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| PHOTOGRAPHY INTERNATIONAL | | 2 – 9 March 2022 | |
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| | | | From 9 to 27 March 2022, FOTO WIEN will once again turn the Austrian capital into a centre for photography. KUNST HAUS WIEN, FOTO WIEN, the festival for photography, together with numerous programme partners, invites you to more than 140 exhibitions and around 300 events.
www.fotowien.at/en/ » |
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| | Tête d’Homme, 2018 (Detail)
© John Edmonds, courtesy of the artis | | | | | | | | Foam Paul Huf Award 2021 | | | | ... until 19 June 2022 | | | | | | | | | | | | | John Edmonds (1989, US) is the winner of the Foam Paul Huf Award 2021. Part of this prize is the solo exhibition A Sidelong Glance. In his work, Edmonds examines issues of identity and power from an African-American perspective in an apparently simple yet essentially culturally complex way.
The African art objects Edmonds uses in the work have many facets. They function as symbols of traditional African cultural heritage or bearers of meanings of diaspora and memory. No matter what their exact reference is, they function as a means to explore subjects such as displacement and expropriation in contemporary society. Not only does Edmonds broaden the tradition of studio portraiture, but he also thoughtfully claims his place in rewriting the past and anchors it in our current world, where authenticity and identity are fluid. | | |
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| | | | Helmut Newton, Prada, Monte Carlo 1984
© Helmut Newton Foundation | Helmut Newton, Elle, Paris 1969
© Helmut Newton Foundation |
| | | | | | | | ... until 22 May 2022 | | | | | | | | | | | | | 31 October 2021 marks the opening of the expansive retrospective exhibition "HELMUT NEWTON. LEGACY" at the Helmut Newton Foundation in Berlin. Originally scheduled to coincide with the photographer’s 100th birthday, it was postponed for a year due to the pandemic. Visitors can now look forward to seeing not only Helmut Newton’s many iconic images, but also a number of surprises.
The entire exhibition space on the first floor of the museum will chronologically trace the life and visual legacy of the Berlin-born photographer. With around 300 works, half of which are being shown for the first time, the foundation’s curator Matthias Harder will present lesser-known aspects of Newton’s oeuvre, including many of his more unconventional fashion photographs, which span the decades and reflect the changing spirit of the times. The presentation will be complemented by Polaroids and contact sheets that give insight into the creation process of some of the iconic motifs featured, as well as special publications, archival material, and statements by the photographer.
It was in the 1960s that Newton found his inimitable style in Paris, as seen in his photographs of the revolutionary fashion designed by André Courrèges. Working for well-known fashion magazines, Newton not only took classic studio shots but also ventured into the streets, where he staged models as participants in a protest, protagonists in a paparazzi story, and more. His clients’ sometimes stringent requirements and narrow expectations were an incentive for him to challenge traditional modes of representation. | | |
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| | Plattform am Potsdamer Platz, Berlin-West, 1985
©Barbara Wolff, Collection Regard | | | | | | | | 5 March – 13 May 2022 | | | | Opening in presence of Barbara Wolff & Marc Barbey (Collection Regard): Saturday, 5 March, 2 - 6pm | | | | | | | | | | | | | In the exhibition "Barbara Wolff: Photographs" at the Goethe-Institut Bordeaux, works from the series "Biography" (1982 - 1989), "Metropolis" (2018 - 2020) as well as "Amazonia" (2019) will be shown in collaboration with Collection Regard Berlin.
In the series "Biography" she observed life on both sides of the Iron Curtain. Like few photographers, she has been able to reflect on her images and experiences in both German countries - before the fall of the wall. Fixed points in Barbara Wolff‘s work are always records of biographical moments and formative stations of her life in the GDR and in the FRG. In capturing those photographic moments charged with personal and subjective significance, Barbara Wolff‘s shares her individual world of experience. At the literally decisive moment, the photographer succeeds in sensitively capturing her subjects in high photographic quality and in balanced compositions. At the same time, Barbara Wolff‘s artistic language has a strong humanistic component. Many images show us people in their immediate and uncompromising dignity, in the tension between strength and fragility.
