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| PHOTOGRAPHY INTERNATIONAL | | January 17 - 24, 2024 | |
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| | There are three upcoming Online Auctions:
At Dorotheum, Vienna there are more than 200 lots until Thursday, 25 January, 3pm.
At Grisebach, Berlin are from 19 till 28 January 109 lots on offer.
Bonhams Skinner is presenting an online auction from 21 till 31 January.
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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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Eugénie Shinkle, Ideal City (Somebody Else’s Landscape), 1998 – 2. Courtesy of Revolv Collective. |
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| | The crucifix of ransoms – Guilty Grounds, 2023
© Steffi Reimers | | | | | | | | ... until 3 March 2024 | | |  | | | | | | | | | | Foam 3h presents the first solo exhibition of recently graduated Dutch photographer Steffi Reimers, the 7th recipient of the Florentine Riem Vis Stipendium. For the conceptual photo project Guilty Grounds, she travelled to Calabria, southern Italy, to explore the dark side of Calabrean history and the origins and kidnapping practices of the world's most powerful criminal organisation, the 'Ndrangheta.
Reimers uses the concept of "Guilty Landscapes" to convey the complexity of this tragic history. She reveals the landscapes of Aspromonte National Park as silent witnesses to the pervasive influence of the 'Ndrangheta. Landscapes that were once untouched and peaceful now resonate with memories of events that have subtly left their mark.
This project highlights its unique use of forensic light, which reveals traces of atrocities and confronts the viewer with the uncomfortable truth. The addition of a 'prayer card' to the exhibition introduces a duality and highlights the role of faith and crime in the region. Although not the central theme, the prayer card serves to highlight the delicate balance between these two aspects and offers a narrative that invites deeper contemplation.
In a region where the mafia and its activities are denied, Guilty Grounds is a powerful reminder of a shocking part of Italian history, confronting the viewer with the uncomfortable truth. In this project, Reimers' choice to exclude human figures from her images is evident, which emphasises the landscapes all the more as both 'guilty' and 'testifying' entities. Each image bears silent witness to the events in Calabria and invites the viewer to join in and make their own interpretations. | | |
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| | | |  | | | | © Xavier Ribas |
| | | | An Atlas of the Foto Colectania Collection | | | | | | | Wed 17 Jan 20:00
18 Jan – 2 Jun 2024 | | | | | |
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| | | |  | | | | © Bimal Fabbri, aus der Arbeit “Kaliama”, 2022 |
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19 Jan – 3 Mar 2024 | | | | | |
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| | | |  | | | Sabrina Asche
"This Is Why I Have Taken the Photo", 2022
aus der Serie "Textilarbeiterinnen fotografieren", 2018–2022
Video, 32:33 Min., Farbe, Ton |
| | | | | | | | der Wüstenrot Stiftung | | | | | | | Sun 21 Jan 16:00
21 Jan – 10 Mar 2024 | | | | | |
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| | Edward Burtynsky
Salt Ponds #6, Near Tikat Banguel, Senegal, 2019
From the series African Studies
Archival pigment print
149 x 198 cm
Edition of 3 | | | | | | | | ... until 2 March 2024 | | | | | | | | | | | | | The exhibition "African Studies" by Canadian photographer Edward Burtynsky is the fourth solo exhibition by this internationally renowned artist since 2014 at Galerie Springer Berlin.
For decades, his concern for the environment has been the driving force behind his artistic work. In stunningly beautiful images, he shows us the serious marks that industry leaves on the earth. At the same time, his images often document alarming ecological disasters.
For his new series "African Studies" he spent seven years travelling through ten countries in sub-Saharan Africa. He documents the continent's rapid industrialisation, probably the world's last great expansion.
The exhibition includes work from Ethiopia, Kenya, Namibia, Senegal and South Africa. The photographs show bird's eye views of the mining of sulphur, coal, iron, diamonds and salt. Breathtaking images from Namibia reveal the beauty of the country's unspoilt nature.
The same-titled book was recently issued by Steidl Verlag in the fall of 2022.
