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| PHOTOGRAPHY INTERNATIONAL | | 4 – 11 May 2022 | |
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| | Somerset House is delighted to welcome back Photo London with the seventh edition of the Fair running from 11–15 May 2022, featuring more than 100 exhibitors. |
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| | The New York Art Week, an inaugural city-wide initiative, founded by over twenty leading organizations, museums, and auction houses, will feature several important exhibitions, events, and biennials taking place 5-12 May. |
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| | Rune Guneriussen
ROOTS OF KINSHIP, 2019
© Rune Guneriussen | | | | | | | | ... until 12 June 2022 | | | | | | | | | | | | | The exhibition series Made on Föhr, a result of the museum’s artist in residence programme, continues with the presentation "Rune Guneriussen – Lights go out".
As artist of residence of the Museum Kunst der Westküste, the Norwegian artist Rune Guneriussen (b. 1977) was on Föhr in 2018 where he laid the groundwork for his new series of works titled Lights go out: in different locations on the island, he created the first three works of the series. Additional works were created in Norway and in the Danish coastal town of Skagen.
Guneriussen’s artistic practice spans installation art and photography. In his Lights go out series, abstract light installations enter into a ‘dialogue’ with nature. The combination gives rise to powerful, atmospheric images which are as idyllic as they are irritating. Upon closer inspection, a web of subtle contradictions unfolds between nature, installation and light, conveying the artist’s personal perception of the changing coexistence of man and nature, which vacillates between dependence and alienation. The Lights go out series may be understood as Guneriussen’s commentary on a globally exacerbating environmental crisis and reflects his growing focus on what may be one of the most pressing issues of our time.
To date, the Lights go out series includes 29 large-scale photographic works. A selection of those works is now presented in what is the artist’s first institutional solo exhibition in Germany. A catalogue in German and English is published in conjunction with the exhibition. | | |
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| | | | | | | Sabine Wild
Chonqging Megacity Glitch #3
59,4 x 42 cm
Unikat |
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6 May – 3 Jun 2022 | | | | | |
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| | | | | | Freie Klasse Eva Bertram | | | | | | | Fri 6 May 19:00
7 May – 12 Jun 2022 | | | | | |
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| | | Lois Conner, Xi Hu, Hangzhou, Zhejiang, China, 1994. | | | | | | | | ... until 21 May 2022 | | | | | | | | | | | | | Robert Klein Gallery is pleased to present Flat Earth, a solo exhibition of vintage photographs by New York City-based artist Lois Conner, curated by Leandro Villaro of the Penumbra Foundation. Please join us on opening night for an exclusive in-person viewing, featuring an artist talk with MFA Curator Nancy Berliner.
Conner has been photographing in Asia, Europe and America since the 1980s. Her photographs are astounding in their composition and detail, and confirm the possibility of an image that is both specific and general in regards to time, place and history. Inspired by hand-scroll Chinese paintings and seduced by the exquisite tonal and quality reproduction of the platinum printing process, Conner’s meticulous contact-printing practice suggests simplicity. Yet it conceals the complex technical and formal decisions she makes with remarkable clarity of purpose. | | |
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| | Vol de l'avion Prince Henri
© [s.n.], Fonds HISABC Vues aériennes (collection du CNA) | | | | | | | | ... until 1 January 2023 | | | | | | | | | | | | | As part of the "our archive - your story" project and on the occasion of the tenth anniversary of the exhibition space Waassertuerm + Pomhouse, the CNA presents "Stëmme vun der Schmelz" in homage to the former industrial site and its workers.
140 years after the foundation of the first fully integrated steelworks (including blast furnaces, steel- and rolling mill) in the country, the time seems right to look back on this pivotal era in the Grand Duchy’s history; to let the memories of this period live again through the words of the people who witnessed it, to archive and retell these stories.
In this exhibition, you will get to know 19 witnesses who were kind enough to share their experiences of everyday life in and around the steelworks with us – reminiscences of a time when Dudelange was hailed as the ‘Forge du Sud’.
Guided along by the laborers who worked here, you will be able to embark on a multimedia tour of a landscape shaped for more than 100 years by this organism made up of steel and iron, discover the many different jobs and professions involved, and find out what really went on at Dudelange’s "Schmelz".
