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| PHOTOGRAPHY INTERNATIONAL | | 27 April – 4 May 2022 | |
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| | Michel Lamoller
ANTHROPOGENIC MASS 10 (SHANGHAI), 2022
Three-dimensional photographic work, consisting of cut out archival pigment prints / aerial photo by Alexander Hafeman
Framed 109 x 60 x 15 cm
Unique piece | | | | | | | | 30 April – 11 June 2022 | | | | | | | | | | | | | The Ravestijn Gallery is pleased to present Anthropogenic Mass, the first solo exhibition of German artist Michel Lamoller with the gallery. The exhibition will comprise of unique, photographic relief works that make visible the mass of our man-altered world.
Anthropogenic Mass exists somewhere in between photography and sculpture. At a distance, the works on show appear to be deadpan photographs of impossibly dense cities; akin in some ways to Andreas Gursky’s images of commerce and industry. A few steps closer, however, and we realise that, unlike Gursky, Lamoller’s works are not photographs of man-made landscapes, but objects about man-made landscapes. Lamoller starts with a photograph, but that image is not then printed, framed and hung in the modernist sense of a picture. Instead, Lamoller prints the same photograph multiple times, before stacking them on top of each other like the bellows of an accordion. Lamoller then uses a scalpel to meticulously cut away sections of each photograph — a process that can take several weeks. Each photograph becomes a single stratum in a unique relief work, with each absent section revealing the image behind. In doing so, Lamoller creates works that are photographic, but not quite photography. Or, put another way, photography here is not the final work of art but a material, something for Lamoller to cut into, give order to and build with. What emerges from this process are images that have been expanded and given presence, extending out into the gallery space before receding into themselves, no longer bound by a flat surface. | | |
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| | | Herlinde Koelbl: Angela Merkel, 1991 © Herlinde Koelbl | | | Herlinde Koelbl » Angela Merkel. Portraits 1991–2021 | | | | 29 April – 4 September 2022 | | | | | | | | | | | | | When Angela Merkel’s tenure as German chancellor came to a close in autumn 2021, it also marked the end of a project for Herlinde Koelbl that is without parallel in her own or any other photographer’s oeuvre. For three decades, the artist took, at regular intervals, the portrait of someone who became one of the most powerful politicians in the world. Koelbl first photographed Merkel in 1991, when she had just assumed the post of Federal Minister for Women and Youth in Helmut Kohl’s cabinet, in the year after reunification. The last portrait dates from 2021, when Merkel’s sixteen-year term as chancellor came to an end.
In unusually quiet and intimate close-ups, Koelbl captured the image of a politician who would gradually evolve into a much-photographed media figure. Here, however, there are no symbols of power to distract our gaze from the sitter herself. Few could ever have predicted Merkel’s rise. Before her, only men had held the offices of chancellor, president, or foreign minister in the Federal Republic of Germany. She was the first female head of government in German history.
With the exhibition "Herlinde Koelbl. Angela Merkel Portraits 1991–2021" the DHM invites visitors to trace the stepping stones and milestones of Merkel’s political career up to the closing chapter of her time as Germany’s first female chancellor. There isn’t a long-term portrait series like it that consistently records the rise to power of any other politician on the global stage. What we see are close-ups that not only document an extreme physical and psychological transformation over time but also an unusual encounter between statesperson and photographer.
Displayed alongside the 47 portraits are quotes and catchphrases uttered by Merkel herself. The presentation also features listening stations and a video collage of excerpts from interviews conducted by Herlinde Koelbl with Angela Merkel in the years 1991 to 1998. Her answers to the question repeated at each sitting in the nineties – "What have you learned?" – trace how Merkel gradually found her feet in the male-dominated political arena.
In 1999, the DHM presented a photo exhibition called "Spuren der Macht" (Traces of Power), for which Herlinde Koelbl portrayed fifteen figures from the world of politics, business, and the media over the period 1991 to 1998. It was on the back of this project that Koelbl chose to continue her series with Merkel. The result is a thirty-year chronicle of what has become known as the "Merkel era". The photobook of the same name is available from Taschen. | | |
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| | | | ADEOLU OSIBODU
APOSTROPHE, 2020
From the series Saggio
Gliclée print on Hot Press Natural
70 x 56 cm
Edition of 10 + 2ap | ADEOLU OSIBODU
BABY SAGGIO, 2020
From the series Saggio
Gliclée print on Hot Press Natural
70 x 56 cm
Edition of 10 + 2ap |
| | | | | | | | 29 April – 11 June 2022 | | | | Opening: Saturday 30 April 18:00 | | | | | | | | | | | | | Adeolu Osibodu is an artist from Lagos, Nigeria. His engagement with photography started at the age of 18 out of the urge to manifest his thoughts. Using this media, he was able to preserve the energy of time plus convey a certain mood. Taking pictures of peculiar scenes, plants, clouds or sun rays coming though an open window, photography almost became therapeutic - and felt like home again.