"My interest in Africa owes its genesis to an earlier body of work that I produced about China back in 2004. For that project, and while researching several topics including the Three Gorges Dam, urban renewal, and recycling, I learned how the new Chinese factories were being created. At the time, heavy machinery was literally being unbolted from concrete floors in Europe and North America, then shipped and refastened to the floors of gigantic facilities in China. This represented a paradigm shift of industry, and it seemed obvious that China was rapidly becoming a leading manufacturer for the world. I realized even then that the African continent was poised to become the next, perhap… | | |
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| | | |  | | | Papst, New York, 1990
from the series In einem Wind aus Sternenstaub
© Gundula Schulze Eldowy |
| | | | | | | | | | | | Wed 24 Jan 19:00
25 Jan – 1 Apr 2024 | | | | | |
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| | | Exhibition view, Échappée Belle, Sanja Marušić © Cité de l’image | | | 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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| | Laura J. Padgett, Confounding 2023
2 Archival Pigment Prints on Hahnemühle Museum Etching 350 gsm
96 x 66.67 cm each, edition of 4 + 1 AP | | | | | | | | 20 January — 16 March 2024 | | | Opening: Friday, 19 January, 6—8 pm
in the presence of Laura J. Padgett | | | | | | | | | | | | | In her artistic practice, Laura J. Padgett reveals the historical layers beneath the outer crust of the present. Her new work, which she made during the last two years at the Poelzig-Bau in Frankfurt, sheds light on the complex background of the building. Architectural and industrial history, collusion with National Socialism, post WWII history under the American military administration, and most recently becoming home to the J.W. Goethe University since 2001 manifest themselves in significant overlays. Further, Padgett has identified another area of memory within the building: the university collections are evidence of our cultural history and the ongoing metamorphosis how we perceive it.
"What I look for now are places that resonate with history, that are, in a way, unmarked landmarks, and to make this history visible and palpable. Because our past is ours forever." Laura J. Padgett
The exhibition will be accompanied by a publication with photographs by Laura J. Padgett an essay by Katharina J. Cichosch.
Laura J. Padgett (b. 1958 in Cambridge, USA) received her BFA in painting from Pratt Institute in Brooklyn, New York. She continued her studies in film and photography at the Städelschule from 1983 to 1985 and received her MA in Art History and Aesthetics in 1994 from the Johann-Wolfgang-Goethe University, both in Frankfurt am Main.
Since the 1990s Laura J. Padgett has produced a complex body of work. She exhibits widely, while also participating in international film festivals and screenings.
In addition to her exhibiting activities, the artist regularly writes on film, art and aesthetic theory. Since 1990 she has taught and lectured at various universities in Germany and abroad.
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| | Bertien van Manen: aus der Serie "Let's sit down before we go"
C print, Ed. of 10 + 2 AP | | | | | | | | ... until 3 Februar 2024 | | | | | | | | | | | | | "I have to like the people I photograph. I need to feel an attraction, a fascination." — Bertien van Manen
Buried deep in Bertien van Manen's images is an intimacy between photographer and subject. The viewer trespasses on the private moments in the frame, catching a glare over breakfast, unheard words between friends, both party to the action and intruding on it.
Between 1991 and 2009 van Manen travelled across Asia and Eastern Europe with a small, analogue camera, learning the local language and engaging with the people who would become the subject of this collection.
"Let's sit down before we go" is a portrait of the places van Manen visited and the people she met, stayed with and became friends with during her travels across Russia, Georgia, Kazakhstan, Moldova, Siberia, Tatarstan and Uzbekistan.
Across nearly two decades, with the exception of big cities, little about the scenery in van Manen's photographs has changed. The relative sameness of Russia's appearance binds the images together, leaving us no indication of the time lapse from one photograph to another. | | |
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| | Marie Taillefer, "Teotihuacan", Mexico, 2020 © Marie Taillefer
One for the Other. A carte blanche given to Virginie Otth | | | | | | | | | | | | | | | | One for the Other. 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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| | | Francesco Neri: from the series "Boncellino", 2023 | | | | | | | | 19 January – 16 March 2024 | | | | | | | | | | | | | This exhibition marks Italian photographer Francesco Neri’s London debut and the first presentation of a body of work made over the last two years in the tiny hamlet of Boncellino near to his home town of Faenza in the northern region of Emilia-Romagna. Faenza is surrounded by an abundant, cultivated landscape, farmed since Roman times with fruits and vegetables, vines and cereals. Increasingly, though, its rural villages are experiencing the deadening effects of depopulation and ecological degradation.
