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| PHOTOGRAPHY INTERNATIONAL | | 13 – 20 April 2022 | |
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| | Lee Friedlander
New York City, New York, 1963
© Lee Friedlander, courtesy Fraenkel Gallery, San Francisco and Luhring Augustine, New York | | | | | | | | ... until 15 May 2022 | | | | | | | | | | | | | The American social landscape
Lee Friedlander has been a photographer almost since he was a teenager. In the sixties, after settling in New York and despite still being in an apprenticeship period, he became a mature artist and begins to develop his unique visual language, which break away from traditional means of representation shaking the viewer with juxtapositions of seemingly unconnected objects and ideas, in contrast with the seriousness of previous documentary photographers.
Considered the photographer of the American social landscape and as such included in the category of documentary photographer, Friedlander has travelled across the United States on many occasions, capturing everything he sees. He is, however, more interested in the medium of photography and in producing “a good photograph” than in the social aspects that concerned his predecessors.
The exhibition has been organized chronologically, starting from the beginning of his career to his latest images, taken just a few years ago, featuring around 300 photographs of urban scenes, landscapes, portraits, self-portraits or natural forms. It also includes a selection of books of his most significant projects.
This wide-ranging selection will introduce visitors to the extensive and powerful work of one of the most influential American photographers of the 20th century who continues active today.
If art is a form of experimenting, the sense of alienation that we experience when looking at Friedlander’s images allows us to look afresh at the world, free up our perceptual capacities and discover what the rigidity of tradition had made invisible; in other words, it allows us to renew our experience of the world. | | |
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| | Adolf Mas Ginestà
View from Puerta del Ángel, 1902
© Institut Amatller d’Art Hispànic. Arxiu Mas | | | | | | | | ... until 15 May 2022 | | | | | | | | | | | | | Barcelona in transformation
The core of the exhibition features Mas’s photographs of Barcelona. His camera captured the architectural, social and cultural changes of the city in images that interweave a documentary record with the aesthetic lines of contemporary European artistic tendencies. a Barcelona of contrasts, stratified between the barraca shacks in the suburbs and the mansions of the Eixample, between the luxurious cafés in the center for the pleasure of the bourgeoisie and the shantytowns built by beggars in Barceloneta, without forgetting the institutions that reflected the changes of the time, such as the modern schools or the women’s training workshops.
In his work, the documentary is fused with an aesthetic construction in line with the production of other contemporary and subsequent authors such as Eugène Atget, Brassaï or the current of humanist photography. | | |
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| | | Martin Mlecko: Private Life, #273, 2002 | | | | | | | | Last days until 16 April 2022 | | | | | | | | | | | | | "Private Life" is made up of 300 photos found at flea markets or in the personal archives of friends and family. Taken between the 1960s and 1990s these amateur photographs cover a broad spectrum of subjects – parties, a day at the beach, a visit to an aunt, or a favorite pet. Out of thousands of images collected, Mlecko selected and reworked the photographs seen here. He color-corrected his selection and added a cloudy layer. Mlecko saw himself as a catalyst, someone who is rendering these images visible in a different way. The poses and situations presented in the photographs are familiar, at times even mundane. If we were to look at our own photo albums there is a high probability similar images could be found.
This particular series brings together multiple key parts of Mlecko’s artistic praxis. He was an investigative artist who searched continuously for the inherent beauty in his locality. He was dedicated to highlighting the personal lives of the everyday man. Mlecko searched for a sense of togetherness, he aimed to show the complexity and delicacy of human relationships. | | |
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| | Kokerei in Ordos, Innere Mongolei, März 2005
© Lu Guang (Contact Press Images) | | | LU Guang » Black Gold and China | | | | ... until 17 April 2022 | | | | | | | | | | | | | From 1995 to 2017, photographer Lu Guang traveled through his native country, China. His impressive photographs document the effects of coal mining on people and nature. They show workers in precarious conditions, the thick smoke of the factories, illegally disposal of wastewater and devastated landscapes. Yet the images never seem voyeuristic. They were intended as a worldwide appeal for environmental protection and against social injustice. In addition to their documentary character, they also have a strong artistic component. The expressive compositions and strong colours form a striking contrast to the sometimes emotionally stirring subjects.
