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| PHOTOGRAPHY INTERNATIONAL | | 8 - 15 February 2023 | |
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| | Johanna-Maria Fritz
SHEHYNI, UKRAINE, 2022
Series: A Grave in the Garden
Fine Art Print, 50 x 60 cm / 80 x 100 cm
Edition of 6 + 2 AP | | | | | | | | ... until 25 February 2023 | | |  | | | | | | | | | | "When the war in Ukraine started on 24.02.2022, I was still in Afghanistan. The news shocked me, of course, and I immediately thought about how and when I could travel to Ukraine. On Sunday, 27 February, I set off together with other journalists in the direction of Kyiv.
Via Lviv we drove into the unknown, we didn‘t really know what the situation was like in Kyiv and were spontaneously allowed to accompany an escort with the famous waistcoats and helmets from Germany. We drove quickly and always with a police escort from the respective region. We stayed in and around Kyjiw for a fortnight and concentrated heavily on Irpin. Later we also visited Vasylkiw and other surrounding towns.
But the places in the north remain strongly in my mind. Especially Butscha: one day after the liberation, we were almost the first journalists to visit the place. The people were happy about the end of the occupation, but the wounds of war were still present at every corner. Killed and executed Ukrainians lay everywhere on the streets, in houses, gardens or cellars. It was only after the liberation that the inhabitants of Butscha understood the extent of the terror and so there were many exhumations in gardens and burials in the cemetery every day."
Johanna-Maria Fritz officially lives in Berlin - but in reality she is on the road all year round. She studied photography at the Ostkreuzschule and has been a member of the agency of the same name since the beginning of 2019. Her photos have been published in Spiegel, Zeit, National Geographic and Newsweek China, among others, and most recently in Stern and GEO. She has been awarded the Inge Morath Prize, the Lotto Brandenburg Prize and the VG-Bild Scholarship for her work. | | |
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| | Herlinde Koelbl: "Metamorphosen", 2022 (Detail)
© Herlinde Koelbl | | | | | | | | ... until 23 April 2023 | | | | | | | | | | | | | Herlinde Koelbl, who is arguably the most important portrait and people photographer of our time, has added a new, inspiring chapter to her extensive photographic oeuvre. For the first time, her project "Metamorphoses" does not show the human being itself, but reflects its existence in the essence of the ever-changing nature. Already her earlier series of politicians, whom Koelbl accompanied with her camera over decades, her ‘Jewish Portraits’, in which she recorded survivors of the Shoah, or her photographs of scientists are characterized by a deep interest in the flowing into each other of past and present as a state of permanent change. Just as the transformation of human beings through time, history and experience is reflected in the faces of the people she portrays, it now appears metaphorically in Koelbl's new photographs in a conglomeration of colorful images of nature.
H2 - Center for Contemporary Art presents Herlinde Koelbl's 120 fascinating color photographs exclusively and for the first time in a large-scale show.
"In the long series of my projects, this is the first time that there are no people to be seen. However, one theme that runs through my work has remained, transience. Now my focus is on nature. In it, nothing remains as it is. Emergence, becoming and fading away. In the 'metamorphoses', all life themes are incorporated. They are the breaking points for transformation. | | |
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| | | |  | | | Boris Eldagsen
"Selfies from my Amygdala", 2023
Courtesy Photo Edition Berlin
© VG Bild-Kunst, Bonn 2023 |
| | | | | | | | KI-generierte Fotografie | Videoarbeiten | Installation | | | Fri 10 Feb 18:00
11 Feb – 5 Mar 2023 | | | | | |
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| | Gohar Dashti, Today's Life and War #5, 2008
Archival Pigment Print
70 x 105 cm (27.5 x 41.3 in) | | | | | | | | | | | | | 11 February – 22 April 2023 | | | | Openin: Saturday 11 February 3pm | | | | | | | | | | | | | Robert Klein Galleryis pleased to present "Today’s Life & War", an exhibition of works by contemporary photographers Gohar Dashti, Shadi Ghadirian, and Tahmineh Monzavi.