As time went on, he began to explore ideas of surrealism and used his digital toolkit to apply more dreamy concepts. His visual journal then allowed the artist to enter a world of timeless image-making. The exhibition introduces works from Osibodu’s recent series LOSING Amos and Saggio.
LOSING Amos
My Grandfather, Pa Amos Olufemi Adelaja, died late 2014. It was until about then I realized how casual my idea of him was. I constantly asked myself why I couldn’t see beyond his heavy grins. Why I couldn’t define him as more than the man who was never not glad. Was that all there was or did I just completely miss connecting to my ancestor? Was there a chance we could have been a lot closer and then, maybe I could have even inherited his hunting rifle? These were the unsettling thoughts that meddled with my conscience. Not the fact of losing someone, but of not understanding their identity.
On the self-portraits I am wearing Aso-Oke fabrics that my grandfather owned. Maybe this series is inspired by an urge to find consolation or my intimate affection for a time before being ‘Adeolu'. Regardless, I am forever glad I happen to find myself in this state and connect to Ilisan-Remo, Ijebu, our hometown, where my mum and her siblings were raised.
SAGGIO - Heads of my friend
I am drawn to the idea of selves and just how many identities live inside a person. Imagine a compilation of your past personalities all coming together in different bodies. Nostalgia plays a strong role in this. I reference the past and the foul concept of time. Hence this work, ‘Saggio - Heads of my friend’, Adedolapo Boluwatife (nicknamed Saggio) along with some images of myself and my brother Mayowa. All photographed in spaces that make time look rigid and non-fleeting. Supporting the fact that you never really can pause anything. Time always flows and never asks for permission. | | |
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| | Herta Müller
Illuminated Details, 2018
Oil on canvas
160 x 150 cm
© Herta Müller / VG Bild-Kunst, Bonn 2022 | | | | | | | | 30 April – 17 July 2022 | | | | Opening reception: Friday 29 April 19:00 | | | | | | | | | | | | | The Alfred Ehrhardt Stiftung has until now concentrated on the mediums of photography and film. With the exhibition of Herta Müller’s work the spectrum of media is being opened up to include painting for the first time, thereby expanding the dialogue with Alfred Ehrhardt’s work. It is a little-known fact that Ehrhardt was a Dessau Bauhausinfluenced painter and art teacher before becoming a photographer and filmmaker following his dismissal by the Nazis from his teaching duties at the Landeskunstschule in Hamburg.
Painter Herta Müller (b. 1955) lives and works in Berlin and near Loro Ciuffena in the Tuscan mountains. Her house is surrounded by nature, whose elements she studies extensively. Fascinated by the hues of the Mediterranean light, she pays special attention to the watery reflections of the Ciuffena, a mountain river.
For her observations, she makes use of countless photographic "notes" taken on location over the years. These do not represent artistic works but are employed by the artist like tools, as memory aids. Photography translates three-dimensional natural details into two-dimensional lines, surfaces, and empty spaces, offering more direct pictorial solutions than a drawing made by hand, which always conveys a degree of interpretation. Herta Müller’s works hint at their origins in the vocabulary of natural forms, but their abstract lines, surfaces, and empty spaces function more like messages of signs and symbols. There is an implicit correspondence to what has been seen and experienced, without explicitly adhering to the representational. Her works are "an expression of a transcendent gaze that understands how to elevate spiritually what surrounds us, revealing the entire wealth of the w… | | |
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| | Helmut Newton
Thierry Mugler Fashion, US Vogue, Monte Carlo 1995
© Helmut Newton Foundation | | | | | | | | ... until 15 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.
