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| PHOTOGRAPHY INTERNATIONAL | | 24 - 31 May 2023 | |
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| | Pamela as Pamela, 2023
© Sara Cwynar | | | | | | | | 26 May – 24 September 2023 | | | | Opening: Thursday 25 May 18:30 - 21:00, in the presence of the artist | | | | | | | | | | | | | Foam is proud to present a large-scale solo exhibition by Sara Cwynar (b. 1985, Vancouver, CA), the seventh exhibition in the series Next Level. Sara Cwynar is a leading artist of her generation who seeks to make sense of our current visual culture through photography, essayistic video works, collages, installations and books. In her studio, she collects and documents images and objects to identify the ways that these everyday materials shape our lives as we consume them. In this way, she captures the prevailing ideals and ideologies of an era.
Through photographs taken from encyclopedias, the internet and a myriad of catalogues, excerpts from literary essays by leading thinkers as well as witty captions she plucks straight from Instagram – Cwynar gives chapter and verse to the process of imaging that shapes how we perceive the world. A common thread in Cwynar's work is her ongoing research into the effects of consumerism and how it subconsciously shapes our beauty and lifestyle ideals and subsequently, our self-image. Much of her work specifically focuses on the female consumer: from the cultural phenomenon of the New Woman of the turn of the nineteenth century until now. The exhibition title, S/S 23, is the usual designation for the new fashion season – in this case 'Spring/Summer 2023'. It refers to the trends that come and go, that keep pushing us to buy new products and conform to new ideals. | | |
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| | | | | | | | Andreas Gursky, Salinas, 2021 © Andreas Gursky, VG Bild-Kunst, Bonn, Germany |
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| | | Kristin (2016), de la série i love you baby. Portraits de femmes résilientes © Jeannine Unsen | | | Saison 2022 – 2023: Kaleidoscope | | | Clervaux - cité de l'image enters its new season 2022-2023 with 6 new open-air exhibitions.
Co-produced by the Centre national de l'audiovisuel (CNA), this new edition focuses on the diversity of photographic creation in Luxembourg. | | | Marie Capesius » Heliopolis (2017-2019)
Veronique Kolber » American Diorama – Streets (2011)
Boris Loder » Particles, 2016-2019
Bruno Oliveira » Coentro e Cachorros (2018)
Marc Schroeder » Corona 2020 – Scenes of the Pandemic (2020)
Jeanine Unsen » I love you baby. Portraits de femmes résilientes (2016-2018) | | | | ... until 9 October 2023 | | | | | | | | | | | | | Various photographic installations throughout the city of Clervaux transform it into an open-air gallery. Discover the work of national and international contemporary photographers in an extraordinary setting: on the walls of houses, in flowering gardens and along the narrow streets.
Six different visions invite us on a journey, each uniquely opening up a world that unfolds in photography and lingers in our imagination. A play of momentary dialogues strikes up between the images, their open air exhibition setting – as it changes with the seasons - and the viewer that contemplates them. The photographers transform the image of the city and the gaze we bring to bear upon it by way of reflections from elsewhere.
The 2022-2023 photographic season celebrates the diversity of Luxembourg creation through the work of six contemporary photographers. On the market square, we set out with Bruno Oliveira to Cap Vert, via a documentary collection shot through with personal sensations, while along the rise to the church, Véronique Kolber presents a series of American street scenes, captured through her lens, that resonate in our cinematographic memory. Behind the church, Marie Capesius, by way of calm and sensual images, explores the question of paradise and the contrasts between the two worlds that co-exist on the Ile du Levant. Inspired by the methods of archaeology, Boris Loder collects objects, examines them, and thus condenses the identities of the City of Luxembourg’s various neighbourhoods and their stereotypes into sculptural photographs that can be seen in the arcades of Grand- Rue.