Presenting a selection of important photographs over the last twenty years of their careers, these images illustrate the legacy and remnants of war as it continues to impact society and culture - regardless of religion, politics, or geography.
All born and educated in Iran, the three female photographers work transcends the lens and context of the Middle East. Their works are not merely an investigation of Iran or islamic culture and identity, but are a reflection of the physical and mental turmoil and destruction that war invariably sears upon its victims. Several of the works on view were first shown in the US in the groundbreaking exhibition "She Who Tells A Story" at the Museum of Fine Arts Boston.
As a testament to their artistic importance and impact, these works still speak to audiences today beyond borders. As the title of Tahmineh Monzavi’s series "Past Continues" implies, the devastation of war repeats itself, and so does the human tragedy and destruction. | | |
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| | | Dublin 1990 © Tony O’Shea | | | | | | | | ... until 18 February 2023 | | | | | | | | | | | | | Photo Museum Ireland is delighted to present The Light of Day - the first retrospective exhibition of acclaimed Irish artist Tony O’Shea. A legendary figure in the context of Irish photography, O’Shea’s work occupies a pivotal role in the history of documentary practice in Ireland. Curated and produced by Photo Museum Ireland, this retrospective exhibition brings together for the first time his seminal bodies of work - The Hill, Dubliners , Bird Men, Turkey Markets, Drag Hunts, Border Roads, Ways of the Cross, Italia 90 and Never Forget series together with his more personal images of his late father.
O’Shea combines the approach of a poetic European documentary tradition – an empathetic, if at times almost Beckettian sense of the absurd – with an anthropologist’s eye for social realities. In these hard-hitting, eloquent pictures he has captured the many complexities of a country undergoing profound change, at the same time, securing for himself a key place in the canon of Irish photography.
"A retrospective book of his life’s work to date, The Light of Day, is full of natural wonders and human struggles that surface from the borderlands during the Troubles and in the rituals and recreation of his city. Each image wants to be a short story."- … | | |
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| | | |  | | | Neven Allgeier
Yury Belyavsky, 2022
79,9 cm x 59,9 cm Injekt Print
aufgezogen auf 1 mm Polesterol Platte
Auflage 5 + 2AP |
| | | | | | | | | | | | Thu 9 Feb 18:00
10 Feb – 17 Mar 2023 | | | | | |
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| | Satijn Panyigay
Deep Space 03, 2022
Inkjet print on fine art paper, wall size installation / 90 x 120 cm / 52.5 x 70 cm
Edition 5 + 2 AP | | | | | | | | ... until 25 February 2023 | | | | | | | | | | | | | In a solo exhibition the gallery for the first time presents various series by the Dutch-Hungarian artist Satijn Panyigay.
Satijn Panyigay photographs empty exhibition spaces in museums and their depots, as well as interiors of newly constructed homes and buildings undergoing renovation. During solitary, meditative explorations of the void spaces awaiting use, images emerge that create a balance between light and darkness, serenity and gloom, resilience and vulnerability. "Inland" is Satijn Panyigay's first solo exhibition outside the Netherlands.
"(…) time slows down and even seems to pause for a moment. A new space is created, a space of silence, tranquillity, where the viewer can let go. A space for contemplation. It is a personal experience, but at the same time, one with universal value." (Cathy Jacob in her catalogue essay)
Satijn Panyigay (b. 1988 in Nijmegen, Netherlands) studied photography at the Utrecht School of Art, where she continues to live and work. Her work has been featured in numerous exhibitions in the Netherlands, including Depot Boijmans Van Beuningen (Rotterdam); Fotomuseum Den Haag; Museum Tot Zover (Amsterdam); Villa Mondriaan (Winterswijk). Her works are in the collections of Museum Boijmans Van Beuningen, Museum Tot Zover, Museum Van Bommel Van Dam and Museum W., among others, as well as in numerous private collections.
