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| PHOTOGRAPHY INTERNATIONAL | | 1 - 8 March 2017 | |
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| | | | | Parallel to The Armory Show » with 207 exhibiting galleries there are 10 more art fairs in New York this week: |
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Courtesy of The Armory Show | | | | | | | |
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| | Sophie Calle, What do you see?, 2013
© Sophie Calle, Courtesy of the artist and Galerie Perrotin | | | Deutsche Börse Photography Foundation Prize 2017 | | | | | | | 3 March - 11 June 2017 | | | | | | | | | | | | | This year’s shortlist celebrates established photographic narratives alongside experimental and conceptual approaches to documentary, landscape and portraiture. All of this year’s nominated artists investigate questions of truth and fiction, doubt and certainty, what constitutes the real and ideal and the relationship between the observer and the observed. Works by the four shortlisted photographers will be exhibited at The Photographers’ Gallery from 3 March until 11 June 2017 and subsequently presented at the Museum für Moderne Kunst in Frankfurt from 29 June until 17 September 2016. The winner will be announced at a special award ceremony during the exhibition run at The Photographers' Gallery in London. | | | | |
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| | Herbert Dombrowski: Light over Altona # 9
30,5x30,5 cm; Courtesy Galerie Hilaneh von Kories | | | Shift and Striptease | | | | Herbert Dombrowski’s Hamburg | | | | 5 March – 18 June, 2017 | | | | Opening: Saturday, 4 March, 5:30pm | | | | | | | | | | | | | The black-and-white works of the Hamburg photographer Herbert Dombrowski (1917 ̶ 2010) offer a subtle and captivating look at everyday life in the Hamburg districts of Altona and St Pauli in the 1950s. They provide glimpses of a period situated between the repression of experiences in the Third Reich and the beginnings of the economic miracle. Shot at the “right” (for Dombrowski always unique) moment, the photographs capture life after the deprivation of the war years – on the wharves, at the fish market, on the Reeperbahn, in the dance halls and also at the more or less mondaine world of the horse races. During the Nazi period Dombrowski was hunted after for anti-Semitic reasons, went into hiding and was incarcerated. | | | | |
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| | | Joakim Eskildsen: Skagen XIV, 2008, 55 x 65 cm, Courtesy the Artist | | | In Skagen’s Light | | | | | | | 5 March – 18 June, 2017 | | | | | | MUSEUM KUNST DER WESTKÜSTE25938 Alkersum, Island Föhr - Germany
www.mkdw.de | |
| | | | | | With its collection the Museum Kunst der Westküste possesses what are presumably the largest holdings in any museum outside Denmark. 36 works from the collection will now be presented – in keeping with the salon hanging chosen by the Skagen painters. Three international contemporary artists - Joakim Eskildsen (DK), Ulrik Møller (DK) and Birgit Fischötter (D) - expand the show by over 30 paintings, photographs and mixed-media works. They demonstrate that an artistic occupation with the place and theme of “Skagen” is still very relevant in the 21st century. | | | | |
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| | | © Herbert List: "Vierwaldstättersee", 1936 / Courtesy Johanna Breede PHOTOKUNST | | | FAVORITE IMAGES | | | | | | | 1 March – 9 June, 2017 | | | | | | | | | | | | | Love loves small things. Love doesn't seek big pathos or emphasis. Love hides in the profane; in the shiny shoes in which one has journeyed or in the perfect fold of a beautiful dress. The really big things often lurk in the smallest of details. "I believe," the American poet Walt Whitman once wrote, "a leaf of grass is no less than the journey-work of the stars." It is a poetry of dignity and nuance. This is a credo about the interplay of all things and the reverberation of the mighty cosmos in the allegedly banal everyday life. These unique "leaves of grass" are exactly what Johanna Breede has selected for her exhibit Favorite Images: the red painted mouth held dreamily in the summer sun, taken by the French photographer Isa Marcelli. or the deep insight caught by the Stuttgart photographer, Hannes Killian, in 1955 at an afternoon tea dance ceremony. These gestures, ornamentations and signs don't reveal for certain the profound secret of life, but together they show life's preciousness, its small fortunes and its grace present in the simplest of things. | | | | |
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| | | | | | | | Thomas Jorion: Serie "Vestiges d’Empire", Eglise du Sacré Coeur, Vietnam, 2015 |