The series "Metropolis" reflects the urban space in the 21st century. The images tell of residents and their urban environment. Patterns of the city emerge, networks of relationships between people, architecture and (artificial) nature. It is about the transformation of the city, about provocation and chaos. The idea is to perceive secret places but also to share visions. We visit S-Bahn stations, Berlin waterways, graffiti walls and full shopping malls, but also see the famous (empty) Berlin squares and stand in front of closed doors of techno clubs in the Corona y… | | |
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| | | | | Arne Svenson, A Beautiful Day No. 60, 2020 | Arne Svenson, A Beautiful Day No. 44, 2020 |
| | | | | | | | ... until 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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| | | Alfred Eisenstaedt, Time & Life © Getty Images | | | | | | by Edward Steichen for the New York Museum of Modern Art (MoMA)
UNESCO Memory of the World | | | | | | | | 2 March 2022 - 1 January 2023 | | | | | | | | | | | | | The Family of Man comprises 503 photographs by 273 artists from 68 countries, and was brought together by Edward Steichen for the New York Museum of Modern Art (MoMA).
Presented for the first time in 1955, the exhibition was meant as a manifesto for peace and the fundamental equality of mankind, expressed through the humanist photography of the post-war years. Images by artists such as Robert Capa, Henri Cartier-Bresson, Dorothea Lange, Robert Doisneau, August Sander and Ansel Adams were staged in a modernist and spectacular manner.
Having toured the globe and been displayed in over 150 museums worldwide, the final, complete version of the exhibition was permanently installed in Clervaux Castle in 1994. Since its creation, The Family of Man has attracted over 10 million visitors and entered the history of photography as a legendary exhibition. In 2003, the collection was inscribed in the UNESCO Memory of the World register.
On July 5th, The Family of Man will reopen its doors to the public at Clervaux Castle. The collection’s historic photographs have been restored, and the exhibition rooms have been renovated under the direction of the National Department of Sites and Monuments, in order to adapt the technology and design to today’s standards.
CNA & EDWARD STEICHEN
The Centre national de l’audiovisuel (CNA) was created in 1989. Its mission is to preserve and honour Luxembourg’s national photography, film, and sound heritage. The institute actively collects and archives documents from a wide range of origins.
Today, the photo… | | |
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| | | | | | | | © Sukyun Yang & Insook Ju, Graureiher (Ardea cinerea) April 2021 |
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| | | | Denis Dailleux: Le porteur d'œillets d'Inde, Calcutta, 2019
C-Print, 80 x 80 cm, Ed. 8 + 1 AP | Denis Dailleux: Nature morte dans le palais, Calcutta, 2019
C-Print, 80 x 80 cm, Ed. 8 + 1 AP |
| | | | | | | | 5 March — 9 April 2022 | | | Opening: Saturday, 5 March, 11am — 4pm
Denis Dailleux will be present. | | | | | | | | | | | | | Denis Dailleux is a sensitive photo artist and colorist. In his latest series, he portrays the flowers and people he encountered at the Malik Ghat flower market in Kolkata.
"In this magical place along the Ganges with all its stalls full of jasmine, tuberose and hibiscus, I found perfectly composed still lifes. Nothing was to be added to the beauty of this place, I received the poetry that the flower stalls radiated like a gift." Denis Dailleux
Denis Dailleux was born in 1958 in Angers, France. He has published a series of photography books, portraying Egypt, Cairo, his impressions of the revolution, and Ghana. Most recently, he published Persan-Beaumont, a book with portraits of children from a Paris banlieue, and Juliette, portraying his grand aunt.
Dailleux has been awarded several international prizes, including the World Press Photo Award in the portraits category in 2000, the Hasselblad of the town Vevey Award in Switzerland in 2000, the Fujifilm Award of Festival Terre d'Images to Biarritz in 2001, and the World Press Photo Award 2014 in the staged portraits category (2nd). In 2019, he was awarded the renowned Prix Roger Pic. His work is part of numerous private and institutional collections around the world. He is a member of Agence VU and currently lives in Paris.