In the 1970s, Newton began to enjoy unlimited creative possibilities while… | | |
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| | | Cheyreen au Pays d'Alice, Marseille, 2020 © Yohanne Lamoulère / Tendance Floue | | | | | | | Virage - Manger Tes Yeux, Ici Ment La Ville - Gyptis & Protis | | | | ... until 21 October 2022 | | | | | | | | | | | | | Every city has its history, its own rhythm and a particular way of life rooted in its evolution. The metropolis of our time is a living organism, both sheltering and devouring the individual. Neighbourhoods are delineated by buildings, turning into microcosms. The houses and blocks are ephemeral, mutating cells. The further they are from the city’s core and the more they lie on the external membrane of the vibrant central substance, or even outside of it, the more their existence is subject to change justified by growth or political ideologies. They are built, only to be destroyed and built up again. One urbanistic vision after another pops up and is shattered, each degrading the setting. The cycle starts anew. The cityscape appears unstable.
Yohanne Lamoulère shows this phenomenon through her photographs. She is interested in the latest trends in urban redevelopment of peripheral neighbourhoods and the consequences for their residents. The concepts for these transformations are often highly controversial, as they have not grown out of the neighbourhood itself, but are imported, imposed, inflicted even. When the public space no longer represents a common area defined within a community, the city turns into deception – "Ici ment la ville"!
How do you exist in a dishonest setting? Is it still liveable, appropriate for human beings, knowing that each of them needs to find their place to avoid getting lost in the anonymous crowd?
Every person must claim their individuality during their life. This quest for identity is assisted by a sense of place, finding one’s roots and identifying with one’s surroundings. This sense of self is an unfinished work, a constant process. A fertile soil is required for its deve… | | |
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| | | Eddy Novarro: Gino Severini + Hans Hartung | | | | | | | | ... until 6 May 2022 | | | | | | | | | | | | | Eddy Novarro (born Vasile Novaru) was probably born in Bucharest in 1925. He began his photographic career in the 1950s as a press photographer. His first subjects were actors, heads of state and, above all, artists. Novarro's photographs were first exhibited in Madrid in 1960. Under the title "Kaleidoscope of Modernity - Chagall, Miró, Picasso and the Avant-garde", the portraits were juxtaposed with works of art that had been given and dedicated to Novarro by the respective artist in gratitude for the portrait. The dates of origin of the portraits have only survived in a few cases.
The exhibition presents around 40 portraits of famous artists by photographer Eddy Novarro. Portraits of Pablo Picasso, Joan Miró, Man Ray, Alexander Calder, Hannah Höch, Joseph Beuys and many other well-known people from the art world will be shown. | | |
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| | | | | | | | © Stefanie Minzenmay: aus der Serie "Zur gleichen Zeit", 2021 |
| | | | Eine Ausstellung mit Carola Eggeling | | | | | | | Sat 30 Apr 15:00
30 Apr – 5 May 2022 | | | | | |
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| | Anastasia Samoylova
Empty Lots, Mexico Beach, 2021
Archival Pigment Print, mounted, framed
80 x 100 cm
Edition 5 + 2 AP | | | | | | | | 30 April – 11 June 2022 | | | Opening: Friday, 29 April, 6-8pm
Book Signing: Saturday, 30 April, 3-4 pm | | | | | | | | | | | | | "Samoylova’s inventive use of colors and her skillful compositions convey ambiguity – the beauty yet also vulgarity of life in Florida. Each of her photographs tells a layered story: her attentive, eye effortlessly crops complex narratives in single frames and leaves the observer with both, the urge to connect the subject matter with their own personal experience and the longing to dive deep into collective knowledge and the history of this place – however short it may be." Ulrike Heine in her catalogue essay
Anastasia Samoylova is an American artist who moves between observational photography, studio practice and installation. By utilizing tools and strategies related to digital media and commercial photography, her work explores notions of environmentalism, consumerism and the picturesque. Her new book Floridas: Anastasia Samoylova & Walker Evans was published by Steidl in 2022. In 2020-2021 her ongoing project FloodZone was presented in solo exhibitions at the Chrysler Museum of Art; HistoryMiami Museum; Contemporary Art Museum, Tampa; and The Print Center Philadelphia. The book of the project was published by Steidl in 2019. In 2022 the project will be exhibited at the Eastman Museum. In 2021 she was awarded the first KBr Photo Award by KBr Fundación MAPFRE. Samoylova is shortlisted for the Deutsche Börse Photography Foundation Prize 2022. | | |
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| | Ferhat Bouda
Junge Tuaregfrau
Aus der Serie Dans L’intimité des Touareg, Niger, 2016
© Ferhat Bouda, Agence VU, 2022 | | | | | | | | ... until 15 May 2022 | | | Lecture Ferhat Bouda: Friday, April 29, 2022, 6 pm
Complementary to his exhibition photographer Ferhat Bouda (DZ) will speak about his photography of formerly nomadic peoples in North Africa or Mongolia and diverse social communities in the Main metropolis in his lecture. | | | | | | | | | | | | | Former nomadic communities are just one of the topics of Ferhat Bouda’s work. Through impressive visual narratives, the photographer documents the life and survival of the cultures in transition. For ten years Bouda has sought out isolated desert communities and mountainous earthen abodes, traditional urban neighbourhoods and farming villages spread across North Africa, concentrating on the everyday life of today’s Imazighen, "free people", a term many now prefer to the more familiar term Berbers. In his often mysterious stark black and white images, the harsh landscapes of Mongolia are also the backdrop for Bouda’s themes.