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4 Mar – 22 Apr 2017 | | | | | | |
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| | | | | | | | Loïc Bréard, El Rocío #1, 2006 |
| | | | | | | | a Spanish Pilgrimage | | | Fri 3 Mar 19:00
4 Mar – 5 May 2017 | | | | | | |
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| | | © Dawid, 2017 from the series "Rost" | | | | | | | 3 March – 22 April, 2017 | | | | Opening: Friday, 3 March, 5-9pm | | | | | | | | | | | | | “Of how many photographers can it truly be said that they have extended and altered the concept of photography? Only very few. This exclusive group would have to include the artist and photographer, Dawid, also when seen from an international perspective. When the history of late twentieth-century photography, which is now being written, is to be summed up, this extraordinary explorer of the possibilities and limits of photography should be afforded a prominent place. Important details, or rather what most of us belittle as trivialities, have always been regarded as at the heart of Dawid’s oeuvre: a classified ad in a newspaper, dots and points, some flies, paperclips, a pile of rusty nails, cable junctions, and a paper bag on a sidewalk in New York. Or, as in the suite ‘Merit’ (2005): candy. The examples from the last forty years are numerous.” (Lars O. Ericsson, Author/Art critic) Grundemark Nilsson Gallery will be showing a number of photographs from the legendary series Rost by the Swedish artist DAWID (Björn Dawidsson, b. 1949). They were first shown at the Moderna Muséet, Stockholm in 1983 and changed the Swedish photography scene for ever. "Rost", which consisted of large format photographs on silver gelatin paper, created a new, revolutionary expression and sparked a lively debate within the art scene at the time. Viewers found these shadow-less, rusting objects, in front of a white background, both appealing and disquieting. | | | | |
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| | | © Armand Quetsch, sans titre, dystopian circles/fragments…all along, 2008-2016 | | | Armand Quetsch »
dystopian circles / fragments…all along | | | | 4 March – 14 May 2017 | | | | Opening: Saturday 4 March 2017, 11 am in the presence of the artist | | | | | | | | | | | | | The starting point for “dystopian circles/fragments… all along” was a journey leading from Brussels, the political epicentre of Europe, to the far-flung shores of Lampedusa, Italy’s southernmost island in the Mediterranean Sea which has gained notoriety as a key point of entry for refugees and illegal immigrants aboard makeshift boats. While the initial goal of this trip was to address the refugee issue, along the way Armand Quetsch shifted his gaze to the European landscape and the extent to which it was revealing of the tensions and malaise of his time. | | | | |
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| | | | | | | | Johannes Brus: Blaues Pferd, 1979/85 |
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| | | | | | | Pierfrancesco Celada: Hinterland, 2015
© Pierfrancesco Celada |
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Shifting Boundaries | | | | | | | Thu 2 Mar 19:00
3 Mar – 1 May 2017 | | | | | | |
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| | | | | | | | Burgan oil fields burning, Kuwait.1991 © Bruno Barbey / Magnum Photos |
| | | | | | | | | | | Wed 1 Mar 19:00
2 Mar – 6 May 2017 | | | | | | |
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| | | © Peikwen Cheng, Truffula 2007, 20x30cm | | | City-Landscapes | | | | | | | 6 March – 7 April, 2017 | | | | Vernissage: Saturday, 4 March, 7–9.30pm | | | | | | | | | | | | | The "altered landscape" has long been a theme in photography. In 1975 William Jenkins curated the exhibition New Topographics at George Eastman House, which featured Robert Adams and Stephen Shore, among others. This seminal exhibition was both a reflection of the local environment, including a highly conceptual, documentary, detached and socially critical comment on an increasingly modern world, which was driven by economic rationality and mostly absent of its makers. The exhibition City Landscapes (Stadt-Landschaften) at in focus Gallery certainly associates itself with the movement, however, it delves further. Whilst the New Topographics photographers primarily emphasised an objective, documentary focus, the artists in this exhibition are specifically interested in interpreting and examining the relationship between the human being and altered urban landscapes. | | | | |
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| | Things in a room (Untitled #8), 2015 © Manuel Franquelo, Courtesy Michael Hoppen Gallery.