The exhibition will be accompanied by a publication with photographs by Satijn Panyigay and an essay by Cathy Jacob (English/German). | | |
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| | | |  | | | BKH Gutmann
The Wish, 1991/2012 (Detail)
© VG Bild-Kunst, Bonn 2023 |
| | | | | | | | | | | | Wed 8 Feb 19:00
9 Feb – 20 May 2023 | | | | | |
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| | I’m home late, don’t you care where I’ve been?
Extract from Honey Babe, 2020
© Nhu Xuan Hua, 2023 | | | | | | | | 10 February – 9 April, 2023 | | | | Opening: Thursday, 9 February, 7 pm | | | | | | | | | | | | | She creates photographic art of her very own kind and is considered as a remarkable new talent: Nhu Xuan Hua, born in Paris in 1989 to a family of Vietnamese origin, has made her name internationally as a fashion and portrait photographer. She works for magazines such as Vogue, The Wall Street Journal, Dazed Beauty and TIME Magazine as well as for major fashion brands such as Dior, Kenzo and Levi's. The exhibition "NHU XUAN HUA. HUG OF A SWAN" highlights the photographer's artistic work and underlines its fascinating versatility.
Nhu Xuan Hua's family fled to Belgium and France after the Vietnam War (1955-1975), where Hua was born. After leaving her parental home, she felt increasingly cut off from her roots. So she interviewed family members about her past, hoping to fill the gap and learn something about herself. The artistic response to this research can be seen at Fotografie Forum Frankfurt (FFF): installations and objects specially designed for the exhibition, as well as digitally manipulated photographs inspired by family photos.
By combining commissioned and artistic works, the show demonstrates that Hua's entire body of work deals with questions of identity, family history and repressed memories – also in the hope of learning more about her own roots.
Nhu Xuan Hua graduated from the photography course at the Auguste Renoir Academy of Art in Paris in 2011. One of her most famous photo shoots was cover of TIME Magazine in 2018; for the cover theme "Leaders of the next generation", Hua had photographed the K-pop band BTS. Tropism, Nhu Xuan Hua's first monograph, was published in 2022 (by Area Books, Paris). The arti… | | |
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| | | |  | | | | "Tischsitten" © Horst Stasny |
| | | | | | | | | | | | Fri 10 Feb 19:00
10 Feb – 7 Apr 2023 | | | | | |
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| | | |  | | | | © Steffen Diemer |
| | | | Slowly and very gently | | | | | | | Fri 10 Feb 19:30
10 Feb – 9 Apr 2023 | | | | | |
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| | (Hargesheimer, Karl-Heinz) Chargesheimer
Louis Armstrong, 1961
33.9 x 29.8 cm
Gelatin silver print | (Hargesheimer, Karl-Heinz) Chargesheimer
Marzellen Straße, 1970
40 x 26 cm
Gelatin silver print |
| | | | | | | | 10 February – 6 April, 2023 | | | | Opening: Friday, 10 February, 6pm | | | | | | | | | | | | | Born in Cologne in 1924 under the name of Karl Heinz Hargesheimer, Chargesheimer studied graphic arts and photography at the "Kölner Werkschulen" (1943-46). From the beginning of his career, Chargesheimer pursued different artistic interests, ranging from opera, theatre, costume design and painting to photography.
While developing an extensive documentation of Cologne’s ruins in the early post-war years, the artist also worked as set designer and devoted himself to creating metal sculptures. In 1950, Chargesheimer started to experiment with abstract light graphics on photographic paper and surrealistic photomontages: pictures created by light and chemicals applied directly onto negatives or photographic paper. In the 60's, he created kinetic light sculptures constructed from moving Plexiglas and steel elements he described as "Meditationsmühlen".
