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| PHOTOGRAPHY INTERNATIONAL | | 2 – 9 February 2022 | |
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| | | Jogos Dirigidos (Directed Games), 2019. © Jonathas de Andrade | | | | | | | | ... 18 May 2022 | | | | | | | | | | | | | De Andrade tells a story that can only be heard if you listen with all your senses.
Foam presents the 6h edition of the series Next Level, this time with artist Jonathas de Andrade (Maceió, Brazil, 1982). Andrade’s work is visually attractive yet highly critical. It creates a space for communities who are less visible in the socio-economic landscape, and less heard in the contemporary social debate. De Andrade is able to playfully draw attention to major themes such as social and economic inequality and unbalanced power relations. Issues that are deeply rooted in his native Brazil, but are also at play in the world at large.
Nordeste
The work of Jonathas de Andrade is firmly rooted in the Nordeste, the north-eastern region of his native country Brazil. The region is fertile and the capital port of Recife has been an important trade hub since colonial times. The Nordeste is also home to many indigenous communities and has a great biodiversity, but the land is often exploited and its bounties are unequally distributed.
De Andrade addresses issues of social, economic and racial inequality that are – and have historically been – at the core of Brazilian politics. Collaborating with communities who populate the region, he amplifies the voice of those less heard. By focusing on local stories of identity and belonging, De Andrade playfully challenges the skewed global power dynamics that affect marginalised communities in Brazil, and the world at large. | | |
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| | We can't live – without each other, 2019
© Karolina Wojtas, courtesy of the artist | | | | | | | | ... until 13 March 2022 | | | | | | | | | | | | | Karolina Wojtas’ (Poland, 1996) work is colourful, imaginative, humorous and has a vaguely sinister nature to it. The artist is inspired by family, memories of her youth, unusual moments and candy. We can’t live – without each other gives an insight into the continuous struggle between brother and sister: a love-hate relationship, sometimes taken to extremes. The series is a close collaboration between the two siblings. Together they stage intense moments of violence and Wojtas produces realistically executed phantom wounds. Her work invites the viewer to participate and discover, where the visitor can feel like a child again. Sometimes combined with dark humour, the exhibition of Wojtas creates a (sur)realistic experience.
In We can’t live – without each other Wojtas gives an intimate view of the complex relationship with her younger brother. Until the age of thirteen, the artist was an only child and she wanted it to keep it that way. When her parents announced that she was going to have a baby brother, she was ready to defend her territory. After twelve years, the battle between the artist and her brother is far from over. The visitor to Wojtas’ work is immersed in a child’s world. The artist does not simply hang her images on a wall; she develops installations that fill an entire space. The photographic image takes on a whole new presence as it is one of many elements that is part of the presentation. Wojtas uses different materials and a multitude of bright colours in her exhibition designs. In this way, the space in Foam becomes a playful environment where visitors are invited to actively participate in the world of Karolina Wojtas. | | |
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| | | | | | | | Florian Bachmeier: Debalzewe, 2015 aus der Serie "In Limbo" |
| | | | | | | | Ukraine 2013-2021 | | | ZOOM: Sun 6 Feb 16:00
Gallery Exhibition: - 11 Feb 2022
Online Exhibition: 6 Feb – 31 Mar 2022 | | | | | |
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| | | © Jesse Alexander, Courtesy of Robert Klein Gallery | | | The Racing Photography of Jesse Alexander (1929-2021) | | | | ... until 19 March 2022 | | | | | | | | | | | | | In honor of the recent passing of photographer Jesse Alexander, Robert Klein Gallery is pleased to present an exhibition of some of the most iconic race photographs created by the photographer in the golden age of motor sports.
As a young man, California-raised photographer Jesse Alexander sailed to Europe with his wife and child to photograph the crème de la crème of car races. The intimate style in which he shot the races, cars, and people of the industry set him apart and sealed his reputation as one of the most well-known and respected racing photographers of all time.
“1953 was when the whole thing began for me, and it was clear I loved cars. Another love of mine was photography. So with these two passions, the choice seemed obvious to marry the two.”
In the wake of World War II, a golden age of motor sports emerged in Europe, pitting competing countries against each other on the racetrack instead of the battlefield. | | |
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| | | | | | | Mirroring the Bois de Fa. Part 1: Automn #1, 2020
Papier Enhanced mat 192gr/m2 Epson.
Impression 12 couleurs encres pigmentaires
Image : 110cm x 80cm + bord blanc de 10mm
© Maria Friberg |
| | | | | | | | Mirroring the Bois de Fa, Part 2: Winter | | | Thu 3 Feb 18:00
3 Feb – 19 Mar 2022 | | | | | |
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| | | Maroon Bells © Arno Rafael Minkkinen | | | Arno Rafael Minkkinen »
Self-Portraits (From Last Three Decades Of Five) | | | | ... until 21 October 2022 | | | | | | | | | | | | | The human condition is a dynamic and changing process, marked by circumstances and situations that must be confronted and surmounted. Challenges present themselves in the form of mysteries to resolve, tasks to take on, landmarks to reach. Thus, existence our is defined by evolution - not to be confused with "revolution". It can happen in silence, in the intimate setting of an individual life.
