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| PHOTOGRAPHY INTERNATIONAL | | 12 – 19 October 2022 | |
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| | Frieze London 2022 and Frieze Masters 2022 open on Wednesday 12 and Thursday 13 October.
This week there are also other Fairs like 1-54 Contemporary African Art Fair or The 2022 London Photo Show and many current and upcoming exhibitions with photography and video art in London » . |
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| | The first edition of Paris+ par Art Basel will bring together from Thursday, October 20 to Sunday, October 23, 2022 - with the Preview Day on Wednesday, October 19 - 156 premier galleries from 30 countries and territories. The fair will extend beyond the Grand Palais Éphémère through a program of collaborations with Paris’s cultural institutions and its city-wide sector Sites. |
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| | Home/Leaving One for Another © Olgaç Bozalp // Le Grand Voyage – Version Courte © Ange-Frédéric Koffi
courtesy of the artists | | | | | | | | | | | | | ... until 18 January 2023 | | | | | | | | | | | | | This fall Foam proudly presents the work of a new generation of artists in the group exhibition Foam Talent 2022. The 20 participating artists look closely at both the world around us, and the one within - without shying away from discomfort or pain. Climate change, political conflict, discrimination, displacement, and social justice issues: the works address the pressing problems of our times and remind us that photography has the potential to capture the unspeakable. We are proud to present a selection that offers as much food for thought as beauty and innovation of the medium.
Via the Foam Talent Call, an international search for talented emerging photographers under the age of 40, Foam invites photographers from all over the world to submit their portfolios. Selected photographers gain international exposure and recognition within the photography industry through a number of career-building opportunities offered by Foam, including publication in Foam Magazine’s Talent issue, a presentation on Foam’s digital platform and a travelling exhibition premiering at Foam. Additionally, the Talents will participate in a mentorship programme and various network activities, and get the opportunity for their work to be added to the prestigious Art Collection Deutsche Börse of the Deutsche Börse Photography Foundation. | | |
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| | | | | | | Dana Rabea Jäger
Aus der Serie Notes IOU, 2022
Digitale Fotografie
120 x 80 cm / 70 x 50 cm |
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| | | | | | | | Amin El Dib: aus "Leben vor dem Tod", 1991-93, Blatt 41-02, Silbergelatine |
| | | | | | | | | | | | Thu 13 Oct 18:00
14 Oct 2022 – 31 Mar 2023 | | | | | |
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| | | | | | | "Loretta Würtenberger und Daniel Tümpel mit Tochter"
aus der Arbeit "HABITAT", entstanden zwischen 2012-2022
© Anne Schönharting |
| | | | | | | | | | | | Thu 13 Oct 19:00
14 Oct – 11 Dec 2022 | | | | | |
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| | | | | | | | Aus der Serie 'Gewebe' © Sabine Wild |
| | | | | | | | | | | | Sat 15 Oct 19:00
16 Oct – 20 Nov 2022 | | | | | |
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| | | | | | | Systemic Risk (Shadow Banking II)
Investment Bank, Zuidas Financial District
Amsterdam, Netherlands, August 2016
© Mark Curran |
| | | | | | | | | | | | Sat 15 Oct 16:00
19 Oct – 12 Nov 2022 | | | | | |
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| | | | | | | Aus der Serie "Sunny Side Up", 2007
© Jens Lüstraeten |
| | | | | | | | | | | | Sat 15 Oct 16:00
19 Oct – 12 Nov 2022 | | | | | |
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| | Saïdou Dicko
CONFORTABLE IN BUSNESS CLASSSE, 2022
Hand painted (ink) on photography and digital collages without retouching. Archival Pigment Print on 325 g Hahnemühle Fine Art Baryta
75 x 100 cm | | | | | | | | ... until 29 October 2022 | | | | | | | | | | | | | At an early age, Saïdou Dicko (born 1979 in Burkina Faso) realised that he could see clouds not only in the sky but also in the sands of his home town. As a young Fulani shepherd, he looks into the red sands of the Sahel and traces the pillowy shadows cast by the migrating clouds above. First the outlines of his sheep, later the silhouettes of people, all are captured vividly by Dicko on the walls of houses or on the colourful fabrics embroidered by his mother. These shadows remain the core element of his visual storytelling - spanning across his photography, film, installation work and painting.
