artists from France, Germany, the United States, Italy, Denmark, Finland, Iceland, Norway, Sweden, the Philippines, Malaysia, Singapore, Thailand, Bangladesh, Cambodia, Mainland China, Taiwan, and Hong Kong. “Jimei x Arles Discovery Award” and “Curatorial Award for Photography and Moving Image” will announce this year’s winners during the opening week of the festival. Starting from this year, Jimei x Arles has established the 'Dummy Book Award,' aimed at encouraging and supporting artists in their creative endeavors centered around photography books.
This year, the exhibitions of Jimei x Arles will be held at Jimei Art Centre and Three Shadows Xiamen Photography Art Centre, as well as in galleries and art schools in Xiamen and Fuzhou as the sub-venues. The Jimei Art Centre is located on the 1st to 4th floors of the podium of the Jimei Chengyi International Business Center, an iconic landmark in Xiamen. It will be open to the public for the first time as the main venue of Jimei x Arles.
The 2023 Jimei x Arles introduces the “Isles Project” under the theme of “Art is Never Alone.” Centered around the Jimei x Arles main venue, this project radiates and collaborates with diverse cultural, artistic, and living spaces, inviting the audience to embark on an urban art stroll. During the Jimei x Arles opening week from December 15 to 17, a series of engaging activities, including the opening ceremony, portfolio reviews, lectures, workshops, artist-guided tours, performances, and educational tours, will warmly welcome you to the vibrant city of Xiamen! | | | | |
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| | | | | | Die Allgegenwärtigkeit fotografischer Bilder | | | | | | | – 4 Feb 2024 | | | | | |
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| | | | | | Memory is an Editing Station | | | | | | | – 28 Apr 2024 | | | | | |
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| | | | | | Cosmos Cinema | | | | | | | – 31 Mar 2024 | | | | | |
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| | | | | | | Noga Shadmi's series of the kidnapped penetrates the heart.
Keep sharing your images, together we will raise the global awareness and bring them back home. |
| | | | | | | | International Photography Festival | | | postponed >> March 2024 | | | | | |
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| | | | | | More than 100 photographers and artists from 18 countries of 25 exhibitions | | | | | | | – 11 Feb 2024 | | | | | |
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© 10 January 204 photography now UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Michael Steinke
contact@photography-now.com . T +49.30.24 34 27 80 |
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