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| PHOTOGRAPHY INTERNATIONAL | | 1 — 8 May 2024 | |
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| | "unseen life",
installation view
fotodiskurs 2024
Foto: Christof Rehm
© VG Bild-Kunst Bonn | Ingar Krauss
untitled (sugar beet), 2017
Gelatin Silver Print
30 x 24 cm
© VG Bild-Kunst Bonn |
| | | | | | unseen life | | | | An exhibition with Jürgen Knubben | | | | 6 – 19 May 2024 | | | Opening: Sunday, 5 May, 11 am, Ingar Krauss will be present.
Jour fixe: Sunday, 12 May, 5 pm, Artists in dialogue with visitors
Finissage: Sunday, 19 May, 5 pm, Jürgen Knubben will be present. | | | | | | | | | | | | | In the exhibition "unseen life", fotodiskurs brings together two artists from opposite regions of Germany, from the Oderbruch and the Black Forest. Each in his own way and each in his very own medium, both are concerned with aspects of live that are usually hidden and taken for granted in our everyday lives.
Ingar Kraus takes analogue photographs of sugar beets in classic black and white. They are the raw material for the industrial production of sugar. Sugar is an indispensable part of our regular diet. Sugar sweetens our everyday lives and generates huge profits for the food industry. Only very few of us get to see this crop and when we do so, it is in large heaps, just harvested and waiting to be brought to the factory. But Ingar Krauss takes care of every single beetroot. He brings them to his photo studio and takes their portraits. The slender and elegant one, the fat and plump one, the chubby and crubby one, the broad and bearded one. He pays the same appreciative attention to all beetroot personalities as he does to the people he takes portraits of. Now a selection of these photographs is transforming fotodiskurs into a Gallery of Beauties of a special kind.
Jürgen Knubben makes iron grow. He uses pipes, as they are laid for our domestic supply, as the raw material for the sculptures shown in fotodiskurs. These pipes bring water to our kitchens and bathrooms and supply us with gas for our heating. Without them, our lives would be much less comfortable. Jürgen Knubben screws them together: short and long straight sections, elbows, branch-offs. They grow upwards, winding from the ground. The brown rust is their bark. No drinking water is transported in them, no natural gas. Instead, they transport imaginations, … | | |
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| | | | | | | Maziar Moradi
ohne Titel, 2008
aus der Serie "Ich werde deutsch", 2008-2016
© Maziar Moradi |
| | | | | | | | | | | | Fri 3 May 19:00
4 May – 30 Jun 2024 | | | | | |
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| | | | | | | Nachlass Emilia 'Milli' Bau
© Sammlung Weltkulturen Museum |
| | | | | | | | | | | | Sun 5 May 16:00
6 May – 27 Oct 2024 | | | | | |
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| | Mónica Alcázar-Duarte
Ixchel – Mayan Moon and Birth Deity, 2023
From the series Digital Clouds Don’t Carry Rain, 2021–2024
© Mónica Alcázar-Duarte, 2024 | | | | | | | 5th International Triennial of Photography | | | | | | | | 3 May – 1 September, 2024 | | | FFF-Preview and meet the artists: Thursday, 2 May, 5pm
Opening RAY Triennial: Thursday, 2 May, 7pm, at Museum Angewandte Kunst, Frankfurt
Saturday, 4 May, 5pm "ECHOES IDENTITY"
Gallery Talk with exhibited RAY artists and Celina Lunsford | | | | | | | | | | | | | For decades, the institutions and collections in Frankfurt and the Rhine-Main region have been home to a remarkable density and expertise in the field of photography and related media. After the last four successful editions of the RAY – Triennial of Photography, now eleven cooperating institutions are joining forces to make this focus internationally visible. With exhibitions, numerous events, including the beginning three-day festival on the triennial theme of "ECHOES", RAY offer a multifaceted exploration of photography for all from May 3rd to September 1st, 2024.
The artists of the triennial use photography and related media to explore and reflect on the challenges and tensions of self-perception and human interaction. Their works span the past, present, and future, from the intimate and personal to the collective. By capturing these diverse moments and phenomena, they create an echo that draws the public’s attention to their themes. Similar to a sound experience, they reverberate their messages that are perceived as an independent event beyond what is depicted. On this basis, "RAY ECHOES" concentrates on three focal points: identity, memory, and emotion.
