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| PHOTOGRAPHY INTERNATIONAL | | 21 – 28 September 2022 | |
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| | Houston’s Fotofest Biennial 2022 "If I Had a Hammer"
(24 September – 6 November 2022) considers the ways artists utilize images to unpack the ideological underpinnings that inspire collective cultural movements around the globe. Together, the twenty-three included artists propose alternative techniques of seeing and engaging with the world, working with both conventional and new media. |
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| | | | KOEN HAUSER
BIRTH, 2022
Inkjet on Hahnemühle Photo Rag Baryta paper, wooden/magnetic
frame with museum glass
Framed 70 x 52 cm
Unique piece | ROBIN DE PUY
JACKIE, 2021
Fine art print on Fiba print baryta paper, black
frame with museum glass
Framed 70 x 52 cm
Unique piece |
| | | One of a Kind | | | | A 10-year anniversary show with unique pieces | | | | | | | ... until 22 October, 2022 | | | | | | | | | | | | | The Ravestijn Gallery is thrilled to announce "One of a Kind", a specially conceived exhibition to mark and celebrate the gallery’s 10 year anniversary. To reflect this unique occasion, the exhibition will bring together a selection of new and, unique and previously unseen works, each made a by a different artist the gallery represents or has worked with in the past.
When, in 2012, Narda van ‘t Veer and Jasper Bode founded "The Ravestijn Gallery", they were amongst the few galleries in the Netherlands who felt photography was more than simply a way to hold a mirror up to the world. Instead, photography for them was a means to do more; to interrogate, to imagine, to construct, to play. Whilst others sought to exhibit only what they deemed beautiful, Jasper and Narda sought to exhibit what they found compelling. Such art did not always meet what many expected from photography. It was not always flat, it was inquisitive, it often eschewed likeness and sometimes made no attempt to hide the marks and manipulation of the artist. Whilst this type of photography had lived under the umbrella of conceptual photography since the 1960s, many galleries in the Netherlands were reticent to exhibit it. As such, it was The Ravestijn Gallery’s openness to what photography could be that established it as a place apart from what existed at the time. | | |
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| | Sebastião Salgado
Bela Yawanawá, Rio Gregório Indigenous Territory, State of Acre, Brazil, 2016
, 20” x 24” in. Gelatin Silver Print
© Sebastião Salgado, Courtesy Robert Klein Gallery, Boston | | | | | | | | ... until 1 October 2022 | | | | | | | | | | | | | Acclaimed Brazilian photographer Sebastião Salgado has created numerous in-depth bodies of work documenting life on Earth, from crushing images of unimaginable hardship facedby gold miners in Brazil and pictures of hell on earth from blazing oil wells in Kuwait toscenes of serene, magnificent wilderness, Salgado has touched the depths of the human condition. Through his expansive, yet finely detailed black-and- white photographs, Salgado reveals both awe-inspiring and horrifying scenes from some of the most far-flung corners of the world, presenting us with his own unique vision of our vast planet.
Sebastião Salgado was born in 1944 in the Brazilian mining state of Minas Gerais and now lives in Paris. Initially an economist with the World Bank, Salgado began his photographic career in Paris in 1973. He worked with the Sygma, Gamma, and Magnum Photos agencies until 1994, when he and his wife Lélia Wanick Salgado founded Amazonas Images, dedicated exclusively to his work. He has traveled to morethan 100 countries for his photographic projects, resulting in many books including Other Americas (1986); Sahel, lʼhomme en détresse (1986); Sahel: the end of the road (1988); An Uncertain Grace (1990); Workers (1993); Terra (1997); Migrations and Portraits (2000); Africa (2007), Genesis (2013) and Amazonia (2021) | | |
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| | | Karime et Fayssoil, Marseille, 2020 © Yohanne Lamoulère / Tendance Floue | | | Yohanne Lamoulère »
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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| | Iris Hutegger, 2106 - 532, 2021
Analog photography, silver gelatin print, cotton thread 75 x 110 cm, unique
© Iris Hutegger, courtesy Galerie Esther Woerdehoff | | | | | | | | ... until 1 October 2022 | | | | | | | | | | | | | The exhibition No Wind Today is devoted to the work of the Austrian artist Iris Hutegger, where photography and embroidery meet. Her works are unique pieces that raise the question of our reaction to the flood of images in an era of hyper-reproducibility.