"As a child, I looked at them (shadows) the way others look at clouds, and invented stories. I started by drawing on the floor and walls, then on fabrics that my mother embroidered."
In his early series of works, THE SHADOW THIEF, he follows his family and friends with a mobile phone camera, tracing their paths and action. But the shadow thief does not rob these people’s identity; instead, the alienation of these perspective-broken silhouettes brings us closer to the intimate gestures of the people depicted - emphasising the role of childlike play, hard work, and the complex yet familiar family dynamic.
Abstraction is adopted in the artist’s work as a trick to draw the viewer’s attention more intently to the social contexts in each scene. We see the characters at petrol stations, sat in conversation on the porches of houses, or riding their bicycles through the capital city of Ouagadougou.
Now living and working in Paris, Dicko has taken this abstraction to the next level. In his latest works, he dips the figures in his photographs in black oil, building another layer into the image, tangib… | | |
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| | | | | | | Amerikaline-Projektionen, Einschiffung
© Christine Kisorsy, Courtesy Historisches Museum Bremerhaven |
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| | Vivian Maier
Chicago, c. 1960
© Estate of Vivian Maier
Courtesy of Maloof Collection and Howard Greenberg Gallery, NY | | | | | | | | 14 October 2022 – 15 January 2023 | | | | | | | | | | | | | The exhibition "Vivian Maier. Street Photographer" at Deutsche Börse’s headquarters, displays more than 140 works and provides a comprehensive insight into the extraordinary photographic work that the artist has created with a visual language that is both individual and timeless. The exhibition is a cooperation between diChroma photography, Madrid, and the Deutsche Börse Photography Foundation.
For more than four decades, Vivian Maier (1926–2009) worked as a nanny for various families in New York and Chicago. During this time and afterwards, she photographed incessantly: street scenes, portraits, still lifes and landscapes. When she died in 2009, her legacy included over 120,000 negatives, numerous super 8 and 16mm films, as well as various audio recordings and photographic prints. Throughout her lifetime, her images remained unnoticed by the public. It was only in 2007 that a young historian discovered, rather by chance, her extensive life’s work, most of which Maier had deposited in a warehouse.
Maier knew how to capture her surroundings in snapshots that tell of the beauty of everyday life and about the special moments in the seemingly banal. On her forays, she was always on the lookout for the unnoticed and the elusive, which she usually captured in extraordinary compositions. Her work centres above all around the brief encounters with strangers she met in public. Although she often photographed them at close range, her point of view remains predominantly a distanced one and is chosen from a position where she prevailed unnoticed by her protagonists. She counters this invisibility, however, with innumerable self-portraits that she created all over the city and for which she also selected unusual perspectives… | | |
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| | Carlos Siquier
Marbella, 1974 50 x 50 cm
© VG Bild-Kunst, Bonn 2022 | | | | | | | | October 15, 2022 – January 15, 2023 | | | Opening: Friday, October 14, 7 pm
Saturday, 15.10., 3 pm GALLERY TALK
with CARLOS MARTÍN, Curator of the exhibition PÉREZ SIQUIER | | | | | | | | | | | | | The Spanish photographer Carlos Pérez Siquier (1930-2021) is one of the leading figures of photographic modernism. He maintained a key position in Spanish photography, first through his neorealist works and later as a pioneer of colour photography. In cooperation with the Fundacíon MAPFRE, Fotografie Forum Frankfurt (FFF) presents a retrospective of his most important series from 1957 to 2018.
The now legendary series La Chanca, begun in 1956, already conveys some stylistic features typical of Pérez Siquier: In the barrio of Almería, the artist photographed life on the fringes of society – first in black and white, and already with the sense of empathetic humour that is also noticeable in his later work. In the 1960s, the photographer decided to work in colour, sensually capturing the cultural changes in post-Franco Spain when an apparent consumer society started to emerge. Pérez Siquier also photographed La Chanca again in colour, and with this second viewing, despite the similarity of the motifs, developed clearly new pictorial effects.
On view at the FFF are around 130 works by the Spanish photographer, including previously unpublished images. Together with a comprehensive catalogue the exhibition contributes to a new understanding of Pérez Siquier’s oeuvre.
The show and the publication illustrate how the photographer, who remained in his native city of Almería throughout his life, became one of the most influential creatives in Spanish photography despite this peripheral status.
