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| PHOTOGRAPHY INTERNATIONAL | | 13 – 20 October 2021 | |
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| | "L'Appartement - Espace Images Vevey" is the new space for contemporary photography and located in the main hall of the Vevey railway station. This art space will host around fifteen artist projects and exhibitions per year. It will provide a link between two editions of the Images Vevey biennial and will help to keep the "Vevey ville d'images" label alive throughout the year. |
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| | | © Liz Johnson Artur | | | Liz Johnson Artur » of life of love of sex of movement of hope | | | | 15 October 2021 – 9 February 2022 | | | | Opening: Thursday 14 October 2021, 18:30 hrs | | |  | | | | | | | | | | Foam is proud to present of life of love of sex of movement of hope, by Liz Johnson Artur. The work of Liz Johnson Artur is about the encounters the artist has had with the people she has met over the last 30 years. The photographs of these encounters are collected in her ever-expanding Black Balloon Archive. Through site-specific photographic installations – individually developed for a particular location – she retells the stories of these meetings to her audience. After photographing, Johnson Artur often builds the narrative in personal sketchbooks: printing and inserting her images on its pages, she experiments by annotating, painting or writing on them.
Materiality
The book form has multiple values for Johnson Artur. She uses it as a holder, a medium, to tell the stories of her photographs. It also provides a platform to experiment with paper, materials, and the possible applications of her photographs. Here she plays with texture and determines how materiality influences the perception of the photograph. This is an essential element in understanding the work.
No details
This past year, Johnson Artur has created five presentations specifically for Foam’s galleries. Only one of the exhibited works has a title, date or any other defining description. This is significant: by leaving out names, titles and dates, Johnson Artur takes away the limitations of perception. The image in the photograph stands alone. Where many artists or photographers insist on providing a context in order to share their story, Johnson Artur believes that leaving out details, encour… | | |
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| | | Guido Guidi, PK TAV 139+500, "Linea veloce Bologna-Milano", Rubiera, 2005 | | | | | | | | 15 October 2021 – 16 January 2022 | | | | | | | | | | | | | Guido Guidi (Cesena, Italy, 1941) is a key figure in the revival of photographic practices in the 1960s. His work occupies a fundamental place in the reflection on contemporary landscape, urbanism and architecture, as well as on photography itself. Guidi is an extraordinarily prolific artist and has never ceased to question the act of seeing through the medium of the camera. This questioning has developed through an intense dialogue between the narratives and materialities of photography and what emerges at its margins, in semi-urban landscapes and in neglected post-industrial regions.
This exhibition is the largest retrospective of Guidi’s work to date. Through more than two hundred and fifty photographs, Da zero [From zero], traces his career from his first photographs when he was only fifteen years old to his most recent projects, paying particular attention to the moments that are essential to understanding the depth of his visual thinking. At times irreverently, but often tacitly, Guidi’s work subverts conventional ideas of where to photograph and how to look, of a certain orthodoxy of seeing. Through seeming errors, unusual framing and, above all, an insistent orientation towards the overlooked aspects of the everyday, Guidi’s practice proposes photography as a process of understanding. He is always open to what arises from the experience while shooting, as well as to the multiple readings created by the sequencing of images in published form.
The title of the exhibition, Da zero, refers to the precociousness of Guidi’s first works; it also resonates with Roland Barthes’s concept of the ‘zero degree’ of writing, as an ongoing investigation into what sets a photograph in motion and what makes it possible. Guidi returns to the same place time and again in order to scrutinise the present by paying attention to the slightest details and smallest variations. His work has developed in an expressive form, one that is closer to questioning than to affirmation, opening up a new field of reflection where it is least expected, in the interstices of what is known. In this process he shuns the reductive idea of the photographic image as a vicarious substitute for experience, proposing it instead as a vital space for observation and potential imagination. | | |
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| | | |  | | | Ruth Bernhard
Carmen (aka Dancer in Repose), 1951
Silvergelatineprint, 33 x 27 cm |
| | | | | | | | | | | | Thu 14 Oct 19:00
14 Oct – 27 Nov 2021 | | | | | |
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| | Aitor Ortiz
Estorninos 008
© Aitor Ortiz
courtesy Galerie Springer Berlin | | | | | | | | | | | | | 19 October 2021 ‐ 29 January 2022 | | | | Opening: Saturday, 16 October, 12 - 6pm | | | | | | | | | | | | | In the exhibition Natural Appearance by Maria Jauregui Ponte and Aitor Ortiz, Galerie Springer Berlin is showing two series that have emerged independently of each other, but which are dedicated to the same theme, namely the appearance of nature. Both artists have used photography to capture the visible and the invisible in different ways.