Iris Hutegger takes analogue photographs of the mountains on a colour negative, enlarges the resulting images and prints them in black and white. The image is then subjected to the slow and delicate process of embroidery on her sewing machine.
The landscapes Iris Hutegger creates are the layers of an intimate geology.
Her approach is to erase the landscape until it is almost naked, by means of discolouration. The mountain thus becomes a blank page on which her inner world comes to life. In these landscapes, captured during trips to the Alps, Iceland and elsewhere - the precise locations do not matter - the artist tries to find a grey matter.
Everything starts with a black and white print.
Photography is the place of revelation, the mental space where vision takes shape through embroidery. The coloured threads in turn shape the landscape and awaken the image to its lost meaning. They animate the static dance of the rocks and form an organic structure that brings the landscape out of its coldness and silence.
« I am fascinated by the subject of perception, the questions of reality and illusion, of location and delocalisation. Analogue photography with its reference point
in the real world is necessary so that I can play with perception and illusion by manipulating the image through stitching. »
Iris Hutegger's approach is that of dissolving topographical markers in order to bring out what she calls "a real image of fiction". The threads of colour phagocy… | | |
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| | | | | | | World Press Photo of the Year
Amber Bracken for The New York Times |
| | | | Präsentiert von GEO und STERN | | | | | | | 21 Sep – 17 Oct 2022 | | | | | |
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| | | | | | | | Rotimi Fani-Kayode, Four Twins, 1985. Courtesy of Autograph ABP, London. |
| | | | FotoFest Biennial 2022 | | | | | | | Fri 23 Sep 18:30
24 Sep – 6 Nov 2022 | | | | | |
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| | | Cover design for King Kong magazine, issue 13 SS22. Courtesy the artist. | | | | | | | | 22 September 2022 – 12 February 2023 | | | | | | | | | | | | | This year's annual commission is a major new solo exhibition by the highly acclaimed Chinese multi-media artist LuYang . The exhibition will feature the world premiere of a new Zabludowicz Collection commission, alongside multiple immersive moving image installations, an interactive arcade gaming space, and a screening room presenting the ‘greatest hits’ of the artist’s videos from across the last decade. Visitors will be invited to step into the worlds LuYang creates.
LuYang’s work destabilises the divisions between past and future, human and machine, and life and death, reflected in the title of the exhibition, which incorporates the Sanskrit expression ‘Neti Neti’, meaning “not this, not that”, or “neither this, nor that”. Immersed in the cultures of anime, video games and sci-fi, the artist’s wildly engaging and darkly humorous projects are all-consuming in their visual and sonic intensity. They combine aspects of traditional spiritual belief with motifs from science and medicine to investigate the mysteries and mechanics of the human body and mind.
The exhibition will centre on DOKU, LuYang’s own digital avatar. Using advanced motion capture and CGI animation technology, DOKU combines ancient ideas of reincarnation with a contemporary exploration of the multiplicity of the self. LuYang has created six versions of the DOKU avatar to date, corresponding to the six paths of reincarnation as described in Buddhism. The movements assigned to these characters … | | |
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| | © Francesc Gardini
Camerano 2021 | | | | | | | A window into contemporary Romagna photography | | | | | | | | ... until 15 October 2022 | | | | | | | | | | | | | Otto volte due presents a selection of new and recent work by eight contemporary Romagna photographers, affording insight into the unique cultural and artistic phenomena of the region.
These photographers are part of a vibrant artistic community across a network of small towns in Emilia-Romagna. Antonello Frongia, professor of photography at Roma Tre University, writes: ‘having trained with Guido Guidi and in a fertile climate of mutual exchange, these artists, born between 1963 and 1987, have honed a photographic and artistic culture that expresses itself through independent sensitivities, languages and research.’
Guidi has lived in the region since the 1940s. His work eschews ‘the picture-postcard version of Italy, with its pretty countryside and medieval towns’, writes Charlotte Higgins, instead drawing into focus the ‘overlooked and ordinary’. Like Guidi, these artists work intuitively, in large format analogue photography.
The process, and ritual, of engaging with their daily landscapes is as important as the end result. They share a vision for looking more closely, and with care, at the landscapes and people that they know deeply. Otto volte due charts a conceptual lineage for Romagna photography, from Guido Guidi to the present day.