80 x 110 cm | | | | | | | 7 March - 12 April 2017 | | | | | | | | | | | | | The show will consist of six large-scale photographic pieces from his work in progress Things in a Room: An Ethnography of the Insignificant. The pieces from this series, produced through techniques borrowed from scientific photography and endowed with an uncanny hyperreal presence, are an inquiry into the things that have accumulated, over the years, in the nooks and crannies of a space inhabited by the artist. In this project, Franquelo articulates his interest in time, memory, the subconscious, and what the French writer Georges Perec (1936-82) grouped under the category of the 'infra-ordinary', that is: everything that, because of its obviousness and insignificance, remains hidden beneath the normal threshold of perception. Manuel Franquelo (Malaga 1953) studied engineering and fine arts at the Complutense University of Madrid. He began his career by painting, for a period of ten years, a set of ten exquisite and enigmatic hyperrealist still-lifes. In the 1990s he became interested in projects that utilize practices taken from engineering and scientific imagery. His work is process oriented, multidisciplinary in nature and diametrically opposed to an art based on specific media. | | | | |
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| | Valérie Belin
Power Girl, 2016 | Black Canary, 2016
Archival pigment print
each 68 × 51 in; 172.7 × 129.5 cm
Edition of 6 + 2AP | | | | | | | - 4 March 2017 | | | | | | | | | | | | | Edwynn Houk Gallery is pleased to announce an exhibition of Valérie Belin’s newest series, All Star. The exhibition of eleven large-scale color photographs will be on view 19 January - 4 March 2017. For this series, Belin utilizes the fantastical world of vintage comic books as the inspiration for multilayered portraits that are both visually and psychologically complex. To create the works, Belin first styles and photographs her models in dramatic lighting reminiscent of film noir. Then, selecting from an extensive collection of vintage comics, she overlays the image with the chosen comic cover before further abstracting the pictorial surface with her own graphic patterns. Bursting in from the background, the worlds of the comics interweave with the texture of the portraits to create a sophisticated composition in which variations of movement, line, depth of field and scale are all combined within one surface. The series continues Belin’s investigations of the ideas of surface, beauty, artifice, and disorder that have become consistent themes in her practice; however, in this new body of work she takes her considerations further to explore the disarray of not only the physical but also a mental world that is chaotic, saturated, and obsessive. | | |
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| | | | | | | | Dublin, 1980 Distress © Stéphane Duroy |
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| | | | | | | | Neverending sun © JOSHUA JENSEN-NAGLE |
| | | | | | | | | | | Thu 2 Mar 18:00
2 Mar – 31 Mar 2017 | | | | | | |
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| | | | | | | | | | | | | Wed 15 Mar 18:00
8 Mar – 8 Apr 2017 | | | | | | |
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| | | | | | | | | | | | | Wed 15 Mar 18:00
8 Mar – 8 Apr 2017 | | | | | | |
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| | | Arirang-Festival © Julia Leeb | | | Pictures from North Korea | | | | | | | 5 March - 18 June, 2017 | | | | Opening: Sunday, 5 March, 11am | | | | | | | | | | | | | | North Korea, currently the most inaccessible country on earth, is sealing itself off. If photo journalists manage to gain access to the country at all, their work is meticulously supervised and manipulated. While secret and supposedly secret snapshots are flooding the market, they always depict the same views. It is a photographers task, however, to look for the truth behind the facade, and to avoid reducing the people of North Korea to silly marionettes and stereotypes. The exhibition with works by the three extraordinary photographers Nathalie Daoust, Reinhard Krause and Julia Leeb is expanding the horizons of our western world into a system that's alien to us. | | | | |
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| | | | | | | | Jungjin Lee: "American Desert II" 1994, Photo Emulsion, Water Color on BFK Paper, 106,7 x 152,4 cm © Jungjin Lee |
| | | | | | | | | | | Tue 7 Mar 19:00
7 Mar – 5 Jun 2017 | | | | | | |
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| | Jerry Uelsmann
Untitled, 1980
Gelatin silver print | | | | | | | 3 March — 29 April, 2017 | | | | Opening reception: Thursday, 2 March 2017, 6-8 pm | | | | | | | | | | | | | The photographs of the 82-year-old American photographer Jerry Uelsmann take us into a fantastic world, which clearly has never existed as such in front of a camera rather than foremost in the imagination of the artist. Only then, they were assembled bit by bit in the darkroom to a sum of appropriate picture elements. With this first exhibition of his work, curated by Daniel Blochwitz, Fabian & Claude Walter Gallery is delighted to announce the representation of Jerry Uelsmann and introduce this important position within the photography of the 20th Century to a Swiss audience. Uelsmann is one of the most influential photographers of his generation, because he did not only challenge with his montages the prevailing canon of his chosen medium, but he also anticipated an image language that came only into fruition in this perfection with the rise of digital imaging and photo editing technologies a few decades later. Since the 1960s, Uelsmann composed surreal visual worlds and narratives in long hours of tinkering with a selection of different negatives in his darkroom. With his light-sensitive photo paper in hand, he would march down a row of up to seven enlargers in order to manually expose one picture element after the other into the pre-visualized motif. Thus, the resulting dream landscapes, fantasies or nightmares are basically all unique prints, even though Uelsmann always tried to produce ten comparable prints of each image. | | | | |