On the Castle concourse, we are greeted by Marc Schroeder’s black and white minimalist photographs capturing urban landscapes which seem to follow a strict graphic logic. While in the Castle gardens, the women portrayed by Jeannine Unsen share with us a moment that is both intimate and intense. Thus, by way of these encounters, different paths, readings and connections interweave to keep us questioning. | | |
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| | | | | | | | Christian von Alvensleben: MeeresFrüchte — Arbeitshandschuh (2012) © Christian von Alvensleben |
| | | | | | | | loungeaffairs #5 | | | Artist talk Wednesday 24 May 7pm
with Christian von Alvensleben and Ulrich Rüter
Bib-Lounge, SLUB Dresden
and Livestream here
More Informations: here
- 6 Jan 2024 | | | | | |
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| | | Ragnar Axelsson © Mikide Kristiansen, Thule, Greenland, 1999 | | | | | | | | ... until 4 June 2023 | | | | Artist talk: Wednesday 24 May 2023 6pm | | | | | | | | | | | | | 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 conditions. 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 the gaze of the researcher and artist, he analyses even the smallest natural structures, which are reminiscent of modern drawings by the likes of Paul Klee or Per Kirkeby. As he does so, he holds consistently to his aesthetic decision in favour of black and white. | | |
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| | | Ralph Gibson, aus der Serie Days at Sea, 1974 © Ralph Gibson | | | | | | | | ... until 20 August 2023 | | | | | | | | | | | | | This wide-ranging exhibition by the photographer Ralph Gibson (*1939) presents the development of his work from the 1960s to the present day based on selected series. The exhibition is being developed in a direct collaboration between the artist and the curator, Dr. Sabine Schnakenberg, and is composed of some 300 analogue and digital works in black and white and color from the artist’s private collection as well as works that the collector F.C. Gundlach acquired during his collaboration with Ralph Gibson in the early 1980s for his private photography collection, which is now on permanent loan to the House of Photography at the Deichtorhallen.
Ralph Gibson is one of the most interesting American photographers of our time. His international renown is based on his exceptional work, which is shown and collected by some of the world’s leading museums, including the Museum ofModern Art in New York, the J.P. Getty Museum in Los Angeles, the John Simon Guggenheim Memorial Foundation, the Creative Center for Photography in Tucson, the Museum of Fine Arts in Houston, the Maison Européenne de la Photographie in Paris, the Bibliothèque Nationale de France in Paris, and the Fotomuseum Winterthur in Switzerland.
Gibson’s works, which he has created since the early 1960s, completely contradict the conventional purpose of the medium of photography: the meticulous depiction of so-called reality. Gibson is not interested in photographic documentation, and instead understands photography as an aesthetic endeavor. A leitmotif of his work comes from the original meaning of the word “photography”: drawing with light. Gibson needs light not only as a material prerequisite for creating each of his photographs; light itself becom… | | |
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| | Lucinda Devlin: Römische Bäder, Carolus Thermen, Bad Aachen 2002, Aus der Serie "Water Rites”
© Lucinda Devlin, courtesy Galerie m, Bochum | | | | | | | | ... until 16 July 2023 | | | | | | | | | | | | | American artist Lucinda Devlin rose to fame in the 1990s with a series of soberly observed photographs of execution rooms in US correctional facilities titled The Omega Suites. The images caused a sensation at the Venice Biennale in 2001. One of the motifs had already attracted attention in 1992 when it was featured in a controversial advertising campaign for an Italian fashion label. The Omega Suites is one of nine photographic series, along with a video, on view in Frames of Reference, the first large-scale survey to be devoted to Lucinda Devlin in Europe.
Devlin, part of the New Color Photography movement, seeks out her motifs mainly in interiors that serve specific functions. Most of her subjects are in the USA, but she has also done projects in Germany and other countries. In the mid-2000s, the artist added landscape scenes to her repertoire.
In the series Pleasure Ground (1977–1990), for example, Devlin provides glimpses of hotel rooms with fantasy themes, discotheques, and beauty salons – places that promise relaxation and enjoyment. By contrast, the interiors in the Corporal Arenas series (1982–1998) like operating rooms for human or animal patients, treatment spaces, and morgues are reproduced here in all objectivity.
Devlin did not intend her photographs of the series The Omega Suites (1991–1998) – taken in maximum-security prisons – to be understood as a statement for or against the death penalty. Contemplation of these very specific spaces is instead meant as an encouragement to engage personally with a difficult subject.
With the support of a DAAD grant, Devlin shot her series “Water Rites” (1999–2002) in German spas, add… | | |
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| | Ursula Schulz-Dornburg
'Memoryscapes, St Petersburg, Russia', 2000
Photograph; Diasecâ
148 x 208 cm
© Ursula Schulz-Dornburg | | | | | | | | ... until 1 July 2023 | | | | | | | | | | | | | Memoryscapes is a solo exhibition by the German artist Ursula Schulz-Dornburg, realised in collaboration with Lucy Rogers.