With RAY ECHOES. IDENTITY Fotografie Forum Frankfurt (FFF) is showing one of three central exhibitions of the Triennial focussing on the relationship between photography and identity. The exhibited artists Mónica Alcázar-Duarte (MX), Joy Gregory (GB), Jürgen Klauke (DE), Dinu Li (HK) and Inuuteq Storch (DK) explore the making and breaking away from identities. Echoes are present in the form of reflections on personal experience, transcendence, and the currency of retrospection. Alongside recent contemporary photographs and a video installation, ear… | | |
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| | | | | | | Jyoti Mistry
aus der Serie Cause of Death, 2020
film still
© Jyoti Mistry |
| | | | 5. Triennale der Fotografie | | | | | | | Thu 2 May 19:00
3 May – 1 Sep 2024 | | | | | |
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| | | | | | | Petra Wunderlich
"Via Maistra" aus der Serie "La Plaiv", 2021/24
Gelatin silver print on baryta paper
42 x 60 cm / 68 x 82 cm (framed)
Edition of 5 + 1 AP |
| | | | | | | | | | | | Fri 3 May 19:00
4 May – 29 Jun 2024 | | | | | |
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| | | | | | | Anna-Maria Boshnakova
aus der Serie Vom Erwachsenwerden
© Anna-Maria Boshnakova |
| | | | Marta Hoepffner-Gesellschaft für Fotografie | | | | | | | Thu 2 May 18:00
3 May – 18 May 2024 | | | | | |
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| | | | | | Künstlerkollektiv Grenzland-Fotografen | | | | | | | Sat 4 May 16:00
4 May – 16 Jun 2024 | | | | | |
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| | Untitled 648, 2023 © Cindy Sherman Untitled 659, 2023 © Cindy Sherman
Courtesy the artist and Hauser Wirth | | | | | | | | ... until 4 August 2024 | | | | | | | | | | | | | Cindy Sherman is considered to be one of the most important American artists of her generation. Her ground-breaking photographs have interrogated themes around representation and identity in contemporary media for over four decades.
In this new body of work, the artist collages parts of her own face to construct the identities of various characters, using digital manipulation to accent the layered aspects and plasticity of the self. Sherman has removed any scenic backdrops or mise-en-scène–the focus of this series is the face. She combines a digital collaging technique using black and white and color photographs with other traditional modes of transformation, such as make-up, wigs and costumes, to create a series of unsettling characters who laugh, twist, squint and grimace in front of the camera. To create the fractured characters, Sherman has photographed isolated parts of her body–her eyes, nose, lips, skin, hair, ears–which she cuts, pastes and stretches onto a foundational image, ultimately constructing, deconstructing and then reconstructing a new face.
The exhibition is accompanied by a catalogue by Hauser & Wirth Publishers. | | |
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| | | installation view Man Ray: LIBERATING PHOTOGRAPHY 2024, PHOTO ELYSEE Lausanne | | | Man Ray » LIBERATING PHOTOGRAPHY | | | | ... until 4 August 2024 | | | | | | | | | | | | | "To be totally liberated from painting and its aesthetic implications" was the first avowed aim of Man Ray (United States, 1890-1976), who began his career as a painter. Photography was one of the major breakthroughs of modern art and led to a rethinking of notions of representation. In the 1920s and 30s, the photographic medium came to the forefront of the avant-garde movement, and Man Ray soon made a name for himself with his virtuosity. As a studio portraitist and fashion photographer, but also as an experimental artist who explored the potential of photography with the people around him, Man Ray was a multi-faceted figure. Considered one of the 20th century’s major artists, close to Dada and then Surrealism, he photographed Paris’ artistic milieu between the wars.
EXHIBITION
Curated from a private collection, the exhibition explores the artist’s extensive social contacts while presenting some of his most iconic works. In addition to providing a dazzling who’s who of the Parisian avant-garde, the works also highlight the innovations in photography made by Man Ray in Paris in the 1920s and 30s.
ARTIST
He took his first photographs in New York in the 1910s, but it was in Paris that his career took off. Even before opening his studio in Montparnasse in 1922, Man Ray worked for a year in his hotel room. The photographer's reputation grew, and before long, the artist's studio was flourishing. Fashion photographs alternated with portraits of the artistic figures of the day who had made Paris’ no… | | |
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| | | Phin Sallin-Mason, Puzzled, 2024 © ECAL Phin Sallin-Mason | | | | | | | | ... until 2 June 2024 | | | | | | | | | | | | | Four portraits taken by a machine and printed in just a few minutes! This is the experience offered by the photo booth since its invention in 1924. It was an immediate success, particularly with the proliferation of identity documents requiring a portrait complying with specific standards (bare head, uniform background, neutral expression, etc.).