The exhibition FERHAT BOUDA. PHOTOGRAPHS AND DIARIES shows people living in tents or in sewers, families earning a living on small farms, or scavenging on rubbish dumps, travellers by camel and motorbike: shadowy silhouettes that blend into the environments in which they live. And yet they are equally threatened, whether by climate change, political conflict or for other reasons.
Diverse social communities spark Bouda’s interests in the Main metropolis Frankfurt as he often photographs punks, protesters, the train-station milieu or religious festivals. Like all of the artist’s visuals, these too question cultural resilience and the human in a constantly changing world.
In addition to photographs and multimedia presentations of Ferhat Bouda’s work, the Fotografie Forum Frankfurt (FFF) exhibits various diaries by the artist, with drawings and photographs, accompanied by texts in Berber, French and German. The show was curated by Celina Lunsford, artistic director of the FFF, and co-curator Esra Klein.
Ferhat Bouda, born 1976 to a Ber… | | |
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| | Albarrán Cabrera
The Mouth of Krishna, #505, Japan, 2016 | | | | | | | | ... until 21 May 2022 | | | | | | | | | | | | | | | "Life passes at the speed of a bird's cry.
And then there is this hypnotic slowness of the clouds.
This open chest in the blue
and this snowy heart that offers itself to our heart."
– Christian Bobin, Un bruit de balançoire, 2017
For the spring season, the exhibition "Things Come Slowly" invites you to enter the meditative work of the Spanish duo Albarrán Cabrera. It is their first exhibition in the Geneva gallery.
In a form of apology for slowness, Angel Albarrán and Anna Cabrera question the limits of the photographic medium, while seeking to overcome them. Their work is placed under the sign of permanent metamorphosis and of a back and forth movement among the photographic techniques that make up its structure.
The artist duo first built their reputation with collectors around the world through the technique of pigment prints on Japanese gampi paper over gold leaf or the addition of mica and acrylics.
Alternative processes such as cyanotype and platinum-palladium or toned silver halide: this slow work has been progressively enriched by constant experimentation. It is in the intimacy of their studio that the photographic couple nourish their work with repeated gestures and that the magic works. The harmony at the heart of their creation extends into the images themselves. Turned towards contemplation, towards the vibration of the ephemeral, their photographs, of great aesthetic refinement, are encounters with the other side of the world.
This slowness of gaze, which is very much a part of Japanese culture, has an incantatory quality that creates the unusual atmosphere in which their images are bathed. In Japan, we are resigned because we know that time possessed us. | | |
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| | | Gabriela Gonzalez-Rubio: Absorbed, 2022 | | | | | | | | | | | | | ... until 30 July 2022 | | | | | | | | | | | | | From its inception, viewers have been fascinated by the seemingly tangible presence of the world as it is represented in the photographic image. Although we are very well aware of the many interventions photographers execute - framing, distance, lightening, focus, speed - to say nothing of intents to deceive via fraudulent manipulations, in our everyday life we are governed by the presumption that a photograph has a more privileged connection to what it represents than any drawing or painting could ever have. The mechanical origination process and the transparency of the medium bring about a phenomenological consciousness Roland Barthes has coined as "an illogical conjunction of the here-now and there-then". It is as if we could see through the photo and reach out to a slice of time and space that by definition lies in the past.