In addition to his abstract experiments, Chargesheimer explored the potential of documentary photography, which he approached in an empathetic way. He became also widely recognized for his efforts as a freelance photographer as well as his dynamic and aggressive portraits of public figures (e.g. Konrad Adenauer) and common citizens of post-war Germany.
All of Chargesheimer's photographs have one thing in common: a dissecting, close-up view with which he photographed his subjects, whether it was a Romanesque church or a miner underground, a portrait of a wellknown personality or a Cologne backyard.
The exhibition shows a cross-section of Chargesheimer's entire oeuvre, and at the same time depicts the diversity and development of his artistic work. | | |
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| | | Versuch zu Gähnen, 1997 © Michaela Moscouw | | | | | | | | 10 February – 14 May 2023 | | | | Opening: Thursday 9 February 2023 | | | | | | | | | | | | | The Viennese artist Michaela Moscouw (*1961) has been incessantly searching for traces of her self for over three decades.
Uncompromisingly, excessively and memorably, she circles her themes of self-staging, self-understanding, self-exposure and also self-extinction. Until the early 1980s, she painted abstract works, all of which she destroyed and filmed. With this she changed the medium - since then she works with photographic means. It is "the aestheticized body experience" that the artist is concerned with.
For her self-stagings as a radical act and obsessive expression of personal emotionality, she acts like an actress who stages herself in various roles, questioning gender-specific clichés and body images.
This places her in a tradition with Valie Export, Friederike Pezold or Renate Bertlmann.
Today Michaela Moscouw lives in seclusion in Vienna. Over the last few years she has continuously destroyed her work, yet her works have survived in public and private collections. The exhibition gathers her thus saved heritage and gives an insight into her work from early large-format black and white self-portraits to the color paintings from the early 2000s.
Curator: Maria Venzl | | |
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| | Heidi Harsieber: Harmonie du soir, 1982
© Heidi Harsieber | | | | | | | | ... until 19 March 2023 | | | | | | | | | | | | | Heidi Harsieber (b. 1948) first apprenticed as a photographer and then took courses at the Graphische Lehr- und Versuchsanstalt in Vienna. When she embarked on her career, she was the youngest professional photographer in Austria. In addition to doing commercial photography for tableware producers and industrial enterprises, she began to develop an independent body of artistic work as early as the 1960s and early 1970s. From 1977 to 2001, she taught at the University of Applied Arts Vienna.
Harsieber likes to describe herself as "incorrigibly hands-on," and her photographs attest to her technical savvy in everything from exposure to finishing. She has experimented with Polaroids but for the most part works in analogue mode, often with a medium-format camera, enlarging and developing her black-and-white images herself.
Over the years, Harsieber’s art has increasingly focused on themes involving individuals and the human body. Her photographs revolve around the human condition: beauty, tenderness, desire, eroticism, and love, but also pain, old age, loneliness, and death. She rose to fame with portraits of her fellow artists, but it was the staging of her own body in performative self-portraits that established Harsieber as part of the international feminist avant-garde of the 1970s.
The retrospective at the Francisco Carolinum focuses on Harsieber’s self-portraits as well as early photographs from the Epitaph for Werner series. In the early 1970s, the artist was already setting her body in relation to space in a series of nudes. These images renegotiate the classic definition of the self-portrait as the artist explores her own identity. In the 1980s, Harsieber's performative approach broke completely with c… | | |
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| | Guido Guidi
"Treviso, 1980"
Photograph; Silver gelatin print
Image size: 13 x 19 cm
© Guido Guidi
Courtesy the artist and Large Glass, London | | | | | | | | ... until 11 March 2023 | | | | | | | | | | | | | Di sguincio is an exhibition of 22 prints by the Italian photographer Guido Guidi, his sixth solo exhibition at Large Glass. It coincides with the publication by MACK of the homonymous volume, the first of a trilogy entitled Album, which brings to fruition a series of over a hundred black-and-white photographs made by Guidi with small-format cameras between 1969 and 1981.