At the centre of the exhibition is a new portfolio, Otto volte due, comprising 16 C-type prints, two by each of the eight photographers, realised in collaboration with Imagebeeld Edition, Brussels. The portfolio includes a small book with further illustrations, alongside interviews with each photographer and an introduction by Frongia. | | |
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| | | | | | | | Paz Errázuriz, Evelyn III, de la serie “La manzana de Adán”, 1982 -1987. |
| | | | | | | | Festival Internacional de Fotografía de México 2022 | | | 22 Sep 2022 – 5 Mar 2023 | | | | | |
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| | | | | | | | Eugenia Vargas-Pereira, Sin título, 1993. |
| | | | | | | | Festival Internacional de Fotografía de México 2022 | | | 22 Sep 2022 – 5 Mar 2023 | | | | | |
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| | | | | | | René Groebli
aus der Serie "Das Auge der Liebe", 1952
© René Groebli / www.renegroebli.ch |
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| | | Self-portrait from the Shelton Hotel Looking East, 2005 © Arno Rafael Minkkinen | | | | | | | | ... until 27 November 2022 | | | | | | | | | | | | | Finnish born Arno Rafael Minkkinen became a writer and photographer in America before becoming a teacher in Fin- land. Like a triplestranded coil of climbing rope, Minkkinen has interweaved his three pursuits continuously into his life as a Finnish American artist, essayist/curator, and educator for more than five decades now. After obtaining a Bachelor of Arts degree in English from Wagner College, Minkkinen launched into a career as a Madison Avenue copywriter. A headline he wrote for Minolta cameras (What happens inside your mind can happen inside a camera) persuaded him to take up photography at Rhode Island School of Design where he earned a Master of Fine Arts degree studying there from 1972 to 1974 with Harry Callahan and Aaron Siskind. With double two-year stints (the mid-1970s and mid- 1980s) teaching at Helsinki’s University of Industrial Arts (Aalto University today) and four years as assistant professor at MIT, Minkkinen served 28-years as a tenured Professor of Art at the University of Massachusetts in Lowell where he holds a Nancy Donahue Emeritus Professorship today. Along with a ten-year parttime teaching stint at Vevey’s École d’Arts Appliqués in Switzerland, Minkkinen also serves as a docent at Aalto University in Helsinki.
Major monographs include Frostbite (Morgan & Morgan, 1978); Waterline (Marval, Aperture, and Otava, 1995 (Grand Prix du Livre, 25th Rencontres d’Arles); Body Land (Motta, Nathan, and Smithsonian Institution Press, 1997); SAGA: The Journey of Arno Rafael Minkkinen: Thirty-Five Years of Photographs (Chronicle Books, 2005); Homework: The Finnish Photographs, 1973 to 2008; Balanced Equation (Lodima Press, 2010); and Minkkinen (Kehrer Verlag, winner of th… | | |
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| | | | | | | Kirill Golovchenko: SHOES MOUNTAIN / 7KM / Edition 50, 2007-2009
Gedruckt auf Hahnemühle Photo Rag® Baryta Digital FineArt Papier
© Kirill Golovchenko |
| | | | | | | | | | | | | | | | Tue 27 Sep 16:00
28 Sep – 29 Sep 2022 | | | | | |
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| | | | | | | | | | | | | | Thu 22 Sep 18:00
22 Sep – 7 Nov 2022 | | | | | |
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| | Darrel Ellis, Untitled (Street Scene), 1987.
Gelatin silver print: sheet, 11 × 14 in. (27.9 × 35.6 cm); image, 9 1/2 × 12 1/4 in. (24.1 × 31.1 cm).
Whitney Museum of American Art, New York; purchase with funds from the Robert Mapplethorpe Foundation, Inc.
in memory of Jon D. Smith Jr. © Estate of Darrel Ellis | | | | | | | | | | | 24 September 2022 – 10 January 2023 | | | | | | | | | | | | | Time Management Techniques showcases photography by artists who examined the medium’s relationship to time between 1968 and 2019. Drawn from the Whitney’s permanent collection, the exhibition features many recent acquisitions alongside works that have never before been exhibited. Each of the artists, despite employing vastly different techniques, aesthetics, and conceptual frameworks, works against the immediacy often associated with photography to reflect a passage of time that is slowed down, expanded, or nonlinear.
Some artists—including Darrel Ellis and Muriel Hasbun —employ a personal archive, reaching back into their individual and familial histories to challenge the way these stories are often told. Others use photography for its self-referential properties. Artists such as Blythe Bohnen and Katherine Hubbard record the duration and labor of making photographs, allowing the process to dictate the final form. Corin Hewitt and EJ Hill, among others, consider performance and photography together, using the image to both mark a moment and suggest the countless others that remain uncaptured. By making photographs that reflect on duration, the artists represented in this exhibition reveal time’s slipperiness. They articulate the artificial ways we attempt to divide, mark, and come to terms with time and its passing.