This dualistic tension between the simultaneous presence and absence of the object in its photographic representation has been scrutinised in a month-long workshop of the photography master class of "Raffles - Istituto Moda e Design" under the supervision of Matthias Harder and Eric Aichinger. The seven students Alessandro De Benedetti, Isolda Fabregat, Gabriela Gonzalez- Rubio, Giulia Lippens, Yulia Potatueva, Stefanos Stefanou, Elisa Turri have now produced an exhibition in the lobby of the private design college. The many-faceted results range from multimedia installations to "pure" photography, from quiet tableaus to autobiographical collages which all speak of a dualism that is occasionally blurred or even cancelled. | | |
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| | | King & Sheridan, Tulsa, Oklahoma © Alec Soth / Magnum Photos | | | | | | | | 3 May – 24 July 2022 | | | | | | | | | | | | | | | The exhibition surveys two decades of work by acclaimed photographer Alec Soth (born 1969). It brings together five of his major works – Sleeping by the Mississippi (2004), Niagara (2006), Broken Manual (2010), Songbook (2014) and the most recent, A Pound of Pictures (2022).
The exhibition is accompanied by the publication Alec Soth. Gathered Leaves, published by MACK, 55€.
Soth is a fine artist, a Magnum photojournalist, a blogger, a self-publisher, an Instagrammer, an educator. He explores the many different forms photography takes in the world, and works to create different types of encounter with his audiences: from museum shows to live workshops conducted from his Winnebago. This exhibition is conceived to reflect the evolution of Soth’s individual series as they have moved from the page of the maquette or book to the wall of the gallery. A lyrical documentary photographer in the tradition of Robert Frank, Stephen Shore and Joel Sternfeld, Soth regards himself first and foremost as an American photographer. His country’s physical landscapes – the majestic Mississippi, the thundering Niagara Falls, the wide open deserts and wildernesses, the small towns and suburbs – have provided the structure and setting for his poetic surveys of American life.
The exhibition title, Gathered Leaves, refers on one level to photography simply as sheets of paper brought together. It is also a line taken from that quintessentially American epic, Walt Whitman’s Song of Myself (1855). Whitman’s poem catalogued the diversity of the nation on the eve of the Civil War. Soth’s America, in the early 21st century, is also described in a time … | | |
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| | | | | | | David Claerbout, Aircraft (F.A.L.), 2015-2021,
single channel video projection, black & white, stereo audio, endless.
Courtesy the artist, Esther Schipper, Sean Kelly |
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| | | from the series Shopping © Merry Alpern | | | | | | | | | | | Last days until 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, capturing… | | |
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| | © Paul Mpagi Sepuya, Untitled, 2019. Installation view Orlando – Based on a Novel by Virginia Woolf, Fotomuseum Winterthur
© Fotomuseum Winterthur / Conradin Frei | | | | | | | BASED ON A NOVEL BY VIRGINIA WOOLF | | | | | | | | ... until 29 May 2022 | | | | Online Artist Talk with Paul Mpagi Sepuya » Thursday, 28 April, 8pm | | | | | | | | | | | | | The 1928 novel Orlando tells the story of a young nobleman in the age of Queen Elizabeth I who lives for centuries without ageing and has the mysterious ability to switch gender. In 1992, film-maker Sally Potter devised what has become a classic adaptation of the book with actress Tilda Swinton in the title role. ‘I see Orlando as a story about the life and development of a human striving to become liberated entirely from the constructs of prescriptive gender or social norms of any kind,’ Tilda Swinton says of Woolf’s story.
In the dual role of guest editor and curator, Swinton took up the central concerns of the novel in a special issue she devised for the magazine Aperture and in an accompanying exhibition: gender fluidity, the idea of boundless consciousness and the prospect of eternal life. Her concept brings together the work of eleven artists – a combination of established contemporary positions and images by photographers who have yet to be discovered. The exhibition also includes an introduction developed by Fotomuseum Winterthur introducing the writer Virginia Woolf and film-maker Sally Potter.