In the series Wo Fuchs und Hase (Where Fox and Hare), which Maria Jauregui Ponte has been working on since 2018, the gallery is showing pictures from a small location in Mecklenburg. The cycle deals with wild animals that share their living space with people. By day, they live withdrawn, distanced from human beings. As soon as it gets dark and residents have withdrawn to their houses, the animal world re-conquers the terrain. Maria Jauregui makes this reconquering visible with the help of a wildlife camera. In the daytime, the artist takes the camera with her as she searches for traces the animals have left behind in the night;
Ortiz photographs the fascinating formations of swarms of starlings on the Basque Country’s Atlantic coast. Isolated from their natural background, they form dark specks on empty canvases. These structures or clusters are jointly coordinated by hundreds or thousands of creatures. They constitute an agile, unpredictable choreography in which the individual disappears. Ortiz captures this natural wonder with his camera and alienates it with technical sophistication.
Maria Jauregui Ponte, born in the Basque Country in 1972, has been living and working in Berlin since 1996. She is a self-taught photographer and honed her skills in internships and assistantships before studying at the New School for Photography, graduating in 2012. Ponte sees photograph… | | |
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| | | Mario Giacomelli, Paesaggio and Pretini, Gelatin Silver Photographs, 12” x 16 inches, c. 1975 / 1981 | | | | | | | | ... prolonged until 30 October 2021 | | | | | | | | | | | | | | Robert Klein Gallery is pleased to present a curated selection of signed gelatin silver prints by Italian photographer Mario Giacomelli (1925-2000). The exhibition is titled “Paessagio and Pretini” - drawing from two of Giacomelli’s most important and poetic bodies of work and is on view from August 10 through October 10, 2021, at Robert Klein Gallery (38 Newbury Street, Boston) and on Artsy. The exhibition runs concurrently with the Getty Museum’s retrospective of Mario Giacomelli titled “Figure / Ground”. Additional photographs and information about the artist may be viewed at the Getty’s website. The gallery is currently operating on an appointment only basis, please contact us to schedule a viewing. | | |
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| | | |  | | | Margaret Watkins: Untitled (Graflex Camera), c. 1920
vintage gelatin silver print, 21.1 x 16.2 cm
© Margaret Watkins / Collection of Joseph Mulholland, Glasgow |
| | | | | | | | | | | | 13 Oct 2021 – 16 Jan 2022 | | | | | |
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| | | |  | | | | Alfredo Jaar, Six Seconds (2000), Lightbox with colour transparency, 184.1 × 123.2 × 19 cm |
| | | | | | | | Hasselblad Award Winner 2020 | | | 15 Oct 2021 – 23 Jan 2022 | | | | | |
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| | He Yunchang
Golden Sunshine, Photograph, 1999
© He Yunchang | | | | | | | | 13 October – 20 February 2022 | | | | | | | | | | | | | He Yunchang (*1967 in Kunming, Yunnan) is one of the most important performing artists in China. He studied painting at the Yunnan Art Institute and moved to Beijing in the 1990s, where his first performative works were created. Over the past two decades, he was best known for a series of radical actions. For instance, he had his hand cast in concrete for 24 hours, tried–hanging from a crane–to divide a river in half with his own blood, burned the clothes he was wearing, he ventured to stay on a rock by the Niagara Falls or had a rib removed from his chest. What at first glance might appear as brave stunts is actually strictly formal, highly referential Live Art with a compelling emotional impact. He Yunchang refers to questions about the basic conditions of being, which he connects with the religious and popular traditions of China and ancient Greek philosophy–and at the same time references the traditions of performance art of the 1960s and 70s.