This exhibition is organized by Elisabeth Sherman, Assistant Curator at the Whitney Museum of American Art. | | |
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| | JO ANN CALLIS
Untitled, from Early Color portfolio, c. 1976
Archival Pigment print 16 x 20 inch / 40,6 x 50,8 cm
© Jo Ann Callis / Galerie Miranda | | | | | | | | | | | ... until 13 November 2022 | | | | | | | | | | | | | To open its autumn 2022 program, Galerie Miranda announces a two-person exhibition by celebrated American artists Jo Ann Callis (b. 1940) and Jan Groover (b.1943-d.2012), both at the heart of the 1970s American 'new color' school of photography. The Paris exhibition will feature selected vintage and contemporary color prints from the landmark series Early Color (1976) by Callis and Kitchen Still Lifes (1979) by Groover.
Working at the peak of the American women's liberation movement, neither artist specifically declared themselves to be feminist artists yet both were producing works within and about their home environment, in the vein of militant feminist artists such as Martha Rosler (Semiotics of the Kitchen, 1975) and Judy Chicago (The Dinner Party, 1974-9). In Los Angeles in the 1970s, Jo Ann Callis was juggling two young children, numerous home moves, night school and a pending divorce. Despite these obstacles, she worked constantly to produce her seminal series Early Color. Influenced notably by Paul Outerbridge but also Hans Bellmer and Pierre Molinier, her cinematographic scenes capture the tensions and anxiety of a claustrophobic domestic environment where freedom, pleasure and curiosity are bridled. Hitchcockian by their exquisite composition, Callis created all the decors for the series that she photographed for the most part in her converted Los Angeles garage, with friends as models and the domestic objects at hand as props - string, tape, sheets, lamps, sand, honey and her household chairs, tables and plants.
Similarly, for her celebrated Kitchen Still Lifes series, Jan Groover created poetry out of a kitchen sink piled up with fork tines, butter knife blades, scalloped… | | |
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| | Leonard Suryajaya, Two Bodies, 2017, from the series False Idol, 2016–2020
© Leonard Suryajaya | | | | | | | Less Alone Together | | | | | | | | ... until 16 October 2022 | | | | Saturday, 24 September, 14:00–15:00 TALK: BIRTH ASSISTANCE FOR ASYLUM-SEEKING FAMILIES | | | | | | | | | | | | | The exhibition Chosen Family – Less Alone Together draws on international positions and works from the collection of Fotomuseum Winterthur to shed light on photography’s treatment of the (elective) family and its representation of it as a social and cultural construct. In addition to the works of professional photographers and artists, the museum also presents personal photo albums, showing the family stories of people from Winterthur and from all over Switzerland.
The exhibition Chosen Family – Less Alone Together presents works by contemporary photographers who delve into their own family history. Alba Zari’s work involves a reappraisal of her own family history mediated by pictures from her family archive and contemporary photographic documents. The artist – who was born into a fundamentalist Christian sect – uses scraps of text and image fragments to investigate the history of her family and explore her own identity in the process.
Other artists present themselves and members of their family in sometimes elaborately staged settings, reflecting on the roles played by the individual family members and the photographers’ own position within this constellation. Charlie Engman, for example, presents his ‘mom’ in settings that have little in common with our conception of a mother’s everyday reality and calls into question the one-dimensional image of the caring mother.
Other artistic explorations focus on the fact that family can be defined by much more than just (blood) kinship. These works show how photography can be a means of creating new "images of family" that offer an alternative to middle-class notions of it. Photographer Mark Morrisroe, for example,… | | |
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| | Chow and Lin, 2020:06:13, 13:31:23, 2020. From the series I want to bring you around the world, 2020–22.