The works – some of them conceived especially for the exhibition – challenge dominant power relations and structures as well as heteronormative ideas and the white male gaze. They examine the construction of identity and the representation of marginalised communities and alternative life plans. The works do not confine themselves to questions of gender; they are a celebration of creativity, openness, curiosity and the diversity of human existence. The exhibition thus plugs into current sociopolitical debates, while providing insight into a wide range of artistic approaches. | | |
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| | Frida Orupabo
Seated With Two Hands, 2021
© Frida Orupabo and Galerie Nordenhake Berlin, Stockholm, Mexico City | | | Frida Orupabo » I have seen a million pictures of my face and still I have no idea | | | | ... until 29 May 2022 | | | | GUIDED TOUR: Sunday, 01.05.2022, 11:30–12:30 | | | | | | | | | | | | | Norwegian Nigerian artist and sociologist Frida Orupabo (*1986) creates analogue and digital black-and-white collages and video installations from visual material circulating online. From photographs from the colonial era as well as from contemporary imagery, from ethnography, medicine and science to art and pop culture, Orupabo dissects representations of the Black, mostly female body as a means to negotiate themes of colonial violence, racism, sexuality, identity and belonging. In rearranging and newly reassembling the dissected fragments, Orupabo creates figures of resistance that challenge how and what we see in a present-day reality that remains permeated by colonialism.
Orupabo’s exploration of personal and cultural belonging is the starting point for her delicate, sculptural collages and video works. In order to write herself into the (hi)stories that leave Black women invisible or twist the images she cannot recognise herself in, Orupabo dismembers images of Black bodies before reassembling them layer by layer. Processes of objectification, fixation and ‘othering’ are deconstructed, exposing, in a discomforting and disturbing way, how photography significantly contributes to the formation and perpetuation of colonial power relations and violence.
'I am interested in what we see and how we see. I engage with images from colonial archives and with collage as a medium to explore what they can do in terms of breaking things up, recreating and questioning.'
Frida Orupabo
Orupabo started posting on the social media platform Instagram, on which the nine-part video installation shown in the exhibition is based, nearly a decade ago. Using it as an ordering system, a form of expression and a personal archive, she also ventured… | | |
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| | | © MIA Fair | | | | | | | at SUPERSTUDIO MAXI, Milan | | | | | | | | 28 April – 1 May 2022 | | | | | | | | | | | | | | | After the exceptional edition in autumn, MIA Fair – Milan Image Art Fair, the most prestigious Italian fair, completely dedicated to photographic images, comes back from 28th April till 1st May 2022.
It will once again be SUPERSTUDIO MAXI in Milan (via Moncucco 35), in zona Famagosta that hosts the XI edition and 97 exhibitors from Italy and abroad, who will bring the best of the photography world to Milan.
MIA Fair will therefore be a place to deepen and amplify the disciplinary fields that it aims to face, concentrating on research and the transversability of the artistic contemporary languages.
As of this edition, MIA Fair is part of the Fiere di Parma group.
“After several years of collaboration during which we were able to verify our elective affinities – says Antonio Cellie, CEO of Fiere di Parma-, we have welcomed with enthusiasm the availability of the Castelli family to become their shareholders to work together on the project of developing and improving MIA Fair’s international exposure. Already from 2023 we have planned several important appoinments abroad which will strengthen the relationship between MIA Fair and its community of buyers and collectors”. | | |
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| | | | | | | | | | | | | | Berlin Art Book Festival 2022 | | | Fri 29 Apr 17:00
29 Apr – 1 May 2022 | | | | | |
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| | | | | | | | | | PIPAS - Photographie et Image Pour l’Apprentissage Scolaire | | | 3 May – 15 May 2022 | | | | | |
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| | | | | | international festival of photography | | | | | | | 29 Apr – 22 May 2022 | | | | | |
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| | | | | | UN’INVINCIBILE ESTATE | | | | | | | Thu 28 Apr
29 Apr – 12 Jun 2022 | | | | | |
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| | | Children’s Game #19: Haram Football, Mosul, Iraq, 2017 (© Photo by Francis Alÿs) www.belgianpavilion.be/en | | | | | | | 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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| | | | | | V edizione Le forme del ritratto | | | | | | | – 24 Jul 2022 | | | | | |
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| | | | | | | | | | Rencontres de la jeune photographie internationale 2022 - 27 artists | | | | | | | – 28 May 2022 | | | | | |
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| | | | | | European young photography festival | | | | | | | – 29 May 2022 | | | | | |
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| | | | | | First edition of Jeu de Paume festival: exhibition, performance, film | | | | | | | – 22 May 2022 | | | | | |
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| | | | | | Denmark, Estonia, Finland, Iceland, Norway, Sweden | | | | | | | – 19 Jun 2022 | | | | | |
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© 27 April 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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