From the published series, the exhibition showcases selected photographs, mostly taken from 1977 to 1980 in Treviso and Preganziol, in Northern Italy, where Guidi taught at the time. This is a key juncture in Guidi’s work, as he continues his experimentation in black-and-white and increasingly in colour before moving to working predominantly in colour with a large format camera in the early 1980s.
'Di sguincio' is an Italian expression, often associated with looking, that can be translated as obliquely, aslant, asquint, and, by extension, diagonally, furtively, indirectly. This phrase poignantly conveys a key tenet of Guido Guidi’s aesthetics: a tangential gaze that seeks to dismantle received views, like the frontal view often associated to photography, and, by extension, to its purported verisimilitude or indexicality. Instead, Guidi’s photography favours an accidental gaze, aimed at uncovering unexpected slants to everyday objects, people or places, for which in the early 1980s he coined the term of 'qualsiasità', what-so-everness.
In this series, Guidi experiments quite playfully with chance or staged encounters with friends, family, objects, and also animals, seemingly without looking, or only through the corner of his eye as the series title suggests. Many of these photographs focus on details of objec… | | |
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| | | |  | | | Schwefelbad, Big Sur 1949
© Ellen Auerbach |
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| | | |  | | | | © Tommy Kha |
| | | | | | | | | | | | Wed 8 Feb 18:00
– 22 Mar 2023 | | | | | |
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| | | |  | | | Nina Katchadourian (American, born 1968),
Giant Redwood, 2012 (Seat Assignment project, 2010-ongoing).
Digital chromogenic print.
The Morgan Library & Museum, purchased on the Photography Collectors Committee fund; 2019.140.
© Nina Katchadourian |
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| | | |  | | | | David Blandy, Empire of the Swamp, film still, 2023. © the Artist |
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| | | |  | | | | Bani Abidi, The Song, film still, 2022. Courtesy the artist |
| | | | | | | | | | | | Sat 11 Feb 13:30
11 Feb – 6 May 2023 | | | | | |
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| | Jean Painlevé: Méduses hydrozoaires d’espèce différentes [Various Species of Hydrozoan Jellyfish], undated
© Les Documents Cinématographiques / Archives Jean Painlevé, Paris | | | | | | | | ... bis 12. Februar 2023 | | | | | | | | | | | | | Der französische Regisseur Jean Painlevé (1902–1989) widmete sich zeit seines Lebens mit grosser Leidenschaft und Hingabe dem wissenschaftlichen Film und der Dokumentation der Fauna, insbesondere der Tierarten der Unterwasserwelt. In gut 50 Jahren drehte Painlevé über 200 Kurzfilme, die sich durch seine ebenso akribische wie experimentelle Herangehensweise sowie seine technischen Finessen auszeichnen. Die Werke, die in der Ausstellung gezeigt werden – eine Auswahl zahlreicher Schwarz-Weiss- und Farbfilme, Fotografien und Dokumente –, spiegeln seine Faszination für die Wissenschaft wider aber auch sein Bedürfnis, das Staunen über die Tierwelt, die unsere Welt bewohnt, zu teilen.
Jean Painlevé nutzte den Film als Medium, um lebende Organismen zur erkunden und unter Anwendung bestimmter Techniken die Merkmale ihrer Anatomie festzuhalten. Er beobachtete seine Motive genau und hielt ihre Bewegungen und Entwicklungen fest. Dabei interessierte er sich vor allem für die Meeresfauna und insbesondere für Krebse, Krabben, Seesterne oder Seeigel, deren Lebensraum die Küstenlandschaft ist, vor allem das Vorland – der durch die Gezeiten abwechselnd von Wasser bedeckte und freiliegende Grenzbereich zwischen Land und Meer.
