| |
| | | | Lukas Korschan
AIRPORT, 2020
Fine Art Print on Hahnemühle Baryta
100 x 70 cm
Edition of 5 | Lukas Korschan
BUS, 2019
Fine Art Print on Hahnemühle Baryta
100 x 70 cm
Edition of 5 |
| | | | | | | | 16 July – 13 August 2022 | | | | Opening and Book Launch: Saturday, 16 July, 4pm | | | | | | | | | | | | | The exhibition "could be any place…" by Lukas Korschan is a visual research on today's mundane spheres of solitude and conformity across the world - physical as well as of digital nature - and a quest for the glimpses of romance, beauty and poetry within. An ongoing chase for the butterfly.
Presenting outtakes from his first book, Lukas enquires the exchangeability of airports, hotels or shopping malls and their meaning to both the individual and society. We see busy travelers commuting in front of graphic backdrops of an unknown airport. The skyline of New York, flowers in Peru, colorful fabrics in Uganda. He is framing moments that can possibly take place anywhere in the world and yet set the tone of modern identity: Holding on to our smartphones as the one thing we have in common, we receive streamlined communication and targeted advertising - hoping for that one text message from your loved one that brings you back to reality.
During the pandemic, the (non)places of hyper capitalism (Marc Augé) that Lukas had documented on his extensive travels remained deserted. Being locked down at home in Amsterdam, the photographer thus flipped the concept and went for a more static approach to photography. He captured people flashing by the lens and assembled the outcome to a dynamic composition. The site-specific installation on view at the exhibition illustrates a busy world that is just not meant to stop moving.
The show is curated by Benjamin Merten and Simon Melchers who are facilitating a gallery and exhibition space in Schöneberg. Their shared curatorial mindset is driven by an interest in cultural productions from all parts of the world and a profound belief in global and local responsibility.
Curr… | | |
| |
|
|
| |
| |
| |
|
| |
| |
| | | | 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. | | |
| |
|
|
| |
| | | | | | | Gerhard Kassner
Nicole Kidman, The Hours, Berlinale 9.2.2003
© Gerhard Kassner |
| | | | | | | | | |
|
| |
| |
|
| |
| |
| | | Candida Höfer, Rossiskaya gosudarstvennaya biblioteka Moskwa II 2017, Farbpapier © Candida Höfer / VG Bild-Kunst, Bonn 2022 | | | | | | Candida Höfer in Dialogue with the Photography
Collection of the Kunstbibliothek | | | | | | | | ... until 28 August 2022 | | | | | | | | | | | | | | | Candida Höfer explores built spaces in her photography. Her world-famous interiors focus on libraries, museums, restaurants, theaters, and other public spaces, allowing us to experience architecture in a new way. In comparison with photographic interiors from the Kunstbibliothek's Photography Collection, which is over 150 years old, a dialogue develops between applied photography and artistic work.
With approximately 90 works, the exhibition at Berlin's Museum für Fotografie opens up a broad cross-section of Candida Höfer's photographs from 1980 to the immediate present. The long tradition of her architectural photographs, however, also extends deep into the classical canon of this field of work. In dialogue with pendants and counter-images from the Kunstbibliothek's Photography Collection, Höfer's particular approach to her pictorial motifs is revealed in a particularly impressive way. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | | | | | Katharina Sieverding, Düsseldorfer Szene, 1974
Silbergelatineabzug
Schenkung Ingrid Oppenheim 1989
© VG Bild-Kunst, Bonn 2022 |
| | | | THE PHOTOGRAPHY COLLECTION | | | | | | | Wed 20 Jul 19:00
21 Jul – 16 Oct 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | © Sebastião Salgado
Shaman Ângelo Barcelos, Yanomami Indigenous Territory, State of Amazonas, Brazil, 2014.
Gelatin Silver Print | | | | | | | ... until 28 August 2022 | Robert Klein Gallery, Boston | | | | | | | ... until 28 August 2022 | Leica Gallery Boston | | | | | | | | | | | | | Robert Klein Gallery is pleased to announce concurrent exhibitions: Master Works and Amazônia. Join us Wednesday, May 25th 5-7pm for a reception with the artist at Leica Gallery Boston to view "Master Works", a selection of Salgado's seminal photographs from the 1980's to the present. Additionally, Robert Klein Gallery Newbury Street debuts "Amazônia" a 7 year project documenting the threatened, vast ecosystem that has been described as the "lung of the planet".
