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| PHOTOGRAPHY INTERNATIONAL | | 19 – 26 January 2022 | |
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| | | | Created and organized by Hangar, PhotoBrussels Festival 06 is a major annual event dedicated to photography. For its 6th edition, 21 January - 26 March 2022, the Festival spreads more than ever in the city. Brussels will vibrate to the rhythm of photography! |
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| | | Guido Guidi, PK TAV 139+500, "Linea veloce Bologna-Milano", Rubiera, 2005 | | | | | | | | ... until 13 February 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 re… | | |
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| | | | | | | | Martin A. Völker, Neukölln_Karl-Marx-Straße (2021) |
| | | | | | | | Street Photography | | | Thu 20 Jan 18:00
21 Jan – 19 Mar 2022 | | | | | |
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| | Aitor Ortiz
Estorninos 001
© Aitor Ortiz
courtesy Galerie Springer Berlin | | | | | | | | | | | | | ... until 29 January 2022 | | | | | | | | | | | | | 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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| | | Arne Svenson, A Beautiful Day No. 16 + No. 36, 2020 | | | | | | | | 15 January – 19 March 2022 | | | | | | | | | | | | | Robert Klein Gallery is pleased to present a new series of color photographs by New York City–based photographer Arne Svenson titled "A Beautiful Day". Featuring images taken by Svenson from his apartment windows in Tribeca during the height of Covid-19 lockdowns, the exhibition is available online and in-person at Robert Klein Gallery from January 15 - March 18.
Whether he is photographing sock monkeys, expansive landscapes, or unaware New Yorkers, photographer Arne Svenson looks beyond his subjects to seek out universal truths in the images he captures.
The works on view in "A Beautiful Day" are a natural continuation of Svenson’s controversial series "The Neighbors," in which he photographed residents of a floor-to-ceiling glass apartment through their windows. Although their identities were obscured—"I was not photographing these subjects as specific, identifiable personages, but more as representations of humankind, of all of us" Svenson said—the opening of the show at Julie Saul Gallery in 2013 came with a lawsuit against Svenson that claimed invasion of privacy among other charges.
Svenson fought these claims later that year and again in 2015: "Defending myself against these charges was one of the greatest challenges of my life, but given censorship as the alternative, I had no choice," he said.
Now in "A Beautiful Day," Svenson’s vantage point is the same, but his lens is focused elsewhere: Through two windows, one facing North and one facing West in his Tribeca studio.
Although he hadn’t planned to continue focusing his lens on anonymous subjects, the onset of Covid-19 made the project "a necessity" for him. Not many passersby came through the neighborhood during city-wide mandates to stay at home, but for this reason exactly, the visual stories told by those Svenson photographed are compelling. A man walks by reading a thick book; someone pauses to snap a picture of a tree blooming with white flowers; a pair of stick-thin legs pause in a ballet class-ready first position.
Of both series, Svenson emphasizes, "My aim remains the same: to capture those seemingly banal behaviors in which we all engage and to reveal the wonder, mystery, and beauty of them." | | |
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| | | Jaakko Kahilaniemi (FI) 100 Hectares of Understanding (2015 – 2020) | | | | | | | PhotoBrussels Festival 06 | | | | | | | | 21 January – 26 March 2022 | | | | | | | | | | | | | Hangar proposes, in the context of PhotoBrussels Festival 06, a large exhibition: In the Shadow of Trees. The exhibition brings together twenty photographic projects (including the three winners of the Prize*).
Standing alone in the landscape, or surrounded by or competing with its peers in the forest, forming a distant or close part of human activities, the tree is a highly pertinent subject in contemporary photography. The variations of forms and light that the tree expresses so well, in essence, the raw materials of photography, did not escape the pioneers of this medium in the 19th century either. Throughout the history of art, the tree has been used as an explicit symbol of life, growth, seasonal death, and resilience.
While the tree, the world’s largest living organism, sometimes surviving for thousands of years, is often the emblem of a particular region or culture, it is also a state of mind. The images revealed by the lens make it possible to gain an idea of the artist’s character and emotions. It is precisely that extraordinary diversity that the Hangar aims to reflect through In the Shadow of Trees, an exhibition that brings together twenty or so photographic projects. The show also aims to shine a light on the crucial place that trees occupy in life and the influence they have on the survival of humankind. Indeed, in 2022 we can no longer ignore the ecological and environmental underlying all artistic work.