Few people are unfamiliar with the experience of the "Photomaton", the name of the photo booth often found in train stations. Automated, self-service, available 24/7, socially neutral and, above all, less expensive than a portrait taken by a professional–and less intimidating as well–this photographic process popularized the experience of having a portrait taken, quickly, anywhere and inexpensively. The precursor of the Polaroid and the selfie, formed from the words "photo" and "automaton", this unmanned process, a veritable photographer's automaton, offering four unique prints, fascinated artists. In 1929, André Breton and his Surrealist friends were already interested in this image box.
Exhibition
Photo Elysée, which showcases a wide range of techniques from the history of photography, acquired an automated photo studio a few years back. Since then, the museum has offered the public the opportunity to photograph themselves and, if they wish, to leave their portraits, thus creating a collective archive (over 2,000 snapshots have been collected to date).
The artist, Christian Marclay, invited by the museum to immerse himself in the Photo Elysée collections in 2021, chose to explore these thousands of faces recorded by the museum's Photomaton. With him, ECAL photography students explored, scanned and metamorphosed the preserved prints. The idea of the project was to… | | |
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| | | Vues et données_2023 © HEAD | | | | | | | | ... until 2 June 2024 | | | | | | | | | | | | | The View & Data exhibition is the result of a research project revolving around the question of data, headed by artist-photographer Aurélie Pétrel and philosopher Fabien Vallos, in collaboration with two schools, the HEAD Geneva and the ENSP Arles.
This research analyzes the implications of the concept of "data" in the fields of art, contemporary photography and theory. It can be summed up in two main points: first, that data alone cannot produce any system whatsoever of representation of the world; and second, that it is preferable–according to Catherine Malabou's theories–to attempt to give it plasticity. This means granting it the possibility of a form rather than a value.
The final phase of the project is the exhibition, which brings together everything that has been produced, collected and conceived of as part of the research. It should be seen as a form and an image. As a form, it is that of a sort of "container" in which Aurélie Pétrel and Fabien Vallos have deposited works, objects and comments. As an image, it represents the plasticity of the data and the infinite number of possible links between all of the elements present.
The structure of the exhibition, conceptualized and produced by Dieudonné Cartier, includes works by Aurélie Pétrel, some 50 objects collected by Aurélie Pétrel and Fabien Vallos, and over 100 commentaries produced in collaboration with students in the Fig. Laboratory at the ENSP Arles and the Visual Arts CCC Master's Program at the HEAD Geneva. All this work has been brought together in a catalogue published for the occasion.
Exhibition with the support of the BNP Paribas Switzerland Foundation and the Federal Office of Culture (FOC). | | |
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| | | Mohlokomedi wa Tora , 2018, Scene 2 © Lebohang Kganye. Courtesy of the artist | | | | | | | | | | | | | ... until 2 June 2024 | | | | The winner of the £30,000 prize will be announced on 16 May 2024, with the other finalists each receiving £5,000. | | | | | | | | | | | | | This long-standing annual Prize, originally established in 1996 by the Photographers' Gallery in London, identifies and rewards artists for their projects that have made a significant contribution to photography over the previous 12 months.
Over its 27-year history, the Prize has become renowned as one of the most important international awards for photographers, spotlighting outstanding, innovative and thought-provoking work. The 2024 shortlisted projects all critically engage with urgent concerns, from the remnants of war and conflict, experiences of diasporic communities and decolonisation, to contested land, heritage, equality and gender. Together these artists demonstrate photography's unique capacity to reveal what is invisible, forgotten or marginalised and imagine a path to redress.
The annual exhibition of shortlisted projects will be on show at The Photographers' Gallery, London from 23 February to 2 June 2024. It will then be on display from 15 June to 15 September 2024 at the Deutsche Börse Photography Foundation in Eschborn/Frankfurt.
The winner of the £30,000 prize will be announced at an award ceremony held at The Photographers' Gallery on 16 May 2024, with the other finalists each receiving £5,000. Full details of the Prize exhibition and award evening will be announced in early 2024. | | |
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| | | | | | | | | | | | | | Fri 3 May 18:00
3 May – 9 Jun 2024 | | | | | |
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| | LAURA LETINSKY
Untitled from Ill Form and Void, 2011
Tirage pigmentaire d’archive, Feuille 40x48in (100x120cm) /
image 31.5x40 inch (78,75x100cm)
© Laura Letinsky / Galerie Miranda | | | | | | | | | | | | | ... until 18 May 2024 | | | | | | | | | | | | | For the third capsule show of its 6th anniversary cycle, Galerie Miranda brings together 5 major artists whose different practices explore and disrupt the fundamentals of the traditional photographic medium: the darkroom, the artist's gesture and the representative function. Chuck Kelton's abstract chemigrams resemble landscapes; Laura Letinsky's still lives are in fact meticulous compositions of found images, torn and collaged; Ellen Carey's Finitograms are ready-made unique works, unsigned and unfinished; and Thomas Ruff's digital photograms reinvent the traditional photogram, like those also on show by Nancy Wilson-Pajic, a pioneer in experimental photography in France.