Dive into this fascinating subject by coming face to face with contemporary witnesses – our "Stëmmen" (voices) – in the first part of this exhibition, housed inside the base of the water tower. The portraits of these former steelworks employees were taken between 2019 and 2021, during our interview sessions, by Luxembourg photographer Armand Quetsch, who captures our witnesses and their personal souvenirs of the steelworks in his series "D’Stëmmen an hir Gesiichter" (The Voices and their F… | | |
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| | | | | | | Sophie Thun: Entering the Elusive Archive of ZDZ (ZDZ)(Contact), 2021
Silbergelatineabzug, 34,5 x 44,5 cm
Foto: kunstdokumentation.com |
| | | | | | | | | | | | Sat 7 May 19:00
8 May – 17 Jul 2022 | | | | | |
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| | MARK RUWEDEL
"Orchard #20C, 2021"
Photograph; Archival pigment print mounted on board
Print size: 16 x 20 in / 40.6 x 50.8 cm
Board size: 24 x 30 in / 61 x 76.2 cm
Edition of 5
© Mark Ruwedel | | | Mark Ruwedel » Inland: Haunted by the Desert | | | | 11 May – 9 July 2022 | | | | | | | | | | | | | Mark Ruwedel's third solo exhibition with the gallery develops on from his on-going project Los Angeles: Landscapes of Four Ecologies. For over three decades, Ruwedel has photographed American deserts and wild spaces that bear traces of human intervention.
In Ruwedel's Los Angeles series, he has identified and photographed four overlapping landscape 'systems': The Rivers, The Eastern Edge (transitioning from the basin to the desert), The Hills and Canyons, and The Western Edge (the coast). His work captures the dynamic landscapes of the greater LA metropolitan area, which is shaped by floods, fires, earthquakes and landslides. For his work depicting the effects of fire on the landscape, Ruwedel was nominated for the Prix Pictet in 2021.
In this exhibition, Ruwedel turns his attention to an area culturally known as the Inland Empire: a semi-arid zone between the Mediterranean climate of Southern California's coastal regions and the harsher weather of the deserts to the east.
Before European colonisation, Southern California was, to a great extent, tree-less. The three trees that characterise the region – eucalyptus, palm and citrus – are all imports. Ruwedel focuses on these nonnative trees, which are gradually disappearing as human activity encroaches further on the landscape. With the edge lands of the city apparent, these imported trees mark a solitary presence and suggest past economies, histories and values. | | |
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| | © Raghu Rai
Siesta for taxi drivers, Kolkata, 1990
Silver gelatin print with selenium toning
20 × 24 in (50.8 × 60.9 cm)
Ed of 10 | | | | | | | | | | | .... until 26 June 2022 | | | | | | | | | | | | | PHOTOINK is very pleased to present The Passerby, an exhibition of black and white street photography from the archives of Ketaki Sheth, Pablo Bartholomew, Raghu Rai and Sooni Taraporevala.
Spanning the 1970s-2000, these photographs offer a view of the golden period of street photography in India, when photographers roamed the streets, endlessly, to take photographs. It was a time when permission and consent were not negotiated in writing and the photographer could photograph with tacit understanding from passers-by. Photographing the street has increasingly become a complex and contested space today, surveillance and privacy issues notwithstanding. Everyone with a mobile phone is now a street photographer. | | |
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| | Andreas Gursky, Eisläufer, 2021
Diasec-mounted inkjet print, framed: 84 ⅝ × 160 ¼ × 2 ½ inches (215 × 407 × 6.2 cm), edition of 6
© Andreas Gursky/Artist Rights Society (ARS), New York | | | | | | | | 5 May – 18 June 2022 | | | | Opening: Thursday 5 May 18:00 | | | | | | | | | | | | | Every tense can appear in my pictures. The present is always captured in them.
—Andreas Gursky
Gagosian is pleased to present an exhibition of new and recent photographs by Andreas Gursky, his first at the gallery in New York since 2016.
Gursky’s large-scale photographs evoke the global flow of information, the chaos of contemporary life competing with the classical desire for order. He portrays the visual extremes of the present moment with an objective eye, capturing built and natural environments on a grand scale in richly detailed images of autobahns and cruise ships, mountains and waterfalls. While comparable in their scope to early nineteenth-century landscape paintings, Gursky’s works retain the precision of photography. Many have been digitally manipulated, and often reveal a sensitivity to the damaging effects of human systems on the natural world.