Multiple strategies can help the fluidity of this existential process along. Photographer Arno Rafael Minkkinen displays his in an œuvre worth "two hundred seasons" (1).
His photographic work is often described as a staging of the human body in space, or, conversely, landscape vistas harbouring the artist's (or his model's) silhouette to create a dialogue. This questioning happens on several levels and does not exclude the monologue. The juxtaposition of body and landscape is taken to the extreme. The human figure becomes part of the background, almost disappearing within the setting. If the body is the subject, why push it to the limits of its symbolic dissolution? In some photographs, the body clearly stands out from the background, but conjures up something else - it becomes a cloud, or a rock, or a tree trunk...
It abandons its subjective role to take the place of a pictural element and is thus subject to new rules, to visual rather than physical laws.
"Breaking the mould" implies destruction. But this act is not enough. We are only halfway on our quest. The next logical step will be giving shape to something new, fitting neatly into its setting. This is a strategy we find in nature, but also in military thinking. Something between camouflage and mimetics. In nature as in war, it exposes… | | |
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| | Johanna Reich
VIRGIN'S LAND, 2019
Video Loop, 4K, 1`40 min, Loop | | | | | | | | ... until 12 March 2022 | | | | | | | | | | | | | The video Virgin`s Land shows the artist on a deserted beach, holding in her hands a golden rescue blanket caught by the wind, blowing like a flag. The title of Johanna Reichs work allows various associations. The artist stands on pale sands like a rock in stormy times, offering the emergency blanket to those who might come by sea. At the same time the reflection of the moving golden surface reveals a play of light and shadow, splendid and dazzling, like a medieval picture.
While Johanna Reich appears androgynous or neutral in most of her earlier videos dressed in neutral clothing with hooded tops, here she is deliberately recognizable as a female actor – a female view of the past, the present and the future. The prospect of a new beginning?
Johanna Reich was born in Minden in 1977. She studied at the Kunstakademie Münster, the Hochschule für bildende Künste Hamburg and the Kunsthochschule für Medien Köln and is since working performance-based with video and photography. She received national and international awards and scholarships like the Nam June Paik Award, the Excellence Prize of the Japan Media Arts Festival, Tokyo, the Media Art Award NRW and the Konrad-von-Soest Prize. She took part of several artist residencies Romania, the USA, Luxembourg and Spain.
Her works are part of international Collections like the Jerry Speyer Collection New York, the Goetz Collection Munich or the Collection of Museum Ludwig Cologne. | | |
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| | | | | © Namsa Leuba, Sarah, Lagos, Nigeria, 2015, (The New Black Vanguard) | © Namsa Leuba, Damien, from the series NGL , 2015 |
| | | | | | | | 5 February – 24 April 2022 | | | | | | | | | | | | | Namsa Leuba develops a powerful photographic work with her strange characters photographed in natural landscapes during her travels far from Europe. The African continent in particular exerts an almost magical fascination on the artist. The work eludes definition : is it documentary fiction, fashion images, performances or a vast investigation into non-Western identities?
For the past 10 years, the artist, born of a Guinean mother and a Swiss father, has used the photographic medium to question exoticism. Paying particular attention to postures, costumes, props and sets, she creates strong settings around her characters. For several years, Leuba has explored the Western imagination in relation to African cultures. The series Weke, produced in the Republic of Benin, the cradle of Vodou, features stories inspired by local animist traditions. In Tonköma, a series produced for a fashion brand founded by Ali Hewson and Bono (US), she has her models pose on a Johannesburg rooftop and plays on the contrast between the urban environment and her creatures on stilts. Inspired by the figure of the Nyamou from Guinean tradition and often described as “the devil in the sacred forest”, the artist, who grew up between two cultures, plays here with the juxtaposition of identities that come into tension. In the Illusions series, made in Tahiti where the artist lived for two years, it is the myth of the vahine that is explored. In response to Paul Gauguin’s paintings, which contributed to the dissemination of the myth of exoticism in modern art, Leuba once again challenges us by focusing on the hybridization of genres in Polynesian culture. Her images are addressed to us – Westerners – and return us to the stereotypes of… | | |
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| | | | Abdourahmane aus dem Werkzyklus "Tools For Conviviality"
courtesy the artist, Office Impart and KOW Berlin | Franceline aus dem Werkzyklus "Tools For Conviviality"
courtesy the artist, Office Impart and KOW Berlin |
| | | | | | | | ... until 27 February 2022 | | | | | | | | | | | | | Anna Ehrenstein (b. 1993) found inspiration for her Tools for Conviviality during extended stays in Dakar in 2018 and 2019. In the Senegalese capital the artist met Saliou Ba, Donkafele (Mandé Mory Bah and Thibault Houssou), Nyamwathi Gichau, Lydia Likibi, and Awa Seck, all of whom would become her friends and artistic collaborators.