In 2012, Ursula Schulz-Dornburg travelled to north-eastern Kazakhstan to photograph the remains of the Soviet Union's largest nuclear weapons programme. Located in a vast area south-west of the city of Kurchatov, Opytnoe Pole was once a top-secret open-air laboratory, used to measure and record the devastating effects of nuclear weapons. Taken almost twenty years after the closure of the facility, Schulz-Dornburg's photographs portray a desolate landscape, devoid of life and still suffering the effects of radiation. The area was looted after its closure in 1991 – an act which inadvertently dispersed radioactive material across the continent – and later subject to an intensive clean-up operation by the Kazakh, Russian and US authorities. It is a landscape still laden with the artefacts of an architecture built to be destroyed.
Born in Berlin in 1938, Schulz-Dornburg grew up in the aftermath of the Second World War – in a divided Germany and an era defined by new borders in Europe and elsewhere. Since the 1970s, she has sought out places of transit and borderlands, locations geographically and politically caught up in a state of in-between, where multiple layers of history intersect, coexist and collide. Reflecting the lands in which she has travelled, her archive reveals a constellation which extends beyond the scope of individual images – an entanglement of narratives which overlap in time and space. Exhibitions and publications become a method for thinking through the archive, bringing together new and familiar works into new combinations and sequences. | | |
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| | | | | | | | Marina Abramović Black Sheep from the series Back to Simplicity, 2010 © Marina Abramović, Courtesy of the Marina Abramović Archives |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | PHotoESPAÑA 2023 | | | 29 May – 3 Sep 2023 | | | | | |
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| | Marche à l’occasion de la libération de Nelson Mandela, Le Cap, Afrique du Sud, 1990
© Patrick Zachmann / Magnum Photos | | | | | | | | 26 May – 20 August 2023 | | | | | | | | | | | | | «Est-on juif quand on ignore sa religion et sa culture ? » De la fin des années 1970 au début des années 1990, le photographe français Patrick Zachmann (né en 1955) mème une enquête sur les Juifs de France, à la recherche de sa propre identité. De Paris à Marseille, des plus orthodoxes aux plus laïques, des grossistes en textile dans le quartier du Sentier au dernier typographe du quotidien communiste publié en yiddish Naye Prese , il saisit les différentes facettes de la judaïcité française alors que, à partir des années 1980, pour la première fois depuis la Seconde Guerre mondiale, se produisent en France des attentats antisémites.
Pressentant ce que l’on nommera bientôt l’« ère du témoin », il assiste au premier rassemblement de survivants de la Shoah à Jérusalem en 1981.
Membre depuis 1985 de la prestigieuse agence Magnum, il fait parallèlement de nombreux reportages hors de France. Son activité le mène ainsi en Afrique du Sud pour la libération de Nelson Mandela ; au Chili sur les traces des anciens camps de prisonniers politiques ; au Rwanda d’où, six ans après le génocide des Tutsis, il rapporte des portraits de survivants. C’est aussi l’année où il fait le voyage à Auschwitz-Birkenau, où furent assassinés ses grands-parents paternels, juifs polonais apatrides, immigrés en France dans l’après Première Guerre mondiale, arrêtés et déportés en 1942. En contrepoint, dans les années 2010, il retourne en Pologne et en Ukraine où il suit de joyeux pèlerinages hassidiques, comme autant de rites « hors du temps ».
Enfin, il fait le … | | |
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| | | | | | | Karl Ohiri, Untitled,
from “The Archive of Becoming,” 2015–ongoing.
Inkjet print. 8 x 10 inches.
Courtesy of the artist. © Karl Ohiri. |
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| | LAURA STEVENS
Threshold (2023)
Archival pigment print, 70 x 100 cm | | | | | | | | ... until 30 June 2023 | | | | | | | | | | | | | Galerie Miranda is delighted to present the second solo exhibition by artist Laura Stevens, entitled Tu oublieras aussi (You will also forget).
One of France’s most solicited portrait photographers, in her personal projects Stevens explores a resolutely feminine and contemporary point of view of the private sphere, questioning notions of desire, the passing of time, solitude and loss, the connection between the artist and her subject. For her first exhibition at Galerie Miranda, Corps d'hommes (2020), Stevens presented her perspective on the male nude, photographed in the private space of her Paris apartment bedroom. For this second exhibition, she pursues her questioning of the intimate sphere but this time considers two bodies, lovers, and what binds them, asking herself the question of the memory of desire and how to represent it.