Laura Letinksy creates delicate, meticulous tableaux that sublimate and honour the forgotten details of everyday domestic life. Her large-scale, carefully crafted scenes often focus on the remnants of a meal or party, as she plays with ideas about perception and the transformative qualities of the photograph. Her series Ill Form & Void Full (2010-2014), explores the tension between material and image, as Letinsky extracts elements from already existing imagery in magazines of food and domestic wares, calling attention to the constructed nature of all photographs. Works presented in friendly collaboration with Yancey Richardson Gallery | | |
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| | Todd Hido » | | | | | | | | | | | | Some Polar Expiation,... an Enormous Cat, a Complete Collection of Cinematic Houses at Night, a Starlet, a Mentor, some Assorted Reveries & a Message from the Future | | Sat 4 May 17:00 4 May – 30 Jun 2024 | | | | | | | |
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| | Dongkyun Vak
Aurelia aurita (2019)
Dalla serie Heatwave
Lightbox, 200 x 82 x 13 cm
Courtesy Vontobel Art Collection, Zurich
© Dongkyun Vak | Dongkyun Vak
Seowoo Black Single
2020
Courtesy Vontobel Art Collection, Zurich
© Dongkyun Vak |
| | | | | | | | EXPOSED. Torino Foto Festival | | | | ... until 2 June 2024 | | | | | | | | | | | | | On the occasion of the first edition of EXPOSED Torino Photo Festival, CAMERA’s Project Room will host Heatwave, an exhibition by the young South Korean artist Dongkyun Vak (Seoul, 1992). Vak is the winner of the third edition of A New Gaze, a biennial prize created by the Swiss Art Vontobel Collection and dedicated to contemporary photography.
Featuring more than twenty photographs, including light boxes and medium and large format prints, Heatwave explores the relationship between living beings, nature, and technology in the contemporary world. The images capture natural and man-made landscapes, mechanical prototypes, motor vehicles, architecture, and the bodies that inhabit them. Rather than simply documenting environmental catastrophe, they form a visual catalog of how technological innovation and eco-friendly design can create a new way of living together.
Vak uses the seductive aesthetics of fashion photography to create an aseptic space to examine the role of technology, innovation, and knowledge at such a historical juncture. By re-enacting or reconstructing various moments, scenes, and situations, the artist compares the ingenuity of nature with that of the factory, thus reflecting on a new configuration of today’s landscape. The project is inspired by the notion of the Anthropocene, which defines the current historical period as a new geological era in which the effects of human activity outstrip those of geological and evolutionary processes on the planet. This not only raises concerns and fears, but also, as Vak points out, pres… | | |
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| | The Mau Mau War Veterans Association, Murang’a, Kenya (2019), from the series State of Emergency – Harakati za Mau Mau kwa Haki, Usawa na Ardhi Yetu, by Max Pinckers/MMWVA
© Max Pinckers/MMWVA | | | | Max Pinckers » State of Emergency | | | | EXPOSED. Torino Foto Festival | | | | | | 2 May – 2 June 2024 | | | | | | | | | | | | | State of Emergency – Harakati za Mau Mau kwa Haki, Usawa na Ardhi Yetu is an ongoing documentary project in collaboration with Mau Mau war veterans and Kenyans who survived colonial atrocities. Through live re-enactments or ‘demonstrations’, a (re)visualisation of the struggle for independence from British colonial rule in the 1950s is created, showing past experiences in present days, with a future audience in mind. As most colonial archives have been deliberately destroyed, hidden or manipulated, the project seeks to shed light on the blind spots of history by creating new ‘imagined documents’ that fill the gaps in the historical archives.
State of Emergency weaves together fragmentary colonial archives, photographs of architectural and symbolic remains from the past, mass grave sites, demonstrations and testimonies of those who lived through and survived the war.