Boncellino is the latest iteration of what has become a prolonged study of the agrarian communities of Neri’s native region. The study was catalysed in 2009 by an encounter with a local farmer Livio Papi. With their meeting, Neri found the key to unlock his own deep sense of connection to place. Through the portraiture of the region’s people, and more specifically, his photographic interaction with them, he saw the route "to understand where I am from". Like many photographers who focus on what is closest to them, the project is in one sense also an evolving self-portrait. Neri returns to photograph people - and the buildings they have made - again and again, "to retrace my steps and see how things and people have changed. I too have changed in turn." As the work grows, the photographer and his subjects age together, and the photographic project itself becomes a record of the passage of time.
Excerpt from the introduction written by Kate Bush.
Part of the exhibition is a new portfolio, Wooden Tool Shed, comprising 8 gelatin silver contact prints and an accompanying book with further illustrations, alongside a new text by David Campany, produced by Imagebeeld Edition, Brussels.
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| | |  | | | | Los Angeles US | M+B | |
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| | | Showgirls. Las Vegas, Nevada, USA. 1957. © Elliott Erwitt / Magnum Photos | | | | | | | | ... until 17 March 2024 | | | | | | | | | | | | | Divided into eight themes) and the colour works ("Kolor"), the exhibition invites you to discover the multi-faceted artist and his work. His work is structured along two axes. One is the distinction between black and white and colour - personal black and white pictures, commissioned colour work: "I don't use colour in my personal work. Colour is a professional matter. My life is complicated enough as it is. I stick to black and white. That's enough." However, if the distinction is intended, it is theoretical: Erwitt, in fact, combined artistic and commercial activity, not without adding his own touch to his commissioned work, which thus acquired an undeniable artistic quality. The other axis is thematic. The themes were defined by Elliott Erwitt himself; you will discover his work the way he intended.
I would say that the most important thing about a photograph is to stir emotions, to make people laugh or cry, or both at the same time.
– Elliott Erwitt
From 21st October 2023 to 17 March 2024 at La Sucrière, Lyon
After a tremendous success at the Musée Maillol in Paris with hundreds of thousands of amused visitors, we are glad to announce the opening of "Elliott Erwitt. A Retrospective" in Lyon, at La Sucrière!
An exhibition conceived and created by Tempora in close collaboration with Magnum Photos and the Musée Maillol.
Exhibition curators: Elie Barnavi, Isabelle Benoit, Peter Logan et Benoît Remiche.
Humanism, irony, humor
The exhibition "Elliott Erwitt. A Retrospective" pays tribute to one of the greatest photographs of the 20th century, member of Magnum Photos since 1954. The exhibition presents his work through a collection of 215 black and white and color photographs.
An American photographer of European descent, Elliott Erwitt is a multi-faceted artist: he’s at the same time a painter of intimacy, a photojournalist, a commercial photographer, a film director, and a portrait photographer of famous personalities such as Marilyn Monroe, Jackie Kennedy, Charles de Gaulle, Ernesto “Che” Guevara, Alfred Hitchcock, Nikita Khrushchev... He captures moments of everyday life with a perspective that belongs only to him and combines humor and emotion. | | |
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| | Charles Bukowski, San Pedro, California, April 1, 1985 (April Fool’s Day)
© Abe Frajndlich | | | | | | | | ... until 1 April 2024 | | | | | | | | | | | | | He has portrayed creatives from music, art, and showbiz, surreally depicted the boundlessness of the big city and brought the greats of photographic history in front of the camera. With ABE FRAJNDLICH. CHAMELEON , the Kunstfoyer presents the iridescent diversity in themes of the American photographer Abe Frajndlich (*1946, Frankfurt am Main). Facets of his biography, which oscillate between many worlds, are also given space in the exhibition.