Until now, the history of erotic photography has largely been written by and for men (Araki, Newton, Molinier, Mapplethorpe…), for the most part with explicit and performative images within a dominant-dominated framework. Several women photographers have made a mark in this territory but in general with a transgressive or militant posture (Krull, Natalia L, Ionesco, Cahun) that doesn’t fundamentally offer an alternative to the status quo. Fortunately, the list is longer of landmark women artists in other fields of photography - documentary, conceptual and experimental.
Confronted by the weight of these historical signatures, Laura Stevens quietly follows her own path, one that is feminine, free and egalitarian. In the tradition of Anglo-Saxon women photographers of the private sphere, such as Jo Ann Callis, Nan Goldin, Lise Sarfati and Mona Kuhn, Laura Stevens proposes a… | | |
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| | | | | | | | Inge Morath – Helena Rubinstein Beauty Saloon, New York, USA, 1958 |
| | | | | | | | | | | | Zum 100. Geburtstag | | | Fri 26 May 19:00
27 May – 29 Jul 2023 | | | | | |
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| | VALIE EXPORT, Verletzungen I, 1972, Körperkonfiguration, s/w Fotografik, ALBERTINA, Wien
The ESSL Collection © VALIE EXPORT, 2022, ProLitteris, Zurich, Foto: Hermann Hendrich | | | | | | | | ... until 29 May 2023 | | | | | | | | | | | | | VALIE EXPORT – The Photographs is the first exhibition to focus on the photographic oeuvre of the artist VALIE EXPORT (b. 1940), whose at times provocative performances and experimental installations have been a source of controversy. The show examines EXPORT’s use of photography as a critical exploration of processes of depiction and representation. At the interface of film, video art, drawing and body art the photographs offer a new perspective on her creative oeuvre.
VALIE EXPORT’s multimedia work eludes any simplistic categorisation or definition. As a pioneer of performance art, installation art and video art, EXPORT has consistently broken through the boundaries separating media genres, while using her own body as an artistic medium. Photography has always played a key role in her practice – be it for documentary or experimental purposes, as an element in multimedia installations or as art in its own right.
EXPORT has had a constant awareness of the importance of visually recording her performances. Back in 1968 two of her best-known performances, TAPP und TASTKINO and the action Aus der Mappe der Hundigkeit, were attended by photographers (and filmmakers). For the performance TAPP und TASTKINO, a request was put out by megaphone asking spectators and passers-by to touch EXPORT’s breasts, which were covered by a box inspired by a cinema auditorium with a curtain that the artist wore like a garment. Participants had to maintain eye contact with EXPORT for a defined period of time while touching her, with the artist thereby reversing the voyeuristic male gaze, a typical feature of cinema. For Aus der Mappe der Hundigkeit, EXPORT took artist Peter Weibel through the centre of Vienna o… | | |
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| | | Adji Dieye: video still from Aphasia, 2022 © Adji Dieye | | | | | | | | ... until 29 May 2023 | | | | | | | | | | | | | The practice of Italian Senegalese artist Adji Dieye (b. 1991), based in Zurich and Dakar, Senegal, is dedicated to the themes of postcolonialism and nation-building. From an Afro-diasporic perspective the artist examines how language and the urban landscape function in the writing of history, whose linearity becomes the focus of her critical enquiry. At the centre of Dieye’s exhibition is the video-based work Aphasia (2022), newly produced especially for Fotomuseum Winterthur during an artist residency of several months in Dakar. The work allows Afro-diasporic communities and Black identities to express themselves as living archives by giving them agency and a voice.
The loss of language is the conceptual starting point of the cross-disciplinary work Aphasia, which uses the interplay of photography, video and performance to unveil the contradictions of national knowledge production. The term "aphasia" (deriving from the ancient Greek word αφασία for speechlessness) describes a cognitive language disorder in which individuals are often unable to remember or communicate words. In Dieye’s work, however, the term is appropriated and transferred into a cultural context through a speech-based performance in different public spaces in Dakar. We see the artist sitting on a rooftop, a stack of pipes or a huge mound of building sand, with buildings and construction sites in the background mostly wrapped in fabric or covered in scaffolding. Absentmindedly, she leafs through a manuscript, mumbling sentences in broken French – excerpts of presidential speeches, written in French, that have been delivered to the public since Senegal’s independence in 1960 and which Dieye has arduously r… | | |
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| | | | | | | | | | | | | | Wed 24 May
25 – 28 May 2023 | | | | | |
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| | Guy BOURDIN (1928-1991)
Charles Jourdan', January 1978
Fujiflex Crystal Archive print
24 x 36 in.