Ehrenstein’s own migration experience between Germany and Albania sensitized her to the living conditions of her collaborators, who all migrated at various times to or from Senegal. She views Dakar as a special place that attracts a broad spectrum of Africa’s creative diversity, in part because it is possible to work there without a visa. The artists working in the city share a life in constant motion, along with their accumulated knowledge, their joie de vivre, and a common world they have themselves created.
Anna Ehrenstein’s concept for this collaboration draws on the 1973 book Tools for Conviviality by the social critic Ivan Illich. She has taken Illich’s critique of Western industrialization and adapted it to the technocratic and neocolonial conditions of today’s digital world. "The idea that we are capable of changing how we use technology by taking advantage of what is all around us is central to Illich’s thesis and also to everyone on the team," says Ehrenstein. | | |
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| | | He Yunchang, Golden Sunshine, Photograph, 1999. © He Yunchang | | | | | | | | ... until 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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| | Geta Brătescu, Lady Oliver in Traveling Costume, 1980
© Courtesy of the Estate of Geta Brătescu, Hauser & Wirth and Ivan Gallery, Bucharest | | | | | | | | ... until 20 February 2022 | | | | | | | | | | | | | | With the exhibition "Geta Brătescu – The Woman and the Bird" the Francisco Carolinum is the first museum in Austrria, offering an insight to the work of the Romanian artist. Geta Brătescu was born in 1926 in Ploiești, Romania. She developed an impressive understanding of playful, artistic freedom in her work during the period of communist Stalinist dictatorship (1965 to 1989) under Nicolae Ceaușescu. She not only witnessed the revolution against the regime but also the tremendous changes that the introduction of democracy and a free market economy triggered, both socially and politically, and worked on them artistically in her studio in Bucharest until she passed away in 2018 with of over 90. | | |
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| | Action Psyché, 1974, Color Photography
Photo: Françoise Masson
© The Estate of the Artist. Courtesy of Richard Saltoun Gallery, London | | | | | | | | ... until 20 February 2022 | | | | | | | | | | | | | | With her spectacular actions, pushing her body to its bearable limit, Gina Pane (1939-1990) is considered as one of the most radical performance artists of the 1970s. She studied painting at the École des Beaux-Arts in Paris. Influenced by the social upheavals and student protests in Paris in May 1968, she developed a performative oeuvre characterized by self-harm in the short spell between 1970 and 1978. Her "actions" targeted what she considered a devastatingly desolate political reality–evoking a so-called "anesthetized society". The exhibition in the Francisco Carolinum shows Gina Panes "Action Psyché", which took place on January 12, 1974 at the Stadler Gallery in Paris, using 25 color photographs and 75 slides, documenting the course of the performance. These "Constats d’action" (action documents) were created in close collaboration with the photographer Françoise Masson and were arranged into tableaus after the action. | | |
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| | | Trish Morrissey, Self-portrait with snail, 2020 © Trish Morrissey | | | | | | | | Twenty years of photography and film | | | | 5 February 2022 – 8 January 2023 | | | | Online vernissage of Trish Morrissey via video on Friday 4 February 2022 at 6 PM. | | | | | | | | | | | | | This first major survey exhibition of Irish artist Trish Morrissey (b.1967) brings together more than twenty years of work, focussing on the artist’s commitment to representing female experience and telling the often overlooked stories of women, and features a new body of work inspired by the lives of Sissi and Ruth Serlachius.
Trish Morrissey was born in Dublin and lives and works in the UK. Her practice combines performance, photography and film, using archival research and her own biography as points of departure to develop and play real and fictional characters and explore ideas around family, the roles of women, and the body.
In 2015 she made a series of photographs based on material from the archives of the Gösta Serlachius Fine Art Foundation for the exhibition Touching from a Distance at Gösta Pavilion. She returns to Mänttä with her first solo exhibition in Finland. The exhibition is curated by Kate Best. | | |
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| | | © Merry Alpern; © Harry Gruyaert | | | Society/Spectacle | | | | | | | 3 February - 30 April 2022 | | | | | | | | | | | | | The spring 2022 exhibition at Galerie Miranda brings together two cult and pioneering photographic series, Dirty Windows by Merry Alpern and TV Shots by Harry Gruyaert, in a reflection on the convergence since the 1960s of real life with screen life and on the commoditisation of the human experience.