Already in the 1950s, he was a driving force behind the group AFAL (Agrupación Fotográfica Almeriense), the most important photograph… | | |
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| | | | | | | August Sander: Frau eines Malers [Helene Abelen]
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; VISDA, Copenhagen, 2022/23 |
| | | | | | | | | | | | 14 Oct 2022 – 19 Feb 2023 | | | | | |
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| | | | | | | | © Jin-me Yoon – The Scotiabank Photography Award 2022 |
| | | | A retrospective of Canada’s Foremost Photography Prize | | | | | | | 12 Oct 2022 – 7 Jan 2023 | | | | | |
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| | | | | | | | Still from Broken Spectre, 2022, five channel 4K video with 20.4 surround sound. Courtesy of the artist, Jack Shainman Gallery, New York and carlier | gebauer, Berlin/Madrid © Richard Mosse |
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| | GUIDO GUIDI
Ronta, gennaio 1998, 1998
C-type print (10x8" contact print)
Image size: 19.5 x 24.5 cm
Edition of 5
© Guido Guidi | | | | | | | A window into contemporary Romagna photography | | | | | | | | ... until 15 October 2022 | | | | | | | | | | | | | Otto volte due presents a selection of new and recent work by eight contemporary Romagna photographers, affording insight into the unique cultural and artistic phenomena of the region.
These photographers are part of a vibrant artistic community across a network of small towns in Emilia-Romagna. Antonello Frongia, professor of photography at Roma Tre University, writes: ‘having trained with Guido Guidi and in a fertile climate of mutual exchange, these artists, born between 1963 and 1987, have honed a photographic and artistic culture that expresses itself through independent sensitivities, languages and research.’ | | |
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| | | | | | | Dayanita Singh: Museum of Chance, 2013
© Dayanita Singh |
| | | | | | | | | | | | Wed 19 Oct 19:00
20 Oct 2022 – 19 Mar 2023 | | | | | |
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| | | | | | | | | | | | | Goddam Dangerous 60 Years Later: The Cuban Missile Crisis Revisited | | Fri 14 Oct 19:00 15 Oct – 23 Dec 2022 | | | | | | | |
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| | | | | | | | | | | | | | Wed 12 Oct 18:00
11 Oct – 4 Nov 2022 | | | | | |
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| | 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 | | | | | | | | | | | ... until 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… | | |
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| | | | | | | Zoe Leonard; Al río / To the River, 2016–2022
Approximativement 500 épreuves gélatino-argentiques et 50 tirages C-print | Copie d’exposition, Ed. de 3 + 1 EA
Courtesy l’artiste, Galerie Gisela Capitain, Cologne, et Hauser & Wirth, New York |
| | | | | | | | | | | | 15 Oct 2022 – 29 Jan 2023 | | | | | |
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| | Thomas Jorion, series "No Man’s Time", 2022
Inkjet print 80 × 120 cm
© Thomas Jorion courtesy Galerie Esther Woerdehoff | | | | | | | | ... until 19 November 2022 | | | | | | | | | | | | | The photographer Thomas Jorion adds with the series "No Man’s Time" a chapter to a remarkable body of work. This work on the ruin invites us to question ourselves in front of the sublime of places whose history can only be read in their erosion and their abandonment. Devoured by the surrounding nature, the palaces, cinemas, factories are memento mori which proposes us a journey in which several temporal frames are linked.
The ruin becomes the center of a wider reflection on our relationship to our environment and to our common history. The exhibition No Man’s Time presents a particular series of the artist’s work of the artist’s work, the ruins photographed with a large format camera are here often disproportionate constructions that have never been completed. Like a nuclear reactor wide open to the sky, their function is revealed in hollows, or leaves the viewer facing an architectural ambition without conclusion.
The places, passed from building sites to ruins, are immediately imagined and immediately abandoned. The contemporary concrete of places that have no more history than their conception is offered to the sprawling nature, inviting us to think about our relationship to the imprint that our generation leaves on the world we inhabit.
For the first time, Thomas Jorion will unveil a new work of sculptures inspired by these places in dialogue with eleven large format photographs. The sculpture is the opportunity for the artist to seize a form in space and to give body to his privileged material: concrete. The monoliths explore various aspects of this material, notably that of recording photographic images.