With over one hundred colour and black-and-white photographs, the special exhibition offers an insight into the work of one of China's most important photographers as well as the first monographic museum exhibition of Lu Guang in Germany. | | |
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| | CCIB, Plaza de Willy Brandt 11-14 , 15 June 2011
From the series “Futurismo” (Futurism)
© Jorge Ribalta, VEGAP, 2022 | | | Jorge Ribalta »
It’s All True. Fictions and documents (1987-2020) | | | | ... until 8 May 2022 | | | | | | | | | | | | | Fundación mapfre is pleased to present Jorge Ribalta. It’s All True: Fictions and Documents 1987–2020. This exhibition, Jorge Ribalta’s first retrospective, traces the evolution from the illusionistic staged photographs he began taking in 1987 to the "documentary photography" he embraced in 2005 and continues practising today.
In 1941, Orson Welles conceived It’s All True as blend of documentary and docufiction, a feature film comprising three different segments that told three stories about Latin America. Cancelled halfway through production, the documentary has been the subject of numerous debates and was recovered by Richard Wilson in the 1993 feature It’s All True: Based on an Unfinished Film by Orson Welles. This documentary, a genuine fieldwork exercise about a narrative, is closely related to Ribalta’s working method and to the conception of the exhibition now being presented at Fundación MAPFRE: the show offers a chronological survey of the artist’s entire career, simultaneously revealing and concealing aspects of a history that is often "fabricated", a construct typical of the language of photography and, in fact, of every artistic medium. | | |
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| | Deana Lawson, Coulson Family, 2008. Pigment print.
Courtesy the artist; Sikkema Jenkins & Co., New York; and David Kordansky Gallery, Los Angeles. © Deana Lawson | | | | | | | | 14 April – 5 September 2022 | | | | | | | | | | | | | The first museum survey dedicated to the work of Deana Lawson (b. 1979, Rochester, NY), this exhibition presents the work of a singular voice in photography today. For more than 15 years, Lawson has been exploring and challenging conventional representations of Black life through photography, drawing on a wide spectrum of photographic languages, including the family album, studio portraiture, staged tableaux, documentary pictures, and appropriated images.
Engaging acquaintances as well as strangers she meets in cities across Africa and the diaspora, Lawson uses imagery to build extended families of strangers in living rooms, kitchens, and backyards from Brooklyn to New Orleans, Haiti to Ethiopia, and Brazil to the Democratic Republic of Congo. The artist meticulously poses her subjects in highly staged photographs that weave together narratives of family, love, and desire, creating what she describes as “a mirror of everyday life.”
Through a selection of more than 50 works from 2004 to the present, Deana Lawson features the full range of the artist’s career to date and establishes a narrative arc of her expansive vision for the first time. The exhibition represents a return to PS1 for Lawson, whose photographs were featured in the museum’s signature exhibition series Greater New York in 2010 and 2015.
This nationally touring exhibition was co-organized with the Institute of Contemporary Art/Boston (ICA), where it was on view from November 4, 2021 to February 27, 2022. The exhibition will travel to the High Museum of Art, Atlanta from October 7, 2022 to February 19, 2023.