He Yunchangs body is the fundamental medium in his artistic practice. It is the instrument that enables him to express his beliefs, willpower and vital force. “I have no reservations in my art practice,” the artist states, “my only requirement is to stay alive. I use performance art to express what I care about and what I despise”.
The show curated by Ai Weiwei is He Yunchang's first comprehensive retrospective in the German-speaking parts of the world. | | |
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| | | Nyamwathi Mandala, aus dem Werkzyklus "Tools For Conviviality", Anna Ehrenstein mit Awa Seck, DonKafele, Lydia Likibi, Saliou Ba und Nyamwathi Gichau Foto: courtesy the artist, Office Impart and KOW Berlin | | | | | | | | 16 October 2021 – 27 February 2022 | | | | | | | | | | | | | | TOOLS FOR CONVIVIALITY IS A COLLECTION OF VISUAL EPHEMERA ABOUT THE USAGE OF TOOLS FOR VARIOUS MODES OF HUMAN TOGETHERNESS. | | |
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| | | |  | | | | FloodZone © Anastasia Samoylova |
| | | | | | | | | | | | Thu 14 Oct 18:00
15 Oct 2021 – 17 Apr 2022 | | | | | |
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| | Francis Bacon on Primrose Hill, London, 1963 | Parlourmaid and Under-parlourmaid ready to serve dinner, 1936
Private collection, Courtesy Bill Brandt Archive and Edwynn Houk Gallery
© Bill Brandt / Bill Brandt Archive Ltd. | | | | | | | | ... until 28 November 2021 | | | | | | | | | | | | | Bill Brandt is considered one of the founders of modern photography, alongside Walker Evans and Cartier-Bresson. Exploring English society, landscape and literature, his images are vital to our understanding of the history of photography and even the British way of life in the mid-20th century. Bill Brandt (born Hermann Wilhelm Brandt on May 3, 1904, in Hamburg, † December 20, 1983, in London) was a British photographer of German origin. Hermann Wilhelm Brandt, already called Bill as a child, was born in Hamburg as the second son of the British merchant Louis Brandt (his mother came from the St. Petersburg-based, German-Russian merchant family, von Oesterreich). His older brother Walter later became the head of the family-owned London private bank William Brandt & Co, and his younger brother Rolf who was a painter also lived in London. The rise of National Socialism and their strong convictions saw the family return to England.
But everyone kept in touch with the von Oesterreich family, who had since moved to Hamburg and whose most prominent representative is the actor, author and director Axel von Ambesser. As a young man, Bill Brandt had a weak constitution and first visited London in 1931 following a sanatorium stay in Davos via Vienna and Paris. In Paris, he met the surrealist circle around Man Ray – most likely through the poet Ezra Pound. In the UK, Brandt worked as a photographer and photojournalist for various magazines, including Lilliput and Harper’s Bazaar; his thematic focus was the standard of living in England during the Great Depression. From 1936 on, Brandt also published various photobooks. In 1937 he self-financed a photo tour to the slums of the Midlands. During the Second World War, Brandt worked for the Home Office. A… | | |
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| | GERARD DALLA SANTA
Paysage 31, 2016
Archival pigment print
60 x 70 cm
Limited edition of 5 | | | | | | | | ... until 30 October 2021 | | | | | | | | | | | | | Galerie Miranda is delighted to present a personal exhibition by Gérard Dalla Santa (b. 1947, France). Entitled Des Paysages Longtemps, the exhibition takes its name from a short poem by Rainer Maria Rilke.
The photographs presented in this solo show proceed from Gérard Dalla Santa's research into landscape that is anchored in two traditions: that of documentary photography and that of outdoor landscape painting (Corot, Courbet, Pissarro and Cézanne…) that considered the topography as well as the historical and collective dimension of landscape. Temporal markers punctuate the work of Gérard Dalla Santa, who captures, in the present tense of photography, the intersection between the time of landscape and the time of its representation. In his recent landscapes of river banks, the artist employs the picturesque and the banal to reveal a newfound lyricism, allowing living beings - human and animal - to enter the field on equal terms with nature.