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) | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | | | | | Isabel Kittler
Aus der Serie: Sandra K., Zwillinge, 2021
© Isabel Kittler |
| | | | 22 POSITIONEN Fotografie I Bildende Kunst | | | | | | | Fri 10 Jun 16:00
– 10 Sep 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Osamu James Nakagawa
Fences, 2019
© Osamu James Nakagawa | | | | | | | 8th Triennal of Photography Hamburg 2022 | | | | | | | | ... until 14 August 2022 | | | | | | | | | | | | | The exhibition CURRENCY: PHOTOGRAPHY BEYOND CAPTURE at Deichtorhallen Hamburg explores conceptual engagements with photography in the "retinal age". In our accelerated era of circulation and instrumentation, images not only act as records of events and imprints of experience but also fundamentally shape acts of seeing and being seen. Approaching photographs as contextual frames for narrative invention, the exhibition critically considers how knowledge has been sought through the photographic apparatus over the course of its history and reimagined by artists and photographers through conceptual and poetic approaches to the medium. CURRENCY looks at how these practitioners have challenged the meaning and value of photographic images and investigated the extended lives, temporalities, and materialities of image cultures beyond the moment of capture.
The exhibition weaves experimental modes of appearance, multisensory evocation, and archival and documentary practice as novel possibilities and vocabularies for seeing and interpreting. In staging works by twenty-nine artists and photographers, the exhibition draws connections across geographies and eras, tracing intergenerational and transnational affinities through several motifs: the deconstruction and transformation of photographic canons; countermapping in the Anthropocene across landscapes of extractive capitalism, military occupation, and appropriation; tenderness as a relational framework for photography; and material explorations into the medium’s alchemical processes. These motifs structure CURRENCY and offer through lines across a range of perspectives. | | |
| |
|
|
| |
| |
| | Christoph Irrgang
From the series: Behind the Scenes, 2022
© Christoph Irrgang | | | | | | | 8th Triennal of Photography Hamburg 2022 | | | | | | | | ... until 14 August 2022 | | | | | | | | | | | | | The two-part exhibition BEHIND THE SCENES in the PHOXXI, the Temporary House of Photography at the Deichtorhallen Hamburg, revolves around processes of exchange and change confronting the institution's photography collection.
The photographer, businessman, and collector F.C. Gundlach (1926–2021) never thought of collecting solely as an investment, and instead primarily pursued his passion for and commitment to supporting photography. Nonetheless, the private F.C. Gundlach Collection, with its great cultural value, is a powerful cultural "currency" that led to the establishment of the House of Photography in the southern hall of the Deichtorhallen in 2003.
The focus of this exhibition, conceived by Sabine Schnakenberg, is the relocation of the F.C. Gundlach Collection, which became necessary due to the extensive three-year renovation of the building. The Hamburg-based photographer Christoph Irrgang, who previously conducted detailed on-site research on the French Impressionists for the Museum Barberini in Potsdam and ultimately juxtaposed Monet’s landscape paintings with current views of the same places, understands the relocation of the F.C. Gundlach Collection as an artistic challenge, which he documents in photography both matter-of-factly and poetically. While he is fascinated by the non-public and very intimate work situation in the storage areas, he uses conceptual opposites such as light/dark and interior/exterior to depict visible details of the work with the collection as well as those that remain hidden from view.
Irrgang’s analytical photographic work is complemented by a cooperation with the Hamburg-based photography magazine Photonews. The atmosphere and internatio… | | |
| |
|
|
| |
| |
|
| | | | | | | Julia Autz: "While I was waiting"
1. Preis: Beste Fotoserie 2021
VONOVIA AWARD FÜR FOTOGRAFIE |
| | | | ZUHAUSE | | | | | | | Tue 19 Jul 18:30
20 Jul – 31 Oct 2022 | | | Julia Autz documents in her award-winning photo series "While I was waiting" the dreams and longings of a young generation in Belarus, searching for a path between awakening and repression. | | |
| | | | | | | |
|
| |
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Platt D. Babbitt: Niagara Fälle, ca. 1853, Daguerreotypie, ganze Platte |
| | | | The Early Years of Photography. | | | | | | | Fri 15 Jul 19:00
16 Jul – 30 Oct 2022 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | | Corinna Rosteck: Scarpia, 70 x 100 cm, Fine Art print Metallic auf Aludibond
© corosteck |
| | | | | | | | Part 2: Wasser | | | Thu 14 Jul 19:00
14 Jul – 1 Sep 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | 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 | | | | | | | | 15 July – 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). | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | CHLOE SELLS (b. 1976, USA)
Untitled, 2017 (Botswana)
Chromogenic contact prints with paint and ink
10 x 12 cm
Unique | | | | | | | | | | | | | ... until 30 July 2022 | | | | | | | | | | | | | For the last exhibition before summer break, Miranda Salt, gallery director, proposes a selection from the gallery inventory with works by eight contemporary artists whose practise is influenced by the legcy of first woman photographer, Anna Atkins (1799-1871, English), amateur botanist and watercolorist who published in 1843 the first book to be illustrated by photographs, entitled Photographs of British Algae, cyanotype impressions. Atkins presented the algae like a herbarium and reproduced them as photograms in cyanotype. Each copy of Anna Atkins’ album is composed of more than four hundred plates, all made on chemically hand-prepared paper.