The exhibition will be accompanied by a catalogue with photographs and a text by Denis Dailleux (French / English / German). We will be happy to reserve a signed copy for you. | | |
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| | | | | Jana Ritchie, Familie Ritchie, 2018-2020 | Leon Billerbeck, Ataxia/Ataraxia, 2019/2020 |
| | | | | | | New German Photography | | | | | | | | ... until 1 May 2022 | | | | | | | | | | | | | With the exhibition "gute aussichten 2020/2021: New German Photography", the House of Photography at the Deichtorhallen Hamburg is presenting the winners of the renowned award for new graduates in photography. Eight prize winners were selected by a jury for the 17th edition of "gute aussichten".
Every edition of "gute aussichten" is a seismograph whose oscillations reflect the diverse echoes of current social and political as well as aesthetic and media discourses. The selected photographers can be viewed through the lens of Brigitte Kronauer’s novel "Das Schöne, Schäbige, Schwankende". In Kronauer’s view, characters portrayed in literature must go through the three stages of development referenced in the title of her novel: the beautiful, the shabby, and the wavering. Applying this to photography, the artists featured in gute aussichten break down their models and subjects into numerous possible realities, all of which reveal the beautiful, the shabby, or the wavering.
Sophie Allerding, who studied at the Hamburg University of Applied Sciences and the Royal Academy of Art in The Hague, explores the physical connections of myths in the Brazilian Amazon rainforest in her work "Leuchtende Augen".
In "Ataxia/Ataraxia", Leon Billerbeck, who lives in Leipzig, searches for ways to confront and deal with his father’s neurological illness.
In "Wahala", Robin Hinsch, who also studied at the Hamburg University of Applied Sciences, questions the mechanisms of exploitation and the conditions of the global extraction of fossil fuels. An earlier series by Hinsch was shown at the Deichtorhallen in 20… | | |
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| | Milja Laurila » | | | | | | | | | | | | Woman With more than 1,000 illustrations in black-and-white and seven colour plates | | 4 Mar – 27 Mar 2022 | | | | | | | |
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| | | | | | | | | | A Retrospective | | | Sat 5 Mar 16:00
6 Mar – 3 Jul 2022 | | | | | |
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| | | | | | | | Poulomi Basu, from Fireflies [detail], 2019 - ongoing |
| | | | | | | | | | | | Thu 3 Mar 18:00
4 Mar – 4 Jun 2022 | | | | | |
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| | | | | | | | film still from Lumen (2021) © Sutapa Biswas |
| | | | | | | | | | | | Thu 3 Mar 18:00
4 Mar – 4 Jun 2022 | | | | | |
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| | Sermiliqaq, Greenland, 1997
© Ragnar Axelsson | | | | | | | | ... until 18 April 2022 | | | | Book signing: Wednesday, 2 March 2022 7pm | | | | | | | | | | | | | "A letter to the future: Okjökull is the first Icelandic glacier to lose its status as a glacier. It is anticipated that, in the next 200 years, all our glaciers will go the same way. This memorial intends to demonstrate that we know what is happening and what needs to be done. Only you know whether we have done it".
In 2019, Okjökull was divested of its glacier status, its ice mass is too meager — a visible consequence of climate change. Now, Iceland remem- bers its glacier with a memorial plaque, which bears an emotive message for the afterworld.
Icelander Ragnar Axelsson, one of the North’s most in-demand photographers, has long been observing climate change with the greatest concern. For more than 40 years, he has been documenting the dramatic changes to landscapes and habitats on the margins of the inhabitable world, travelling to the most remote and isolated regions of the Arctic, to Inuit hunters in Northern Canada and Greenland, to farmers and fishermen on Iceland and the Faroe Islands, and to the Indigenous population in Northern Scandinavia and Siberia.