Dalla Santa's work echoes the writings of English historian Simon Schama, whose seminal and exceptional publication 'Landscape and Memory' (Vintage books, 1995) draws upon science, geography, politics, literature, religion, art, architecture and mythology to weave a narrative of the 'necessary union' throughout history between civilization and nature. Avoiding the usual duel of conquering mankind vs. passive nature, Schama, seeks instead to reveal what binds them. To paraphrase Schama's introductory text:
"If...our entire landscape tradition is the process of a shared culture, it is by the same token a tradition built from a rich deposit of myths, memories and obsessions. The cults which we are told to seek in other native … | | |
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| | | |  | | | Bodhisattva in my okra garden.
2021
giclée print
17 x 22 in (43.1 x 55.9 cm)
© Jun Nguyen-Hatsushiba |
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| | | À table avec Nico ! © Nicolas Polli | | | | | | | When Strawberries Will Grow on Trees, I Will Kiss U
À table avec Nico ! | | | | 13 October – 28 November 2021 | | | | Opening reception: Wednesday 13 October 18:00 | | | | | | | | | | | | | When Strawberries Will Grow on Trees, I Will Kiss U
During three months of confinement in the spring of 2020, Nicolas Polli went through a period of profound solitude and uncertainty. He then drew on his artistic resources to stage this fragility that he had never felt so strongly. Confronting his enclosure, he frantically began to compose still life and images from everyday objects. His imagination challenges his doubts and desires. In his depopulated apartment, he gives meaning to banality. His own body also becomes the object of new attention: vulnerable, it demands a fantasized presence. Sensitivity is mixed with sensuality when Polli addresses short poems to an unknown, idealized and eroticized figure. Finally, his series When Strawberries Will Grow on Trees, I Will Kiss U paints a sin- cere and delicate portrait of a universal loneliness.
À table avec Nico !
When artist Nicolas Polli photographs the disturbing still lifes he creates in his home, magic happens: courgettes do the balanc- ing act, a few twisted spoons become characters, loaves of bread serve as slippers and cutlery seem to levitate. Fifteen jubilant images are brought together in a playful display, spe- cially designed to inspire children at the heart of L'Appartement - Espace Images Vevey. | | |
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| | | © Peter Puklus, The Hero Mother – How to Build a House | | | Peter Puklus » The Hero Mother – How to Build a House | | | | 13 October – 28 November 2021 | | | | Opening reception: Wednesday 13 October 18:00 | | | | | | | | | | | | | In this 2017/2018 Images Vevey Grand Prix winning series, Peter Puklus deconstructs the dynamics of pre-established female and male roles: motherhood as a presumed heroic activity and the father's assumed duty to build and protect the home. Premiered internationally at the 2018 edition of the Images Vevey Festival with an immersive installation, the project continues today as an artist's book co-published by Witty Books and Images Vevey.
By deploying an extraordinary visual and pictorial vocabulary around his own family unit, Puklus breaks down the symbols traditionally associated with maternal and paternal fig- ures. Throughout the pages, he shares with the reader his doubts, his states of mind and his vulnerability. | | |
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| | | Nous voir ensemble © Marie Noury | | | | | | | | 13 October – 28 November 2021 | | | | Opening reception: Wednesday 13 October 18:00 | | | | | | | | | | | | | | How many stories can be created by a seemingly insignificant photograph presented to different members of the same family and their relatives? By compiling fragments of vernacular images, Marie Noury conducts a videographic investigation where words, expressions and gestures interact around this mysterious photograph taken from her family archive. Memories vary like interpretations. Between reveries and revelations, Nous voir ensemble questions with tenderness the power of the photographic image, of words and of emotional memory. | | |
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| | | Roger Humbert, Untitled (Abstract Colour Photograph), 1972, Fine Art Print, 2021, 19 x 19 cm | | | | | | | | ... until 20 November 2021 | | | | | | | | | | | | | Concrete Photography strives for a pure photography that focuses only on itself and is detached from iconography and symbolism. Swiss photographer Roger Humbert, born in Basel in 1929, is a pioneer of Concrete Photography and has produced an extensive body of work from the 1950s to the present day. The exhibition "The Language of Light" presents the wide-ranging oeuvre of Humbert and elaborates the history of the development of Concrete Photography. This comprehensive look focuses on five groups of works: analog Photograms, analog Colour Photographs, digital Photograms and Concrete Photography, digital Color Reflections and Spectral Photographs.