An only child, it was thanks to her father, chemist John George Children, that Atkins met William Henry Fox Talbot, also a botanist, and began experimenting with the silver salts process. For her publication, she adopted the 1842 invention of another friend, Sir John Herschel, the cyanotype (from the Greek, 'kyanos', or 'deep blue') that exploits the photosensitivity of ferric salts. In delicately annotating each plate by hand, Atkins is also the first photographer to combine text and image.
Today, Atkins’ photograms in cyanotype sit notably in the permanent collections of the New York Public Library, the Royal Society in London, the Linnean Society, the J. Paul Getty Museum, the Rijksmuseum and the Jardin des Plantes in Paris. In 2018, the New York Public Library produced an excellent exhibition Anna Atkins Refracted: Contemporary Works, described as follows: In 1843 Anna Atkins began producing Photographs of British Algae: Cyanotype Impressions, the first book to be printed and illustrated using photography. Today, 175 years later, her landmar… | | |
| |
|
|
| |
| |
| |
|
| |
| |
| | | | Inge Morath, Lama,
Times Square, New York City, 1957
© Magnum Photos / Inge Morath Foundation / Fotohof archiv | Inge Morath, Bookkeepers,
Sharon Goldberg and Barbara Rosman, New York, USA, 1965
© Magnum Photos / Inge Morath Foundation / Fotohof archiv |
| | | | | | | | ... until 28 August 2022 | | | | | | | | | | | | | Inge Morath was a Magnum member from the very beginning. Her international career is reflected in her life's journey: Her family hailed from Slovenj Gradec in what was then Lower Styria, now part of Slovenia. She was born in Graz in 1923, and after spending her youth in various European cities, she witnessed the end of the Second World War in Berlin. Subsequently she worked in Vienna as a text journalist with Ernst Haas, then in Paris with Henri Cartier-Bresson and moved to the USA in 1962 after her marriage to Arthur Miller. From there, she travelled to all the continents as a photographer and her photos were featured in solo exhibitions at important museums.
In 1991 she was awarded the first "Austrian State Prize for Photography". She died on 30th January 2002 in New York. Inge Morath is one of the artists who documented large cultural areas in extensive journeys and who created timeless portraits through her intensive commitment to people. In doing so, she not only directed her loving attention to such film stars as Marilyn Monroe, but also unknowns such as the ladies working in the accounting department at Magnum. She photographed the great artists of the 20th century such as Pablo Picasso, Alberto Giacometti, Anaïs Nin and Alexander Calder in equally intimate images as she did unknown street boys in Venice or dancers in a small bar in Spain. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | Thalía Gochez
Reflections, 2018
© Thalía Gochez |
| | | | Galerie Kernweine zu Gast in The Gällery | | | | | | | 15 July – 11 Sept 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
|
| |
| |
|
| |
|
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| | | | | | | | | | | | | | Thu 14 Jul 18:00
14 – 31 Jul 2022 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | | | | | International Festival on Experimental Photography | | | 20 – 24 Jul 2022 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
|
|
| |
| |
|
| |
| |
|
| |
| |
| | | © Jonathan Näckstrand, Festival La Gacilly-Baden Photo | | | Festival La Gacilly-Baden Photo 2022 | | | | DUE NORTH | | | | | | Baden near Vienna:
The largest outdoor photography festival in Europe will take place
from 9 June until 16 October 2022.
festival-lagacilly-baden.photo | |
| | | | | | | | | | | | | 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.
… | | |
| |
|
|
| |
| |
|
|
| |
|
|
| |
|
|
| |
|
|
| |
|
| | | | | | V edizione Le forme del ritratto | | | | | | | – 24 Jul 2022 | | | | | |
| | | | | | | |
|
| |
|
|
| |
| |
|
| |
| |
| | | 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 » | | |
| |
|
|
| |
| |
|
|
| |
| |
| |
|
| |
| |
|
| |
© 13 July 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 |
| |