Painlevés Filme wechseln zwischen Darstellungen der Tiere in voller Grösse und mikroskopisch analytischen Aufnahmen hin und her. Durch diese neuartigen Ansichten und den Einsatz von sowohl Zeitlupe als auch Zeitraffer geben sie den Zuschauer_innen einen ungewohnten Blick in die wunderliche Welt von Unterwasserkreaturen und ihren fremdartigen Körpern.
"Es ist offensichtlich, dass Bewegung, als eine Eigenschaft des Films, den Formen Anmut oder eine erstaunliche Kraft verleiht. Die Linien und Rhythmen, egal ob sie einfach sind oder kompliziert, werden wie eine Form des Ewigen aufgezeichnet. Es ist eine der Aufgaben des Kinos, dem Menschen das Unvermeidliche und Kosmische dieser Heraufbeschwörung der Natur zu vermitteln."
Jean Painlevé in Formes et mouvements dans le cinéma scientifique (undatiert, Les Documents Cinématographiques) | | |
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| | Peter Knapp, Grace Coddington, for Vogue, London, 1971
© Peter Knapp / Fotostiftung Schweiz | | | | | | | | ... bis 12. Februar 2023 | | | | | | | | | | | | | Peter Knapps Ideen für Layout und Typografie sowie seine dynamischen Fotografien machten die Zeitschrift Elle ab den 1960er-Jahren zu einem Leitmedium der Modebranche. Die Fotostiftung Schweiz präsentiert eine Auswahl aus einer rund 700 Fotografien umfassenden Schenkung von Peter Knapp. Die Ausstellung würdigt das Werk dieses herausragenden Schweizer Gestalters und lässt die Stimmung einer Epoche und den damaligen Wandel der Gesellschaft aufleben.
"Was mich antreibt: Ideen in Bilder zu übersetzen. Ich möchte meine Gedanken visualisieren, meine Fantasien und Geschichten bildlich ausdrücken. Je ne prends pas de photos, je les fais."
Mit dieser Haltung wurde Peter Knapp, 1931 in Bäretswil im Zürcher Oberland geboren, in den 1960er- und 70er-Jahren zu einer einflussreichen Figur der internationalen Modewelt. Nach seiner Ausbildung an der Kunstgewerbeschule Zürich hatte er insbesondere als Art Director der in Paris erscheinenden Zeitschrift Elle grossen Erfolg: In einer Zeit des gesellschaftlichen Umbruchs, der sich nicht zuletzt in der Mode spiegelte, fand er die passenden Bilder für die Befreiung des Körpers und der Gedanken.
Elle, unter der Chefredakteurin Hélène Lazareff ein Leitmedium der Emanzipation, trug wesentlich zu einer lebensfrohen Demokratisierung weiblicher Kleidung bei: Prêt-à-porter statt Haute-couture, Minijupe statt Korsett, Funktionalität statt steifer Eleganz, selbst- bewusste Frauen auf den Strassen statt Mannequins im Studio. Sowohl die Layouts wie auch die Fotografien von Peter Knapp vermittelten dieses neue Körper- und Lebensgefühl, in dem sich viele Frauen der 1960er-Jahre wiedererkannten.
Die Ausstellung in der Fotostiftung Schweiz präsentiert nicht nur das Schaffen des Fotografen und Art Directors, sondern lässt auch die Stimmung einer Epoche und den damaligen Wandel der Gesellschaft aufleben.