Several of the images in the exhibition hinge on references to Gursky’s previous works. Rhein III (2018), which represents the titular river as an abstracted strip, recalls the artist’s earlier Rhein II (1999); while the setting and proportions of the two images are almost identical, the subject is shown, in the former, to have suffered from that summer’s drought. Gursky’s concern with ecology is also evident in Streif (2021), which depicts a downhill ski slope in Kitzbühel, Austria, in January 2020. While the site is recognizable, and features the colored boundary markings common to such tracks, the panoramic shot is in part a digital construction. This visual artifice echoes the unnatural character of the slope itself, which is maintained by using environmentally damaging snow cannons.
The monumental&nb… | | |
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| | Ellen Carey
Dings & Shadows, 2021
color photogram
24 x 40 inches
Unique | | | Ellen Carey »
Let There Be Light: the Black Swans of Ellen Carey | | | | 5 May – 25 June 2022 | | | | | | | | | | | | | A première for her new bodies of work, and the artist's second personal exhibition at Galerie Miranda, Ellen Carey’s handbook guides us through photography’s nearly two centuries’ arc of light, photogram, colour and Polaroid as seen in her constantly intersecting practices. For the 21st century, for Paris, the City of Light, Ellen Carey brings her arc into the future with Crush & Pull with Rollbacks & Penlights, a completely new 21st century photo-object from Polaroid’s monumental negative, which allows Carey, its camera operator, to reposition light drawing anew. It highlights Polaroid and its huge 20 X 24 camera as one of the medium’s 20th century game changers. The Black Swan theory sees unexpected events become game changers in this, the global world, as it is, now. Carey’s performance in the black box of the darkroom — folding, crushing, creasing, and nothing seen until it is finished — abounds with affinities to the Surrealist drawing game of the exquisite corpse.
For Let There Be Light: The Black Swans of Ellen Carey, the artist introduces another new photo-object, the Finitogram. Here, she gathered abandoned sheets of photographic paper bearing random chemical marks striking a pose as light drew. She sees the once-hidden, latent image become visible. Like her practice in Polaroid, the object begins at the zero of an unknown time, made somewhere in the void of the dark room, and left behind unfinished. However the object may have travelled through Dada, Surrealism, and Duchamp’s ready-made visitations; her re-invented ready-made now presents as a new 'self'. Ellen Carey’s Finitogram, from the Italian non finito for incomplete works of art, re-i… | | |
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| | from the series: Einst war sie MISS RIMINI, 2003
© Manon / 2022, ProLitteris, Zurich | | | Manon » She Was Once «La dame au crâne rasé» | | | | ... until 29 May 2022 | | | | | | | | | | | | | In the mid-1970s, a young Swiss artist gave herself the programmatic name Manon. She shook up the Zurich art scene with her appearances as a femme fatale, provocative performances and installations, in which she exhibited men in a shop window or presented her own bedroom, overflowing with lascivious décor, as a Salmon-Coloured Boudoir (Das lachsfarbene Boudoir) in a gallery.
Manon is a scriptwriter, set designer, director and actress – but also a photographer. This exhibition, which was already planned for 2020 to mark Manon’s eightieth birthday and had to be postponed due to corona, pays tribute to an internationally groundbreaking body of work. It focuses on the artist’s photographic oeuvre, showing Manon classics alongside lesser-known works and combining early series with photographic tableaus from recent years.
Born in 1940 in Bern, Manon lives and works in Zurich. The camera serves her as a tool to this day, in her work on self-presentations and still lifes. She delicately composes her images, makes references to art history and pop culture, and thematises existential issues and fears. Her photographic oeuvre constitutes a sequence of beauty and transience, led by La dame au crâne rasé, the legendary series from 1977/78. A unique assortment of prints from this series has been in the Fotostiftung Schweiz collection since 1982. This presentation of herself as an urban angel with a shaved head, who appears androgynous and sexy, vulnerable and yet untouchably cool, was the artist’s first group of photographic works to also attract international attention. Here, Manon questions concepts of femininity and uses photography firstly to reflect her search for identity and secondly as a means o… | | |
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| | | | | | | © Enri Canaj / Magnum Photos
GREECE. Lesbos, 9 September 2020 |
| | | | | | | | | | | | Thu 5 May 18:00
5 May – 29 May 2022 | | | | | |
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| | | | | | | | | | | | | | 12 – 15 May 2022 | | | | Preview day: Wednesday 11 May 2022 | | | | | | | | | | | | | Somerset House is delighted to welcome back Photo London with the seventh edition of the Fair running from 11–15 May 2022, featuring more than 100 exhibitors.