In the winter of 1993, photographer Merry Alpern visited a friend’s New York loft, situated in the Wall Street district. He led her to a back room and from his window, one floor below, she could see a tiny bathroom window from which pounded the heavy bass of nightclub music. She realized that she was looking into the bathroom of an illegal lap-dance club, where "stock-brokers and other well-to-do businessmen handed over hundreds of dollars and drugs to women in G-strings and black lace." Transfixed by the spectacle, the artist started taking pictures of what she saw, using a fast black and white film that gave the photos a peep-show quality. In 1994 she submitted the series to the NEA (National Endowment for the Arts) only to find her work, along with that of co-candidates Andres Serrano, and Barbara DeGenevieve, rejected and vilified by conservatives who sought to undermine the NEA, creating a huge debate that paradoxically served to promote the series.
Acquired by major museums worldwide, the series has since become a reference point for exhibitions on female exploitation, surveillance, censorship and the female gaze. In 1999, following the Dirty Windows series, Merry Alpern produced the series Shopping whereby, equipped with a tiny surveillance camera and a video camcorder hidden in her discreetly perforated purse, Alpern wandered through department stores, malls, and fitting rooms, capturin… | | |
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| | | | | | | | Antoine d'Agata "Virus" (2020) Inkjet print |
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| | 池田衆 | Shu Ikeda
“BerlinerDom, Berlin”
2021, photographic collage, mounted on acrylic
70×150 cm | | | | | | | | 5 February – 6 March 2022 | | | | | | | | | | | | | | | Maki Fine Arts is pleased to present Traces of Travel, a solo show by Shu Ikeda, starting Saturday, February 5, through Sunday, March 6, 2022. Ikeda has been producing works that traverse between painting and photography by creating unique shapes and voids out of photographs and using collage techniques. His subject matter has included landscapes depicting plants and water surfaces, scenes of Tokyo's urban development before the Olympics, and still life detailing fruits and flowers.
In his sixth solo show with Maki Fine Arts, Ikeda will showcase new works using photographs the artist has taken during his travels to places like Berlin, Paris, Helsinki, and London. The works capture the moment his photographic travel records transform into a brand-new scene through his masterful cutting and collage-layering techniques. Looking at the crisp, highly-honed scenes displayed on the canvas, one may get a sense of how the artist approaches his works, perhaps in an attempt to reclaim the sensation of time that was lost due to the Covid-19 pandemic.
There's often a gap between what you envisioned before your travels and what you actually experience and realize once at the destination. We travel to see and experience the unfamiliar. When we do, we often notice that the familiar suddenly feels novel, and what you thought would be straightforward was not so obvious after all. The appeal of travel--stepping away from your normal day-to-day life to discover something new and be amazed by or learn about cultural and ideological differences--has an addictive allure similar to how one can be drawn to art.
From 2020 through 2022, Covid-19 added numerous restrictions to our daily lives. Overseas travel, in particular, became difficult, making me painfully aware t… | | |
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| | Claudia Andujar, Youth Wakatha u thëri victim of measles, is treated by shamans and paramedics from the Catholic mission,
Catrimani, Roraima, 1976 © Claudia Andujar | | | | | | | | ... until 13 February 2022 | | | | | | | | | | | | | For five decades, photographer Claudia Andujar (b. 1931) has dedicated her life and work to the indigenous Yanomami communities in the Amazon region of Northern Brazil. In the late 1970s, when the community found itself subjected to severe external threats, the Swiss-born photographer, who is based in São Paulo, began fighting for the Yanomami’s rights. She subsequently went on to join the community, thus deepening relations between them.
Her fourteen-year battle alongside Yanomami leader Davi Kopenawa and other concerned parties led to an official demarcation of the community’s land in 1992. Today, Andujar’s activist efforts are as relevant as ever – as is illustrated by current events, such as the ongoing deforestation and environmental destruction caused by mining and ranching, human rights violations in the region or the spread of malaria and COVID-19. The exhibition brings into focus the humanitarian and environmental crises that have been exacerbated by the pandemic.
The exhibition Claudia Andujar: The Yanomami Struggle, which brings together photographs, audiovisual installations, Yanomami drawings and other documents, is based on two years of research in Andujar’s archive. It is the first major retrospective dedicated to the work of the Brazilian activist, a survivor of the Holocaust, who has devoted her life to photographing and defending the Yanomami. | | |
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| | | | | | ZsONA MACO Foto | | | | | | | 9 – 13 Feb 2022 | | | | | |
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| | | | | | Butterflies Frolicking on the Mud: Engendering Sensible Capital | | | | | | | – 31 Mar 2022 | | | | | |
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| | | | | | | | House of Summer, 2009 © Kim Jungman |
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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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© 26 January 2022 photo-index UG (haftungsbeschränkt)
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