On the one hand, In the Shadow of Trees invites us to capture the flow of energy that emanates from these artistic projects and the way in which they affect our mood, attitude, and desire… | | |
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| | | Karime et Fayssoil, Marseille, 2020 © Yohanne Lamoulère / Tendance Floue | | | | | | | Virage - Manger Tes Yeux, Ici Ment La Ville - Gyptis & Protis | | | | ... until 21 October 2022 | | | | | | | | | | | | | Every city has its history, its own rhythm and a particular way of life rooted in its evolution. The metropolis of our time is a living organism, both sheltering and devouring the individual. Neighbourhoods are delineated by buildings, turning into microcosms. The houses and blocks are ephemeral, mutating cells. The further they are from the city’s core and the more they lie on the external membrane of the vibrant central substance, or even outside of it, the more their existence is subject to change justified by growth or political ideologies. They are built, only to be destroyed and built up again. One urbanistic vision after another pops up and is shattered, each degrading the setting. The cycle starts anew. The cityscape appears unstable.
Yohanne Lamoulère shows this phenomenon through her photographs. She is interested in the latest trends in urban redevelopment of peripheral neighbourhoods and the consequences for their residents. The concepts for these transformations are often highly controversial, as they have not grown out of the neighbourhood itself, but are imported, imposed, inflicted even. When the public space no longer represents a common area defined within a community, the city turns into deception – "Ici ment la ville"!
How do you exist in a dishonest setting? Is it still liveable, appropriate for human beings, knowing that each of them needs to find their place to avoid getting lost in the anonymous crowd?
Every person must claim their individuality during their life. This quest for identity is assisted by a sense of place, finding one’s roots and identifying with one’s surroundings. This sense of self is an unfinished work, a constant process. A fertile soil is required for its deve… | | |
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| | | | | | | | | | | | | | Wed 19 Jan 19:00
19 Jan – 6 Mar 2022 | | | | | |
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| | | The Capitol, Washington, USA, January 6th, 2020 © Balazs Gardi | | | | | | 40 leading American photographers and over 120 works
exploring social change in the U.S from the 1960s till today. | | | | | | | | 21 January – 3 April 2022 | | | | | | | | | | | | | America in Crisis will bring together 40 leading American photographers and over 120 works exploring social change in the U.S from the 1960s till today. Organised by Saatchi Gallery, the exhibition is curated by Sophie Wright, Gregory Harris from Atlanta’s High Museum of Art, and LA-based photographer and academic Tara Pixley.
America in Crisis was a ground-breaking group initiative originally conceived in 1969 to assess the state of the nation. This Magnum Photos project was led by American photographer Charles Harbutt and Lee Jones, then Magnum’s New York bureau chief. This group project turned a critical eye on the U.S at a time of great social, political and cultural change, and examined key events in 1968 leading up to Nixon’s inauguration. The 2022 exhibition at Saatchi Gallery will create a dialogue between the original historical photographs from the 1969 Magnum project and new works produced five decades later, by diverse contemporary practitioners, during another tumultuous time in America. | | |
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| | | | | | | Pia Kintrup
"the gloom", 2020
from the series "the nonexistent areas are of particular interest"
100 x 66 cm
C-Print mounted on Alu Dibond
Edition: 2 + 1 AP |
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| | | | | | | Rudolf Holtappel
Oberhausen vor Zeche Sterkrade, 1960
© Rudolf Holtappel, Nachlass LUDWIGGALERIE Schloss Oberhausen |
| | | | | | | | Eine foto_grafische Begegnung | | | Sat 22 Jan 19:00
23 Jan – 8 May 2022 | | | | | |
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| | | | | | | Bertille Bak, Mineur Mineur, 2022
cinq vidéos simultanées, couleur et son, 11 min
production : la Fondation des Artistes, l'Institut Français et
La Criée centre d’art contemporain, Rennes
courtesy de l’artiste, de la galerie Xippas et de Gallery Apart, Rome |
| | | | | | | | | | | | Fri 21 Jan 16:00
22 Jan – 24 Apr 2022 | | | Exhibited works
This mine is mine, 2022
structure métal, carton, fils lumineux 120cm×56cm×200 cm
production : La Criée centre d’art contemporain, Rennes
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La Brigada, 2018-2022
installation
vidéo, couleur et son, 12 min 28 sec
écran, structure métal, 24 boîtes de cireurs collectées à La Paz, Bolivie
dimensions variables
production : Ambassade de France en Bolivie et La Criée centre d’art contemporain, Rennes
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Bleus de travail, 2019 installation
vidéo, couleur et son, 9 min 55 sec
abats-jours, ampoules dimensions variables
production : Le Cyclop, Milly-la-Forêt
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Dark-en-ciel, 2022 peintures murales
production : La Criée centre d’art contemporain, Rennes
production : la Fondation des Artistes, l'Institut Français et La Criée centre d’art contemporain, Rennes | | |
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| | Francis Frith: The Staubbach, c. 1862
© ETH-Bibliothek Zürich | | | | | | | Swiss Photography in the 19th Century | | | | | | | | ... until 30 January 2022 | | | | | | | | | | | | | After photography was proclaimed as a French invention in 1839 in Paris, the new medium quickly embarked on its victory march throughout Europe. Although the race for technical innovation and the development of this new craft began in the continent’s cultural centres, the heavy cameras soon made their way to the villages and the countryside, to remote valleys and mountains, where photographers gained recognition for their images “after nature”. How was photography able to spread so rapidly? Who were the pioneers who constantly came up with new applications, from representative portraits to wanted posters, from nature and landscape studies to the representation of industry and technology, from scientific illustration to the documentation of events?