©The Guy Bourdin Estate 2022 Courtesy of Louise Alexander Galler | | | PHOTOGRAPHIES | | | | | | | Online Auction: 23 May to 6 June 2023 | | | Viewing Paris: 22-26 May and from 1-6 June
Online catalogue: here | | | Specialist, Head of Sale:
Fannie Bourgeois
fbourgeois@christies.com
+33 (0)1 40 76 84 41
Head of Photographs, Europe:
Elodie Morel-Bazin
emorel-bazin@christies.com
+33 (0)1 40 76 84 16 | | | | | | | | | | | | | Christie’s Photographs Department in Paris is pleased to announce their Spring Photographies sale, an online auction open for bidding from 23 May to 6 June 2023.
The sale will feature property by significant photographers of 20th & 21st Centuries including Helmut Newton, Richard Mosse, Candida Höfer, Shirin Neshat, Peter Beard, Irving Penn, Nan Goldin, Cindy Sherman or Hiroshi Sugimoto. The selection offered for sale covers a vast panorama of different photographic genres including fashion photography, documentary photography and conceptual photography.
The highlights of the auction are a beautiful large ferrotyped gelatin silver print by Helmut Newton Roselyne at Arcangues and a magnificent Self-portrait by Robert Mapplethorpe taken in 1985.
All photographs will be exhibited at Christie’s Paris from 22-26 May and from 1-6 June. | | |
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| | William Eggleston
Untitled, [Memphis], from the series "Los Alamos", 1965–1974. Um 1965/68
Dye Transfer-Abzug von Guy Stricherz unter Aufsicht von William Eggleston, 2002. 30,3 × 45,3 cm
Estimate EUR 15.000–20.000
© Grisebach GmbH | | | Photography Auction "Online Only" | | | | | | | 26 May – 4 June 2023 | | | Preview of all Works
Wednesday, 24 May to Tuesday, 30 May, 10am - 6pm
Wednesday, 31 May, 10am - 3pm | | | | | | | | | | | | | Photography "online only" has a lot of surprises in store for you. We invite you on a journey through 100 years of photographic history, starting with the pioneer of the medium Eadweard Muybridge and his iconic horse in motion. We continue with August Sander and Herbert List, from Arno Fischer to Lee Friedlander and William Eggleston.
The selection also features a myriad of fascinating portraits. We are delighted to be able to offer a beautiful portrait of Marlene Dietrich, photographed by Irving Penn, as well as works by the famous American photorealist Chuck Close.
Last but not least, our selection wouldn't be complete without fashion photography: George Hoyningen-Huene's masterful "Divers" is on offer and Louis Faurer's elegance meets a tantalizing Gisele Bündchen photographed by Michel Comte! | | |
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| | Auction 1222/lot 572
Willi Ruge
This Moment was decisive, 1931
Vintage ferrotyped gelatin silver print
13.9 x 20.2 cm (16.3 x 21.6 cm)
Estimate € 6,000 – 8,000 | | | Lempertz – Photography | | | | | | | Further information:
Dr. Christine Nielsen
Tel: +49-(0)221-92 57 29-56
photo@lempertz.com | | | | | | | | | | | | | Auctions 1222 Classical Photography
This year’s season highlight in the field of photography is a small photo book from 1934 which will go under the hammer in the Evening Sale: ‘Die Puppe. Erinnerungen zum Thema Puppe’ by Hans Bellmer is from a small edition which Bellmer published himself and in which he revealed his work on the scandalous subject of the doll for the first time. This launched his entry onto the Parisian Surrealist scene where his photographs caused a sensation (lot 85, € 30/40,000). Well preserved examples of the book, which includes a text and ten gelatin silver prints from the photographer, are exceptionally seldom.