On display are about 200 works from the 1970s onwards, including Frajndlich’s earliest vintage prints from Cleveland. The streets, whether in New York, long his home, or wherever his journey led him, provided an ongoing stage. A chance meeting on the streets of London with John Kobal, the collector and publisher of 20th-century Hollywood portraits, led to pursuing ideas about identity, freedom, and photography.
Naturally, a large proportion of this exhibition presents portraits of artists who influenced his life, above all the performer Rosebud Conway, known as »Rosie«, and Minor White, photographer, founder of Aperture magazine, and Frajndlich’s photographic mentor. After his book Lives I’ve Never Lived about Minor White, Abe realized that he wanted to continue to make images of the photographers he felt had impacted the 20th century; eventually becoming his first major series in color, Masters of Light , underwritten by Eastman Kodak for the 150th anniversary of photography. Each of these staged pictures uniquely alludes to aspects of the icons' life or work.
Commissioned throughout the 1980s and 1990s by FAZ magazine, Frajndlich was able to provide his insight into the American art scene. Extensive series of Cindy Sherman, Nancy Spero, and David Ireland ar… | | |
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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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| | Martha Atienza
Adlaw sa mga Mananagat 2022 (Fisherfolks Day 2022)
2022 Video, silent
45 min. 44 sec. (loop)
Production support: Han Nefkens Foundation, Mondriaan Fund, and Shane Akeroyd
Commission: The 17th Istanbul Biennial
Courtesy: Silverlens, Manila/New York | | | | | | | How Does Contemporary Art Respond to the Environmental Crisis? | | | | | | | | ... until 31 March 2024 | | | | | | | | | | | | | | The impact of humanity on our planet since the industrial revolution is said to match that of the thousands of preceding years of geological change. The environmental crisis is a challenge of utmost urgency, and right now an important theme on the international art scene. Our Ecology will feature four chapters of diverse expression courtesy of an impressive lineup of international artists, from historical works to a number commissioned especially for the exhibition. The first chapter, “All Is Connected,” touches upon the complex intertwining of environment and/or ecosystems with human political and economic activity. The next chapter, titled “Return to Earth,” reexamines works by Japanese artists from the 1950s to 1980s, decades in which pollution formed a dark downside to the country’s rapid economic growth. The third chapter, “The Great Acceleration,” introduces works revealing the exploitation of the Earth’s resources by mankind, while at the same time offering a kind of hope. The fourth and final chapter, “The Future Is within Us,” is devoted to today’s diverging discussion around utilizing ancient as well as cutting-edge technologies for drafting possible futures through artistic expressions of activism, indigenous wisdom, feminism, AI and collective intelligence (CI), and also spirituality. Above all, the title Our Ecology: Toward a Planetary Living asks who we are, and to whom the Earth’s environment belongs, and the exhibition urges us to think ab… | | |
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| | Tobias Zielony, Make-Up, 2017
© Tobias Zielony - Courtesy of the artist and KOW, Berlin | | | | | | | Techno Culture in two exhibitions at Photobastei | | | | | | | | 11 January – 31 March 2024 | | | Panel Discussion: WTF is Techno?
Zürich Calling Part 1 - die 1980er-Jahre: Wednesday 17 January 7:30pm | | | | | | | | | | | | | 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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 | Fairs |
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| | | | | | | | | | | | | | Wed 17 Jan
18 – 21 Jan 2024 | | | | | |
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| | | | | | | | | | | | | | Wed 24 Jan 14:00
25 – 28 Jan 2024 | | | | | |
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| AUCTIONS |
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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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| APPLICATIONS |
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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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| Festivals |
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| Upcoming |
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| | | | | | Aliments Terre | | | | | | | 20 Jan – 2 Mar 2024 | | | | | |
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| | | | | | European Month of Photography | | | | | | | 25 Jan – 25 Feb 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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© 17 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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