Archival inkjet print. Courtesy of the artists. | | | | | | | If I Had a Hammer | | | | | | | | African Cosmologies: Redux | | | | | | | 24 September – 6 November 2022 | | | | Opening: Saturday 24 September 8pm | | | | | | | | | | | | | | Houston’s Fotofest Biennial 2022 "If I Had a Hammer" (September 24 through November 6) considers the ways artists utilize images to unpack the ideological underpinnings that inspire collective cultural movements around the globe. Together, the twenty-three included artists propose alternative techniques of seeing and engaging with the world, working with both conventional and new medi. | | |
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| | | | | | International Photography Festival | | | | | | | 23 Sep – 2 Oct 2022 | | | | | |
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| | | | | | Festival Internacional de Fotografía de México 2022 | | | | | | | 22 Sep – 16 Oct 2022 | | | | | |
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| | | © Pentti Sammallahti | | | Festival La Gacilly-Baden Photo 2022 | | | | DUE NORTH | | | | | | | | | | | | | | | | | | | | DUE NORTH is an opportunity to highlight the often little-known creative power of artists from Northern Europe who, since the dawn of photography, have maintained an almost carnal connection with the ruggedness of their homeland. For the inhabitants of Denmark, Finland, Iceland, Norway and Sweden, solitude and wild nature are integral to their relationship with the world. They do not exploit the fruits of nature blindly, but try to understand how everything works and observe it with a caring eye. Their knowledge and constant desire to learn more about flora and fauna lead them to be very committed to respecting nature.
It is no wonder that the countries of the North, with their outrageous economic health, are among the most pleasant nations to live. Regularly crippled by frost and cold and accustomed to the great outdoors, they have developed a centuries-old tradition of political consensus, rejection of conflict and social development based on strict conservation of natural resources. In Copenhagen, 40% of the inhabitants cycle to work, in Stockholm the buses run on bioethanol, and in Reykjavik geothermal energy is now commonplace. Some will see the legacy of Lutheranism, others the more distant traces of the Viking tradition. You can't survive in the far north without a certain willingness to adapt. In countries where warmth and light are vital six months out of twelve, the environment is a crucial challenge. So it is understandable that Swedish teenager Greta Thunberg has become the new face of climate change for the world's youth: she knows that melting glaciers and sea ice are not far from home and that it is not a boreal illusion. If your culture is threatened by the effects of global warming, it is your duty to alert the public.
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| | | | | | Theatre of Dreams | | | | | | | – 23 Oct 2022 | | | | | |
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| | | | | | We, on the Rising Wave | | | | | | | – 6 Nov 2022 | | | | | |
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| | | | | | | | | | annual event showcasing Nordic and international photography in the Greater Helsinki area | | | – 2 Oct 2022 | | | | | |
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| | | © Nick Hannes | | | | | | | | | | | | | 9 – 25 September 2022 | | | | | | | | | | | | | | The annual Jakarta International Photo Festival (JIPFest) is Indonesia’s first international photography festival and is organized by the PannaFoto Institute. During JIPFest 2022 the photographers and artists interpret the festival theme Revival with a critical conscience on environmental, migration, identity issues, as well as the urgency we face globally. | | |
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| | | | | | open air festival - VISIONS OF THE EAST | | | | | | | – 30 Sep 2022 | | | | | |
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| | | © Ngadi Smart, Port Loko District (Tombotima Community) | | | | | | | re:sources 2.0 | | | | | | | | ... UNTIL 2 October 2022 | | | | | | | | | | | | | The Fotofestival 2022 will once again bring the world of photography to Lenzburg and Aarau for an entire month and expand its horizons with new exhibition venues, international partnerships and world-famous authors.
The past three years have presented us with enormous challenges and clearly demonstrated how our resources are distributed. Some of us have been deprived of our livelihood, others have been on the verge of losing it, and some have realized how privileged they are. However, we all have one thing in common - we are thankful that the situation has recovered, and we are no longer so limited. We have the opportunity to meet with people again, to be out and explore the world - perhaps more consciously and using our resources more sparingly and considerately.
As already in 2021, the photo festival will explore the theme of resources and develop an artistic approach that seeks to capture moments of world events. The twelve exhibitions and the planned events of the 5th Fotofestival Lenzburg have been chosen in such a way that a constructive dialogue can develop between the exhibitions themselves, but also between image producers and users, i.e. bringing together contemporary positions of Swiss and international authors with their audience on the topic of resources.
For the 2022 edition, the focus is on the relationship between humans and nature, and their interplay in relation to our health, quality of life and sustainability, as well as the major climatic and societal changes we are currently experiencing.