His information comes first-hand from the people on the ground. Axelsson will go to great lengths to be able to visit them over and over and spend time with them. For this reason, and because he shares their often arduous everyday life, he enjoys their trust. That, in turn, allows him to freeze moments in photographs of their lives and write up their narratives — thus, he becomes the ambassador to their existence and their changing living condi- tions. The other major topic that thrills Axelsson is the force of the elements and the grandeur of Nordic nature. His impressive photographic landscape portraits are testimony to this. With… | | |
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| | | | | | | Tommy Kha
Buchead (V), 2018
Tintype
5 x 4 in (12.7 x 10.16 cm)
Unique
© Tommy Kha |
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| | | | René Groebli
Industrie, #D20, 1961 |
| | | | | | | | ... until 23 April 2022 | | | | Vernissage: Wednesday, 30 March, in presence of the artist | | | | | | | | | | | | | René Groebli, born in 1927 in Zurich, belongs to a generation of Swiss photographers who, after the Second World War, left their mark on the history of 20th century photography. As a student of Hans Finsler in the famous photography class at the Zurich School of Art, which was also attended by Robert Franck, Werner Bischof and René Burri, he freed himself from the research of the new objectivity of the 1920s.
The young photographer made his mark by creating images rather than taking them, and by placing as much emphasis on emotion as on information. A photographer who dissociated himself from professional classifications, René Groebli left photojournalism at the age of 26 and distinguished himself by a personal style of writing in perpetual movement.
The photographer made his mark in 1949 with the series "La Magie du Rail", a black and white railway adventure. Placed in the locomotive, he records with masterly poetry the mechanical odyssey of the steam engine; what he creates at the age of 24 is a cinematographic narrative that imposes the rhythm of another era, the movement takes time, the landscape scrolls to the rhythm of the sleepers and the stone tunnels that mark out the course of the train.
In these images, the whistling and the noise, we feel the steam, the smoke, the heat, the whole soul of train travel. This accurate and poetic view was exalted by René Groebli in 1953 in "L'Œil de l'Amour". In his photographs he conveys the sensual and amorous feelings of the honeymoon in Paris with his wife Rita. It is probably one of the most beautiful declarations of love in the history of photography, created almost twenty years before Nobuyoshi Araki's "Sentimental Jour… | | |
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| | Chim↑Pom:
BLACK OF DEATH 2008
Lambda print, video
81 x 117.5 cm (photo), 9 min. 13 sec. (video)
Courtesy: ANOMALY and MUJIN-TO Production, Tokyo | | | | | | | | ... until 29 May 2022 | | | | | | | | | | | | | Equipped with highly original ideas and impressive energy, artist collective Chim↑Pom has undertaken numerous projects intervening in society in ways that constantly confound our expectations. With themes ranging from cities and consumerism to gluttony and poverty, Japanese society, the atomic bomb, earthquakes, images of stardom, the mass media, borders, and the nature of publicness, their works serve as powerful statements on a plethora of phenomena and challenges in modern society, delivered mostly with a healthy dose of humor or irony.
With seemingly uncanny foresight, Chim↑Pom has also addressed in a number of their previous works the social issues of infection and discrimination against people with contagious diseases, and of bias, contamination and borders, all thrown into sharp relief by the COVID-19 pandemic. Now more than ever perhaps is the time to observe their thought-provoking knack for raising issues pertinent to the zeitgeist.
This will be the first-ever retrospective of Chim↑Pom, bringing together major works from the start of their seventeen-year career to more recent years, plus new work produced for this exhibition. Artworks will be arranged by theme - e.g., cities and publicness, Hiroshima, the Great East Japan Earthquake - highlighting matters consistently addressed by the artists, while examining the collective’s oeuvre in its entirety. Dynamic exhibition design, rich in creative ingenuity, will also assist in shedding new light on the ever-surprising world of Chim↑Pom.