Begleitend zur Ausstellung erscheint die Publikation "Peter Knapp – Mon temps. Modefotografie 1965–1980" im Verlag Scheidegger & Spiess, herausgegeben von Peter Pfrunder. | | |
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| | Lena Amuat & Zoë Meyer, aus der Serie Mathematische Modelle, 2017/2018
Gerahmte C-Prints, angekauft 2022 | | | | | | | Aus der Sammlung des Fördervereins der Fotostiftung Schweiz, Teil II | | | | | | | | ... bis 12. März 2023 | | | | | | | | | | | | | Seit ihren Anfängen im 19. Jahrhundert wurde die Fotografie eingesetzt, um sich ähnelnde Erscheinungen und Objekte nebeneinanderzustellen und miteinander zu vergleichen. Schon 1843 begann die englische Botanikern Anna Atkins, ihre Fotogramme von Algen, Farnen und anderen Pflanzen zu typologischen Nachschlagewerken zusammenzufassen und zu veröffentlichen. Das serielle Verfahren, das zunächst im wissenschaftlichen und technischen Kontext oder etwa bei der Personenerfassung nützlich war, wurde ab den 1970er-Jahren von der Konzeptkunst wieder aufgegriffen: Die Hochöfen und Wassertürme von Bernd und Hilla Becher gelten als Paradebeispiele einer typologischen, seriellen Fotografie.
«Ausdruckslos und unbarmherzig bringt die systematische Wiederholung von Formen eine willkommene Ordnung in eine ansonsten chaotische Welt. (…) Sie verspricht Kontrolle über das, was zu sehen ist, ja über das Sehen an sich. Doch gerade dieses Versprechen verrät ein Unbehagen, das all diesen Arbeiten zugrunde liegt. Unter der Oberfläche lauern Differenzen und Unordnung. (…) Deshalb ist die Geschichte der typologischen Fotografie immer auch eine Geschichte der Verdrängung und Angst. Gerade das macht sie zu einem bevorzugten Gegenstand der kritischen Reflexion und künstlerischen Intervention.»
(Geoffrey Batchen, «Ordering Things», 2015) | | |
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| | | | | | | | | | | | | | Wed 8 Feb
9 – 12 Feb 2023 | | | | | |
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8 – 12 Feb 2023 | | | | | |
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| | | | | | | | | | ZsONA MACO Foto | | | | | | | 8 – 12 Feb 2023 | | | | | |
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| Auctions |
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| | Lot 41
PIERRE GONNORD
"David II"
Color photograph, 104x100 cm | | | Modern & Contemporary Art | | | | | | Auction 125:
Wednesday | 15 February 2023 | 7pm
Viewing:
10 to 14 February 2023 | 10am – 8pm
Catalogue:: |  |
| | | | | | | | | | | | | Photography Highlights:
Lot 4 DOUGLAS GORDON
"Self Portrait of You and Me (Michelle Yeoh)", 2006
Lot 18 TRACEY MOFFATT
"Adventure Series 10", 2004
Lot 19 TRACEY MOFFATT
"Adventure Series 1"
Lot 20 VIK MUNIZ
"Pictures of Junk: Oedipus and Sphinx after Jean Auguste Dominique Ingres", 2006
Lot 21 JOÃO PENALVA
"The Prize Song nº 29"
Lot 22 JOÃO PENALVA
"The Prize Song nº22"
Lot 23 JOÃO PENALVA
"The Prize Song nº10"
Lot 24 JOÃO PENALVA
"The Prize Song"
Lot 25 ERWIN WURM
Untitled ("Leopoldstadt"), 2004
Lot 26 ERWIN WURM
Untitled ("Leopoldstadt"), 2004
Lot 27 DANIEL BLAUFUKS
Untitled 3.500 - 5.000 € | | |
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| Festivals |
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| Upcoming |
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| | | | | | Rotterdam Photo Fair 2023 | | | | | | | 9 – 12 Feb 2023 | | | | | |
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| | | | | | Thinking Historically in the Present | | | | | | | 7 Feb – 11 Jun 2023 | | | | | |
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| Current |
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| | | | | | Bangkok Art Biennale 2022 | | | | | | | – 23 Feb 2023 | | | | | |
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| | | | | | Aliments Terre | | | | | | | – 25 Feb 2023 | | | | | |
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| | | | | | #2 collection Bruno Decharme | | | | | | | – 19 Mar 2023 | | | | | |
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| | | | | | IN OUR VEINS FLOW INK AND FIRE | | | | | | | – 10 Apr 2023 | | | | | |
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© 8 Feb 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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