Thanks to contributions from sponsors and partners who support the festival, each year we manage to offer a stage to international but also lesser-known photographers. We aim to engage a wider a… | | |
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| | | | | | Festival de photographie international et gratuit | | | | | | | – 2 Oct 2022 | | | | | |
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| | | | | | New beginnings from images - Investigations into reality and the inner gaze: 1,800 exhibitions, 1,760 authors and 742 exhibition spaces, | | | | | | | – 31 Oct 2022 | | | | | |
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| | | | | | Rencontres Photographiques de Toulouse | | | | | | | – 1 Oct 2022 | | | | | |
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| | | Melanie Bonajo: ‘Big Spoon’, film still from ‘When the body says Yes’ . Courtesy of the artist. The Netherlands national Pavillion | | | | | | | The Milk of Dreams | | | | | | | | ... until 27 November 2022 | | | | | | | | | | | | | The 59th International Art Exhibition of La Biennale di Venezia, titled The Milk of Dreams, will open to the public from Saturday April 23 to Sunday November 27, 2022, at the Giardini and the Arsenale; it will be curated by Cecilia Alemani and organised by La Biennale di Venezia chaired by Roberto Cicutto. The Pre-opening will take place on April 20, 21 and 22; the Awards Ceremony and Inauguration will be held on 23 April 2022
Read the statement by Cecilia Alemani »
Read the statement by Roberto Cicutto »
THE INTERNATIONAL EXHIBITION
The Exhibition will take place in the Central Pavilion (Giardini) and in the Arsenale, including 213 artists from 58 countries; 180 of these are participating for the first time in the International Exhibition. 1433 the works and objects on display, 80 new projects are conceived specifically for the Biennale Arte.
The artists »
NATIONAL PARTICIPATIONS
The Exhibition will also include 80 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the city centre of Venice. 5 countries will be participating for the first time at the Biennale Arte: Republic of Cameroon, Namibia, Nepal, Sultanate of Oman, andUganda. Republic of Kazakhstan, Kyrgyz Republic and Republic of Uzbekistan participate for the first time with their own Pavilion.
The National Participations » | | |
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| | | from Déjà View © Martin Parr & The Anonymous Project | | | The Images Vevey biennal | | | | TOGETHER. LA VIE ENSEBLE | | | | | | | | | | | | | | | | | Programm 2022
It takes all sorts to make a world! By bringing together over 45 artists from some twenty countries, the Images Vevey biennial aims to create links. Despite the current uncertain international context, this is a time for reunion and togetherness.
Our connection with others and with our environment, the importance and fragility of social and family ties, the joys and sorrows when the collective and the individual coexist: These are just some of the topics the 2022 Festival is looking forward to exploring via:
‘Together. La vie ensemble.’
+ 45 ARTISTS + 22 COUNTRIES + 4 WEEKENDS + 3 WEEKS + 1 THEME
THE CONCEPT OF THE EXHIBITIONS
Images Vevey is renowned for the creation of unique scenography and the impressive dimensions of its installations in various parts of the town of Vevey, thus inviting its audience to experience images differently. To arouse festivalgoers’ curiosity, striking new indoor venues nestled in Vevey’s town centre will welcome seasoned Festival regulars and newcomers alike!
L’APPARTEMENT – ESPACE IMAGES VEVEY: A NEW GATEWAY TO THE FESTIVAL
Images Vevey invites visitors to explore its new permanent art space in the heart of Vevey’s train station, formerly serving as railway workers’ housing. L’Appartement – Espace Images Vevey is showcasing projects by four internationally renowned artists: Bertien van Manen, Alec Soth, Gillian Wearing and Carmen Winant.
As is the custom every two years, there is great suspense as to which colossal photograph Images Vevey has selected to entirely cover the frontage of a building, opposite the train station. This edition, let's be teleported to the legendary Milan Cathedral, a photograph taken by Thomas Struth in 1998, printed on a 500 m2 canvas. This famous German photographer invites the festivalgoers to embark on a novel itinerary to discover four of his masterpieces displayed on distinctive buildings around the town of Vevey.
IMAGES VEVEY NOW PUBLISHES ITS OWN BOOKS
Since 2020, Images Vevey has been pursuing its role as a publisher of photographic books and, during the second weekend of the Festival, on Saturday 10 September 2022, it will present its publishing house. The latest Editions Images Vevey publication is Lux in Tenebris by Vincent Jendly, a Swiss artist whose work was exhibited at the 2020 Biennial.
Publication available on our online shop
Presenting the artists and the myriad of topics addressed – love, family, urbanism, technology, science, tourism, politics, life, death, religion, culture, food, sport, hobbies, and much more – our press kit details the entire programme. | | |
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© 21 September 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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