The title Happy Spring signals Chim↑Pom’s hope for a brighter spring even amid this seemingly neverending pandemic, and that we retain our powers of imagination even if that long-awaited season … | | |
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| | | | | | | Anna Jermolaewa
Chernobyl Safari, 2014/21
Fotografie (Wildkamera-Aufnahme)
© Anna Jermolaewa
Bildrecht, Wien |
| | | | | | | | | | | | Tue 8 Mar 19:00
9 Mar – 5 Jun 2022 | | | | | |
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| | | Tatjana Rüegsegger, Brexit Bedrooms – Izzy/Black Honey, 2019, Fine Art Print auf Hahnemühle, 25 x 37,5 cm | | | | | | | Bedtime Stories in Photography | | | | | | | | 4 March – 9 April 2022 | | | Opening: Friday, 4 March, 5 - 8pm
Zurich Art March: 4 - 6 March 2022
Friday, 4 March, 11am - 8pm
Saturday/Sunday, 5 & 6 March, 11am - 7pm | | | | | | | | | | | | | A place of retreat and sleep, a place of love, intimacy and lust, a land of dreams, a scene of birth, but also of illness and death - the bed has a multifaceted role in our lives and is thus one of the most frequently portrayed objects in art. It is an intimate place; a place where we feel at ease; a place where many things are experienced. The exhibition at Fabian & Claude Walter Galerie explores this place as a central motif in photography. However, the exhibition goes beyond the mere pictorial presentation of the bed and addresses the stories behind the individual works and photographed beds. The works represented in the exhibition range from photographs that observe the object of the bed in a distant manner through their documentary character to works that reveal an almost uncomfortable closeness to the beds of the protagonists. Equally diverse are the associated bed stories that reflect the background of the individual photographs.
The bed as a central theme was taken up by Henry Peach Robinson in his photographic work Fading Away as early as 1858. The historical photograph, which portrays a dying girl and her family, shocked viewers at the time with its directness. Although it is known that the photograph was posed, we are still struck by the discomfort of observing the situation at close range. We are in the immediate vicinity of the events, and while looking at the photographs, we cannot shake off the feeling that we are disturbing these familiar moments with our presence. Whether it is a sickbed, a birthing bed, a marriage bed or even an empty bed rarely matters, because the bed of a person unknown to us always possesses an unusual intimacy. Since then, a variety of beds have shaped the history of photography. Douglas Kirkland's photographs… | | |
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| | Lot 434
Michael WOLF, Tokyo Compression.
Reunion of the 3 volumes in original edition, with 5 original prints in all.
Estimate €1,500 -2,000 | | | BOOKS & MANUSCRIPTS | | | | Including the Monsieur X Collection | | | | | | | Auction: Tuesday, 8 March 2022, 10am and 2pm | | | Online catalogue : here
Public exhibition in Paris : 3rd - 5th March, 11am-6pm; 7th March, 11am-1pm
Contact : Frédéric Harnisch, +33 1 42 99 16 49, fharnisch@artcurial.com | | | | | | | | | | | | | | | Artcurial's Book auction on March 8th will offer the public a significant collection of photographers' books, in original or luxury editions, with original signed prints.
Alongside the great names of 20th century photography, such as Willy Ronis (no. 417), Brassaï (no. 346) and Lucien Clergue (no. 360), a panorama of contemporary photography from around the world will be on display, with artists such as Sophie Calle (no. 348 to 357), Georges Rousse (nos. 418-421), as well as Elliott Erwitt (no. 369), Max Pam (nos. 403-406), Michael Wolf (no. 434), Liu Bolin (no. 340), Martin Parr (nos. 408-409) and Lin Zhipeng (nos. 437-438).
In addition to these books coming from the collection of Mr X., the sale also features Helmut Newton's Sumo in its original edition. | | |
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| | Sebastião Salgado, Guatemala, 1978.
Vintage gelatin silver print. | | | | | | | | | | | | | | | | | | | | | |
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| | | | | | rīvus | | | | | | | 12 Mar – 13 Jun 2022 | | | | | |
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9 – 27 Mar 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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© 2 March 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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