A self-portrait by Willi Ruge as a press print from his reportage "I Photograph Myself During a Parachute Jump" shows the decisive moment in which the parachute opens up over the photographer’s head (lot 529, € 6/8,000). The photographs of the daring photographer’s daredevil self-experiments, for which he also composed the accompanying humorous texts, went around the world as picture reports in numerous illustrated magazines in the 1930s.
Standing out amongst the classical photography is a large-format vintage print of the well-known second variation from "Die Bäume vor meinem Fenster" [The Trees in Front of My Window] by Otto Steinert, a masterpiece of subjective photography from the co-founder of the fotoform group (lot 610, € 10/15,000). In the 1950s and 60s, Steinert influenced a string of German photographers and photo journalists as a teacher initially in Saarbrücken and later at the Folkwang School of Design in Essen. Amongst them were Detlef Orlopp, Peter Thomann, Adolf Clemens and Günter Hildenhagen, from whom seve… | | |
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| | 285.
Samuel Fosso (1962)
Self-portrait. Series "70's Lifestyle", 1975-1978.
Gelatin silver print, signed. | | | | | | | | | | Auction: Thursday, June 8th 2023 – 2:00 p.m.
Public exhibition:
At Ader auction house, 3, rue Favart; 75002 Paris
Tuesday, June 6th from 11 am to 6 pm
Wednesday, June 7th from 11 am to 6 pm
Thursday, June 8th from 11 am to 12 pm
Specialist: Antoine Romand
www.antoineromand.fr
Online catalogue: www.ader-paris.fr
Live bids: www.drouotonline.com | | |
| | | | | | | | | | | | | 19th century photographs by :
Lai Afong | Appert | Eugène Atget | Arturo W. Boote | Maison Adolphe Braun | Albert Chevojon | Chute & Brooks | Edgar Degas | Robert Demachy | Eugène Disdéri | Louis-Émile Durandelle, | Louis de Clercq | Giuseppe Enrie | Marc Ferrez | Alfredo Hamelle | Obder W. Heffer | Kusakabe Kimbei | Ernest Rouart | Charles Thomas Scowen
Album of Mont-Saint-Michel and album of the Gare Saint-Lazare by Durandelle and Chevojon. Travel photographs (Brazil, Chile, Argentina, Vietnam, China, Japan). Holy Shroud of Turin by Giuseppe Enrie: exceptional large 1930’s real-size prints and unique lightbox
Modern and contemporary photographs by :
Michael Ackerman | Antoine d'Agata | Rogi André | Nobuyoshi Araki | Diane Arbus | Jane Evelyn Atwood | David Bailey | Lewis Baltz | Gabriele Basilico | John Batho | Erwin Blumenfeld | Édouard Boubat | Pierre Boucher | Brassaï | Théodore Brauner | Denis Brihat | Francis Bruguière | Camille Bryen | Balthasar Burkhard | Richard Caldicott | Nicholas Callaway | Robert Capa | Henri Cartier-Bresson | Lucien Clergue | Pierre Cordier | Thibaut Cuisset | Denis Dailleux | Dawn NG | Geraldo De Barros | Raymond Depardon | Bernard Descamps | Jean Dieuzaide | Robert Doisneau | Frantisek Drtikol | Gilbert Fastenaekens | Franco Fontana | Joan Fontcuberta | Samuel Fosso | Leonard Freed | Gisèle Freund | Cyprien Gaillard | Hector Garcia Cobo | Gilbert Garcin | Luigi Ghirri | Mario Giacomelli | Ralph Gibson | Bruce Gilden | Paolo Gioli ... | | |
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REN HANG (1987–2017)
UNTITLED, CHINA 2010
Image Size 67 x 100 cm
Estimate: €7,000 - €9,000 | | | OstLicht Photo Auction | | | | Friday, 2 June, 5 pm CEST | | | | | | Preview:
Friday 26 May - Thursday 1 June, 2- 7 pm,
Friday 2 June, 10 am - 5 pm or
by appointment
Expert Guided Tour with Simone Klein
Wednesday 31 May 2023 7 pm, Galerie OstLicht
Contact: Peter Coeln
coeln@ostlicht.org
Online Catalog: here | |
| | | | | | | | | | | | | The OstLicht Photo Auction is known for always providing a surprise with unexpected offers. But this is especially true for the spring auction taking place on Friday, 2 June. "We are pleased and proud to be able to offer works from one of the most important photo exhibitions of all times," says Peter Coeln, who founded the WestLicht Photo Auction in 2009 and has continued it as the OstLicht Photo Auction since 2020.