Deana Lawson is organized by Peter Eleey, Curator-at-Large, UCCA … | | |
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| | | © Hyung-Geun PARK | | | | | | | | 8 April – 5 June 2022 | | | | | | | | | | | | | | Hyung-Geun PARK visualizes what lies beyond the visible world with dream-like and surreal images using intuitive designs and image constructions. Climate crisis and the pandemic that has recently swept over the human race exposed those microscopic beings that were disregarded because they were invisible to the human eyes, and have urged us to repent of the human centered worldview that caused all of it. In this exhibition, the artist describes his ecological and microscopical concerns and thoughts on co-existence and harmony. The exhibition’s title 《Jungjung Mujin》 refers to a world where all matters of universe become each other’s cause within the infinite time and space, to transcend beyond the conflict and converge into one. A deep blue river dotted with white pieces of ice, the cave glittering in many colors, and the comet-like grand landscape peeping through them materialize the true identity of nature composed of microscopic beings and at the same time ironically reminds us of how the human beings standing in front of nature can only be microscopic. | | |
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| | | Tatjana Rüegsegger, Brexit Bedrooms – Izzy/Black Honey, 2019, Fine Art Print auf Hahnemühle, 25 x 37,5 cm | | | | | | | Bedtime Stories in Photography | | | | | | | | ... until 23 April 2022 | | | | | | | | | | | | | A place of retreat and sleep, a place of love, intimacy and lust, a land of dreams, a scene of birth, but also of illness and death - the bed has a multifaceted role in our lives and is thus one of the most frequently portrayed objects in art. It is an intimate place; a place where we feel at ease; a place where many things are experienced. The exhibition at Fabian & Claude Walter Galerie explores this place as a central motif in photography. However, the exhibition goes beyond the mere pictorial presentation of the bed and addresses the stories behind the individual works and photographed beds. The works represented in the exhibition range from photographs that observe the object of the bed in a distant manner through their documentary character to works that reveal an almost uncomfortable closeness to the beds of the protagonists. Equally diverse are the associated bed stories that reflect the background of the individual photographs.
The bed as a central theme was taken up by Henry Peach Robinson in his photographic work Fading Away as early as 1858. The historical photograph, which portrays a dying girl and her family, shocked viewers at the time with its directness. Although it is known that the photograph was posed, we are still struck by the discomfort of observing the situation at close range. We are in the immediate vicinity of the events, and while looking at the photographs, we cannot shake off the feeling that we are disturbing these familiar moments with our presence. Whether it is a sickbed, a birthing bed, a marriage bed or even an empty bed rarely matters, because the bed of a person unknown to us always possesses an unusual intimacy. Since then, a variety of beds have shaped the history of photography. Douglas Kirkland's photographs… | | |
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| | | | | | | | | | Photo50 | | | | | | | Wed 20 Apr
21 – 24 Apr 2022 | | | | | |
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| | Lot 38
HANNAH COLLINS
"True Stories New York Brown"
From "True Stories" series, 2004-2017
C-print on paper
Signed, dated 2017 and numbered AP2
Ed. 3 plus 2 AP
175 x 235 cm | | | Modern & Contemporary Art | | | | | | Auction 114:
Wednesday | 20 April 2022 | 7pm
Viewing:
13, 14, 16, 18 and 19 April | 10am – 8pm
Catalogue:: | |
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| | | | | | | | The Milk of Dreams | | | | | | | | 23 April – 27 November 2022 | | | | Pre-opening : Wed, Thu, Fri April 20, 21 and 22 | | | | | | | | | | | | | 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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| | | | | | V edizione Le forme del ritratto | | | | | | | – 24 Jul 2022 | | | | | |
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| | | | | | | | | | Rencontres de la jeune photographie internationale 2022 - 27 artists | | | | | | | – 28 May 2022 | | | | | |
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| | | | | | European young photography festival | | | | | | | – 29 May 2022 | | | | | |
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| | | | | | First edition of Jeu de Paume festival: exhibition, performance, film | | | | | | | – 22 May 2022 | | | | | |
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| | | | | | Denmark, Estonia, Finland, Iceland, Norway, Sweden | | | | | | | – 19 Jun 2022 | | | | | |
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© 13 April 2022 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photo-index.art . T +49.30.24 34 27 80 |
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