This work will be exhibited at the Esther Woerdehoff Gallery in Paris from September 29 to November … | | |
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| | | | | | | | SILENT SCREAM, 2022 © Dasha Pears |
| | | | JESSIE LAURA | | | | | | | Sat 15 Oct 18:00
15 Oct – 18 Dec 2022 | | | | | |
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| | Helmut Newton
Fashion, Melbourne, 1955
© Helmut Newton Foundation | | | | | | | | 19 October 2022 – 15 January 2023 | | | | | | | | | | | | | With the retrospective Helmut Newton Legacy, the Bank Austria Kunstforum Wien will be celebrating the Berlin photographer’s hundredth birthday (1920–2004) – delayed because of corona, but all the more comprehensive, with 300 or more works that document Newton’s complete oeuvre.
Newton, a controversial figure who has never ceased to fascinate and provoke, is primarily renowned for his photos of women: powerful, aggressive, self-assertive – naked and dressed – they challenge the viewer. His photos have been published countless times, circulated through magazines – their iconic character has impressed itself on our collective visual memory.
In actual fact, Newton’s career developed first and foremost through his fashion photography – which is the focus of this exhibition. In 1938, being Jewish, he fled from the Nazis to Australia, where he began to photograph fashion. Newton blazed the trail to his inimitable style in 1960s Paris by staging his models in shrill theatrical settings, out of the luxury- and eccentricity-governed haute couture scene conjuring up a situation of uncanniness and ambivalence.
Newton first started photographing nudes in the 1980s. With his sharply delineated, over-lifesize models in their almost belligerent nakedness, its sexuality self-confident and energy-charged in impact, Newton probed social and moral limits, and today still – or, most of all, once more – challenges us to formulate anew the issues that preoccupy us.
The exhibition presents Newton with iconic photos, also with works that have never been on show before. Therefore, they spotlight lesser-known aspects from Newton’s world and direct our view onto a complete oeuvre that ho… | | |
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| | | | | | | | | | | | | | Wed, Thu 12, 13 Oct
14 – 16 Oct 2022 | | | | | |
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| | | | | | | | | | | | | | Thu 13 Oct 11:00
13 – 16 Oct 2022 | | | | | |
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| | | | | | | | | | | | | | Preview: Wed 19 Oct
Thu 20 Oct 11:00
21 – 23 Oct 2022 | | | | | |
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| | | | | | | | | | | | | | Wed 19 Oct 11:00
20 – 23 Oct 2022 | | | | | |
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| | | | | | | Louis Plantet (1828-1860)
Algérie, c. 1855.
Femme juive et femme d'Afrique subsaharienne. |
| | | | | | | | | | | | Thu 20 Oct 14:00
19 – 20 Oct 2022 | | | | | |
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| | | | | | | | | | | | | Barcelona Foto Biennale I The 7th Biennial of Fine Art and Documentary Photography - showcasing 358 artists from 47 countries | | 13 – 30 Oct 2022 | | | | | | | |
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| | | © Helena Blomqvist | | | 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.
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| | | | | | Theatre of Dreams | | | | | | | – 23 Oct 2022 | | | | | |
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| | | | | | We, on the Rising Wave | | | | | | | – 6 Nov 2022 | | | | | |
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| | Chow and Lin, 2020:06:13, 13:31:23, 2020. From the series I want to bring you around the world, 2020–22.
Archival inkjet print. Courtesy of the artists. | | | | | | | If I Had a Hammer | | | | | | | | African Cosmologies: Redux | | | | | | | ... until 6 November 2022 | | | | | | | | | | | | | | Houston’s Fotofest Biennial 2022 "If I Had a Hammer" (September 24 through November 6) considers the ways artists utilize images to unpack the ideological underpinnings that inspire collective cultural movements around the globe. Together, the twenty-three included artists propose alternative techniques of seeing and engaging with the world, working with both conventional and new medi. | | |
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| | | | | | New beginnings from images - Investigations into reality and the inner gaze: 1,800 exhibitions, 1,760 authors and 742 exhibition spaces, | | | | | | | – 31 Oct 2022 | | | | | |
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| | | Melanie Bonajo: ‘Big Spoon’, film still from ‘When the body says Yes’ . Courtesy of the artist. The Netherlands national Pavillion | | | | | | | 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 » | | |
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© 12 October 2022 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photo-index.art . T +49.30.24 34 27 80 |
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