Based on the theories of the English photographer Alvin Langdon Coburn around 1916, concrete photography concentrates on the mysterious quality of light. Further stations in the history of development are the well-known Schadographs by Christian Schad, the Rayographs by Man Ray, and the photograms, luminograms, and photomontages by László Moholy-Nagy taken at the Bauhaus.
Roger Humbert began creating photograms in the darkroom in the mid-1950s. Humbert and his photographic contemporaries were looking for a new modern, experimental visual language - a photography without a camera. He denied the image, detached himself from the object and understood light as a decisive, image-generating element. Using experimental light sources and form elements, Humbert created photograms from the 1950s to the 2000s. The art and literature historian Bernd Stiegler compares in the publication concrete photography as program Humbert's work in the darkroom with that of a natural scientist. In the laboratory, Humbert carried out scientific experiments with photography and tried to find out what it me… | | |
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| Auctions |
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| Festivals |
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| Upcoming |
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| | | | | | VI BIENNIAL OF PHOTOGRAPHY ON INDUSTRY AND WORK: 11 EXHIBITIONS / 10 VENUES | | | | | | | 14 Oct – 28 Nov 2021 | | | | | |
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| | | | | | Women and Photography: Ways of Seeing and Being Seen | | | | | | | 15 Oct – 15 Nov 2021 | | | | | |
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| | | © Marcos Lopez, Festival La Gacilly-Baden Photo | | | Festival La Gacilly-Baden Photo 2021 | | | | VIVA LATINA! | | | | | | Baden near Vienna:
The largest outdoor photography festival in Europe will take place
from 18 June until 17 October 2021.
festival-lagacilly-baden.photo |  |
| | | | | | | | | | | | | FESTIVAL LA GACILLY-BADEN PHOTO 2021: VIVA LATINA!
VIVA LATINA! is the theme of the 2021 Festival La Gacilly-Baden Photo. It will present photographs from Latin America that reflect the complexity of the continent’s history, full of revolutions and hopes, its jumble of traditions, in which dreams of the West mingle with shamanistic world views; as well as the fervour of its society, shaped by violence and a powerful joy of life. Whether they come from Brazil, Ecuador, Chile, Mexico or Argentina, all photographers of our Festival are firmly rooted in everyday life. They capture the diversity of the people on this continent, explore the urban chaos and lament the damage done to nature – and they do this poetically, creatively and humorously. But above all, they stand for photographic art full of energy and inventiveness.
The Festival will also celebrate the biodiversity of our planet.
The World Conservation Congress of the International Union for Conservation of Nature (IUCN) was to be held in Marseille in mid-June 2020, to be followed by the COP15 of the UN Convention on Biodiversity in Kunming, China, in October. But the ongoing pandemic shredded the schedule and these two events, so essential for the protection of our ecosystems, were postponed to 2021. We have adapted to this change and will present exhibitions in 2021 that were created by some of the best photographers in the world to document the essence and importance of biodiversity on our planet. They want to help connecting people more deeply with the realm of nature.
To visualize these two highly complex narrative strands, 22 photographers, five photographer collectives and 16 Lower Austrian schools are taking part, in a humanist frame of min… | | |
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| | | | | | FAKE – visual distortion | | | | | | | – 14 Nov 2021 | | | | | |
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| | | | | | The Makeable Mind: 15 locations, over 70 artists | | | | | | | – 28 Nov 2021 | | | | | |
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| | | | | | Acts of Love and Rebellion | | | | | | | – 23 Oct 2021 | | | | | |
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| | | | | | open air festival - DUE NORTH ! | | | | | | | – 31 Oct 2021 | | | | | |
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| | | | | | | | | | | | | | ... until 1 December 2021 | | | | | | | | | | | | | | The PHOTOVILLE Festival, New York City’s FREE premier photo destination, returns on September 18 for its 10th anniversary year with a free community day, virtual online storytelling events, artist talks, workshops, demonstrations, educational programs, community programming, and open-air exhibitions across parks and public spaces throughout New York City till December 1, 2021. | | |
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| | | | | | THOUGH IT'S DARK, STILL I SING | | | | | | | – 5 Dec 2021 | | | | | |
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© 13 October 2021 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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