At the end of the 1980s, the Magnum photo agency had assembled the most impressive works from the first 40 years of its existence into a ground-breaking show of works entitled In Our Time. In addition to Henri Cartier-Bresson, Ernst Haas, Inge Morath, Erich Lessing, René Burri, Bruce Davidson and Sebastião Salgado, 50 other photographers are represented who have influenced the collective pictorial memory of this world with their iconic images.
"The exhibition is one of the most important milestones in the history of photography and comparable to Edward Steichen's masterpiece Family of Man”, says the former director of the photography department at Sotheby's Europe, Simone Klein, who joins the OstLicht team as an independent expert. "The fact that these historic exhibits are now being offered at an auction for the first time is truly a sensation".
Of particular interest to collectors: the set to be auctioned in the upcoming - and the two following - is the only one of the three produced at the time in which all works are signed by the photographers themselves, stamped by their estates or Magnum. In the first part, 97 large-format b/w or colour dye transfer prints will be offered: Henri Cartier-Bresson's world-famous portrait of Alberto Giacometti (starting price: €5,000) and his snapshot of two men peering through a … | | |
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| | | | | | resistance [ātete] | | | | | | | 31 May – 11 Jun 2023 | | | | | |
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| | | | | | open air festival - NATURAL HERITAGE | | | | | | | 1 Jun – 1 Oct 2023 | | | | | |
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| | | | | | DIALOGUE BETWEEN YOUNG PEOPLE AND VISUAL ARTISTS | | | | | | | 30 May – 4 Jun 2023 | | | | | |
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| | | | | | | | © The Late Estate Broomberg Chanarin 2015 The Goodman Gallery |
| | | | | | | | | | | | Thu 1 Jun 20:00
1 – 30 Jun 2023 | | | | | |
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| | | © Alice Martins | | | | | | | 70 ARTISTS / 16 EXHIBITIONS | | | | | | | | ... until 2 July 2023 | | | | | | | | | | | | | The third edition of Porto’s photography biennial, entitled ‘Acts of Empathy’, focuses on assessing today’s social, ecological, and economic resources, and re-imagining a regenerative future. Bienal’23 co-artistic directors Jayne Dyer and Virgílio Ferreira invited 70 artists and 14 guest curators in 14 locations in Porto, transforming them into dynamic creative spaces where visitors are invited to participate in artistic ‘Acts of Empathy’.
Bienal’23 explores our ability to feel, collaborate and drive change through artistic acts of connectivity, reparation, and healing via CONECTAR, EXPANDIR, SUSTENTAR, VIVIFICAR (Connect, Expand, Sustain, Vivify), four sections that intersect local and global perspectives.
While SUSTENTAR features creative laboratories in Portuguese urban centers that look into urban and regional sustainability issues, VIVIFICAR, through artistic residencies with communities, addresses one of the most pressing issues in low-density territories: the settlement of populations. Because these two sections demand concrete solutions and actions, EXPANDIR brings an experimental dimension by presenting academic and professional socio-ecological initiatives for emerging artists. CONECTAR fosters diverse cultural and artistic ecosystems through the interchange of exhibition projects, ideas, and transdisciplinary practices on a national and worldwide scale.
Bienal'23 features projects that are supported by deliberate artist engagement in community and environmental activities in order to foster reparative acts and empathy for the future. | | |
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| | | | | | Soft and weak like water | | | | | | | – 9 Jul 2023 | | | | | |
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| | | | | | Rencontres photographiques de Montpellier 18th edition | | | | | | | – 28 May 2023 | | | | | |
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| | | | | | Rencontres de la jeune photographie internationale 2022 - 27 artists | | | | | | | – 27 May 2023 | | | | | |
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| | | | | | Europe Matters | | | | | | | – 11 Jun 2023 | | | | | |
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| | | | | | | | | | | | | | Latvia via AI | | | – 31 May 2023 | | | | | |
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| | | | | | Thinking Historically in the Present | | | | | | | – 11 Jun 2023 | | | | | |
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| | | | | | Turning Point. Turning World | | | | | | | – 11 Jun 2023 | | | | | |
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© 24 May 2023 photography now UG (haftungsbeschränkt) i.G.
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photography-now.com . T +49.30.24 34 27 80 |
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