This exhibition, organised as a co-production between the Fotostiftung Schweiz (Winterthur), the Musée de l’Elysée (Lausanne) and the MASI Museo d’arte della Svizzera italiana (Lugano), and curated by Martin Gasser and Sylvie Henguely, presents a previously underexplored chapter in the story of Swiss photography. For the very first time, a retrospective exhibition presents the first 50 years of this new medium in Switzerland. It brings together exquisite works from numerous public and private collections, in order to capture this momentous invention in its artistic, social and economic dimensions. Impressive examples also convey the competition and correlations between the various types of pictorial media. Up until the 1890s, photographic images were judged according to the same standards as paintings. They were often also reproduced in printed form, as this was deemed more trustworthy, and they could be reproduced in greater numbers.
Switzerland was not able to … | | |
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| | | | | | | | House of Summer, 2009 © Kim Jungman |
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| | | | | | Butterflies Frolicking on the Mud: Engendering Sensible Capital | | | | | | | – 31 Mar 2022 | | | | | |
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| | | | | | 19 exhibitions of Greek and international photography, of 94 artists from 18 countries | | | | | | | – 20 Feb 2022 | | | | | |
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| | | | African Photobook of the Year | | | | Call for Entries: until 1 March, 2022 | | | The prize will apply to a book published between January 1, 2019 and January 1, 2022.
www.eigerfoundation.org | | | | | | | | | | | | | Initiated by the EIGER FOUNDATION in September 2021, the EIGER FOUNDATION African Photobook of the Year Awards celebrates the photobook’s contribution to the evolving narrative of photography, with a focus on the African continent.
1. Conditions for Entry
* The EIGER FOUNDATION African Photobook of the Year Award distingues a book in which the dominant content is photography, featuring the work of one or more photographer(s). The book must be produced in physical form.
* Books must be produced or published between January 1, 2019, and January 1, 2022.
* Entries for either award may only be submitted by the photographer, the publisher, or a third party acting with the consent of the photographer.
* Books must be by an African photographer or a publisher established on the African continent.
* Books on an African theme by non-African photographers or non-African publishers are also admitted.
* Exhibition catalogues or museum publications, as well as text-only publications, are not eligible.
* The book may be comprised of photographs of any genre or topic.
2. How to Enter
You can generate your submission here before March, 1, 2022.
Please note that you will need to provide the following information on the submittable entry form:
* Book title, year of publication, and publisher information
* Book blurb, a short description/summary of the book
* The photographer or author’s name
* Book dimensions, number of pages
* Distribution information
* An image or render of the book cover (JPG file)
* A digital copy of your book in PDF format
There is no fee for the entry for the Eiger Foundation Book Awards.
By submitting your work to the EIGER Foundation African Photobook of the Year Awards, you are found to be in agreement of the terms and conditions. | | |
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| | August Sander: Zirkusartisten, 1926–1932
© Die Photographische Sammlung/SK Stiftung Kultur August Sander Archiv, Köln
VG Bild-Kunst, Bonn, 2021 | | | August Sander Award - Prize for Portrait Photography 2022 | | | | Open for artists up to 40 years old | | | | Deadline: 25 February 2022 | | | | Application: here | | | | | | | | | | | | | The August Sander Prize for portrait photography, donated by Ulla Bartenbach and Prof. Dr. Kurt Bartenbach, will be awarded for the third time in 2022 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.
A series of no more than 20 photographs that has already been largely developed is suitable for submission. 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 Albrecht Fuchs, artist, Cologne; Dr. Roland Augustin, Saarlandmuseum/Moderne Galerie, Saarbrücken; Prof. Dr. Ursula Frohne, art historian, Westfälische Wilhelms-Universität, Münster; Dr. Anja Bartenbach, donor family, Cologne; Gabriele Conrath-Scholl, director, Die Photographische Sammlung/SK Stiftung Kultur, Cologne.
A shortlist will be published at the end of March 2022. The winner, resulting from the shortlist, will be announced at the end of April 2022.
The award ceremony will take place in September 2022 at Die Photographische Sammlung/SK Stiftung Kultur in a festive setting in Cologne.
The deadline for entries is February 25, 2022.
The detailed call for entries can be downloaded here | | |
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© 12 January 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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