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| | | Marina Abramović, Rhythm 5, 1974; Courtesy of the Marina Abramović Archives | | | | | | | The radical artist's major retrospective | | | At once radical, controversial and revered, Marina Abramovic (*1946 in Belgrade, Serbia) is one of the most discussed artists today. Famous for her groundbreaking performance works, she continues to expand the boundaries of art. The publication accompanying her first major retrospective in Europe gives an extensive overview of her work from the earliest years until today: film, photography, paintings and objects, installations and archival material. Since the early 1970s Marina Abramovic explores the intersection between performing and visual art in her work and, though rarely overtly political, poses questions of power and hierarchy. In addressing fundamental issues of our existence and seeking the core of notions like loss, memory, pain, endurance, and trust, she both provokes and moves us. | | | | | | | | Marina Abramovic, The Cleaner Ed. Lena Essling, Moderna Museet, text(s) by Marina Abramovic, Tine Colstrup, Lena Essling, Adrian Heathfield, Bojana Pejic, Devin Zuber, graphic design by Miko McGinty 2017. 280 pp., 125 ills. | Softcover | 21.70 x 28.00 cm German ISBN 978-3-7757-4262-7 | English ISBN 978-3-7757-4261-0 | Swedish ISBN 978-3-7757-4263-4 www.hatjecantz.de |
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| | | | | | | | | | | | | Wed 1 Mar
2 Mar – 5 Mar 2017 | | | | | | |
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| | | | | | | | | | | | | Thu 2 Mar 18:00
3 Mar – 5 Mar 2017 | | | | | | |
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| | | | | | | | Joana Choumali, Adorn #1, Dakar, Senegal, 2016. Diasec - Limited edition, 60x80cm. |
| | | | | | | | | | | – 5 Mar 2017 | | | Opening our doors for the first time as a fully-curated international event at the V&A Waterfront, Cape Town, the ART AFRICA FAIR will take place between the 24th February to the 5th March 2017. UCHE OKPA-IROHA, NIGERIA is curator for PHOTOGRAPHY & LENS-BASED MEDIA The fair is structured around a dynamic curatorial programme and an open call for artists, placing emerging and established voices on an equal footing. As a platform, the ART AFRICA FAIR aims to challenge the status-quo by moving away from the traditional booth blueprint in favour of a museum-styled experience. Our curatorial model will renegotiate the ways in which such events are seen and experienced by providing an opportunity for artists to re-envisage the cultural landscape of our continent without being subject to market trends. | | |
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| | | | | | Magnum Photos's 70th anniversary | | | | | | 7 – 12 Mar 2017 | | | | | | |
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| | | | | | | | © The Laboratory of Manuel Bürger |
| | | | | | | | | | | – 5 Mar 2017 | | | Encompassing around 50 events, including a conference and screening program, workshops and performances, transmediale 2017 explores how information systems and hybrid techno-ecologies have worked to destabilize the centrality of the “human.” The program presents new notions of subjectivity as well as of accounting for the increasing role of the “nonhuman.” | | |
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| | | | | | Festival for Video and Time-Based Art | | | | | | – 2 Apr 2017 | | | The 16th Videonale - Festival for Video and Time-Based Arts, under the title PERFORM!, opens on February 16th 2017. The exhibitions at the Kunstmuseum Bonn will feature recent works by a total of 43 international artists. | | |
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| | | | | | A Festival on Wanderlust | | | | | | – 5 Mar 2017 | | | JaipurPhoto is an international open-air travel photography festival held every February in the Pink City. It offers a curated selection of photography inspired by the notion of journeys and visions as an outsider staged at various public locations across Jaipur. The visitors are invited to discover its remarkable heritage while by visiting the large-format exhibitions, which are often site-specific. | | |
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| | | | | | Festival de la jeune photographie européenne | | | | | | – 5 Mar 2017 | | | The Circulation(s) festival is the most original and ambitious project in contemporary photography. It is dedicated to the European photographic diversity and it aims to discover new talents. Since its creation in 2011, more than 225 artists have been exposed and the festival welcomed about 250 000 visitors. Both a springboard for young photographers and a laboratory of contemporary creativity, the festival occupies a specific place in the French and international photographic field, attracting a constantly growing audience. It is the only photo festival in Paris! | | |
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© 1 March 2017 photography-now.com
Ziegelstr. 29 . D–10117 DE . Berlin . Editor: Claudia Stein + Michael Steinke . contact@photography-now.com . T +49.30.24 34 27 80 |
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