Highlights for the 2022 Fair include solo presentations by Mikhael Subtozky (Goodman Gallery London, Cape Town, Johannesburg), Melanie Manchot (Parafin, London), Hannah Hughes (Robert Morat, Berlin); Marianne Maric (Christophe Guye, Zurich) plus Edward Burtynsky (Flowers Gallery, London). A wealth of publishers will join the Fair to celebrate the photobook, with Aperture (New York), Thames & Hudson (London), Osmos (New York), Dobedo (London) and Overlapse Books, (London) gracing the Publishers section.
A special focus on galleries from China marks the partnership with the World Photography Organisation and PHOTOFAIRS Shanghai, including See+ Gallery; Matthew Liu Fine Arts, Gaotai Gallery, X Contemporary Art, Three Shadows = +3 Gallery, M Arts Center and HdM Gallery. There's also a spotlight on Ukrainian photographers, featuring Viktor & Sergiy Kochetov, Vladyslav Krasnoshchok , Sergiy Lebedynskyy, Evgeniy Pavlov, Roman Pyatkovka and Sergiy Solonsky, together with emerging photographers like Alexander Chekmenev, Misha Pedan and Elena Suback. | | |
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| | | | | | | | | | | | | | Thu 5 May 11:00
6 – 8 May 2022 | | | | | |
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| | | | düsseldorf photo+ Biennale for Visual and Sonic Media | | | | 45 Participating Institutions, Galleries and Fringe Venues | | | 13 May – 19 June 2022
Opening: Thursday, 12 May, 6 pm | | | Opening weekend: Friday, 13 May, 2-8 pm
Saturday, 14 May, 12-6 pm; Sunday, 15 May, 12-6 pm | | | | | | | | | | | | | The second düsseldorf photo+ Biennale for Visual and Sonic Media opens on 13 May. Featuring over 50 exhibitions and a wide range of accompanying events, the participating Düsseldorf art institutions, galleries and fringe venues collectively offer an insight into the issues and debates current within the world of photography and time-based media.
The keynote exhibition, Think We Must, curated by Pola Sieverding and Asya Yaghmurian opens on 12 May at the Akademie Galerie on Burgplatz and plays a pivotal role thematically within the Biennale. Featuring works by Frida Orupabo, Walid Raad, Hito Steyerl, David Wojnarowicz and others, the exhibition examines how reality, history and a dispositional analysis of society can be constituted and altered when thought is based around photographic images.
The Biennale will be accompanied throughout its run by a comprehensive programme of panel discussions, talks and workshops, including a roundtable debate, with discussants Vivien Trommer, Akinbode Akinbiyi, Aino Laberenz and Max Jorge Hinderer Cruz, on 14 May at K21 at the Kunstsammlung Nordrhein-Westfalen on curating and art education as a means of interrogating power.
The Julia Stoschek Collection places a spotlight on the work of the Turner Prize-winner, Laure Prouvost, with screenings interrogating the intimate relationship between language, image and perception. At Düsseldorf University, Professor Mareike Foecking’s students investigate how artistic production can make a contribution to societal knowledge and the nature of the framework of rules within … | | |
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| | | | | | Rencontres photographiques de Montpellier 18th edition | | | | | | | 7 – 29 May 2022 | | | | | |
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| | | Melanie Bonajo ‘Big Spoon’, film still from ‘When the body says Yes’ . Courtesy of the artist. The NETHERLANDS | | | | | | | 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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| | | | | | | | | | PIPAS - Photographie et Image Pour l’Apprentissage Scolaire | | | – 15 May 2022 | | | | | |
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| | | | | | international festival of photography | | | | | | | – 22 May 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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| | | | | | UN’INVINCIBILE ESTATE | | | | | | | – 12 Jun 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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