State of Emergency is a collaborative attempt at reconstructing and reimagining possible futures of reparation and reconciliation. With the collaboration of the National Museums of Kenya and Mau Mau War Veterans Association **members, the project provides a collective response to heal, without erasing, the still open wounds of colonial violence, creating a restorative tool that, through the medium of photography, tells the powerful the truth of those who lived through it. | | |
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| | | Tomas VAN HOUTRYVE, Signature behavior, 2013. Dalla serie Blue Sky Days. Gelatin silver print, 66 x 100 cm. Courtesy Baudoin Lebon | | | | | | | EXPOSED. Torino Foto Festival | | | | | | | | 2 May – 2 June 2024 | | | | | | | | | | | | | In recent years the view from above, a once exceptional point of view reserved to people in power and inhuman agents like birds, angels and gods, has become widespread and accessible. In 2011, artist and writer Hito Steyerl introduced the concept of ‘vertical perspective’ to address the “departure of a stable paradigm of orientation”, and to describe what can be seen, to all effects, as the emergence of a new scopic regime.
By replacing the stable horizon and the role played by linear perspective along modernity, vertical perspective established ‘a new visual normality’, firmly rooted in the tools of surveillance and warfare. First perceived as a liberation and a new way of seeing, vertical perspective loses its romantic grip to become identified with the point of view of the power that kills and controls when satellites and drones enter the equation. Always the outcome of a constructed, machine-aided experience of the world, the view from above delocalizes and ultimately de-humanizes the gaze, allowing a God’s eye view on reality not only in terms of position, but also in the way it captures additional information and data; it looks through reality instead of sticking to its surface, and generates ‘total images’ that are both and neither images and maps, representations and visualizations blurring the difference between place and space.
By adopting vertical perspective as its main point of view, the exhibition explores the way in which our look on landscapes through the camera eye has changed along the last decades, and how this shift in scopic regimes affected the way we control, design and shape the environment we live in. | | |
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| | | | | | | Gianfranco Gorgoni
Elsworth Kelly, N.Y. 1973
stampa cromogena su carta chimica fotografica 40 x 30 cm
firma e timbro al retro, limited edition
Scatto 1973, stampa 2005 |
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| | | | | | | Gustav Metzger, Liquid Crystal Environment, 1966- 2017,
7 Kodak SAV 2050 slide projectors with control units,
rotating polarized filters, liquid crystals, dimensions determined by the space,
Property of Fondazione per l’Arte Moderna e Contemporanea CRT,
loaned to Castello di Rivoli Museo d’Arte Contemporanea |
| | | | EXPOSED. Torino Foto Festival | | | | | | | 2 May – 2 Jun 2024 | | | | | |
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| | | | | | | JAN DIBBETS
Comet Land/Sky/Land 6°-72°, 1973
12 color photographs 318,5 x 340 cm
on loan from Fondazione per l’Arte Moderna e Contemporanea CRT, 2008
Courtesy Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Torino
Photo Paolo Pellion Di Persano |
| | | | EXPOSED Torino Foto Festival | | | | | | | 2 May – 2 Jun 2024 | | | | | |
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| | Collier Schorr (1963)
The Pupil, 1996
Courtney Fondazione Sandretto Re Rebaudengo | | | | | | | EXPOSED. Torino Foto Festival | | | | | | | | 2 May – 2 June 2024 | | | | | | | | | | | | | | When We Were Old presents a selection of photographic works by Anna Gaskell, Larry Johnson, Sherrie Levine, Tracey Moffat, Collier Schorr and Wolfgang Tillmans, which are part of the Sandretto Re Rebaudengo Collection. As the contradiction of the title suggests, the group of works offers a reflection on youth as a space of past legitimate autonomy and experience, shunning the rhetoric of ‘youth’ as merely projected into the future. | | |
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| | | | | | | | Ken Lum, Thanh Thuy Vu, Jänner; Gabi Petrikovic, Februar; Hamila De Souza, März; Manfred Klumpp, April, four works from the series Schnitzel Company, 2004–2023 (powder coated aluminum with vinyl). Courtesy of the artist; Magenta Plains, New York; and Royale Projects, Los Angeles. |
| | | | | | | | | | | | Wed 8 May 18:00
8 May – 3 Aug 2024 | | | | | |
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| | Laurenz Theinert
Composition "Awakening", various views
abtart, Stuttgart
© Laurenz Theinert | | | | | | | | 5 May – 15 September 2024 | | | | Opening: Saturday, 4 May, 5pm | | | | | | | | | | | | | The exhibition provides a fine insight into Laurenz Theinert’s oeuvre, which includes photographic works, light art and light + sound performances. In addition to five light installations, the exhibition also features photographs from various of his series.
In his work, the Stuttgart-based artist strives to create a reduced visual language that develops without any recognisable reference to the objective world. He is not interested in depicting reality in his photographic work. His photographs do not document things; they are neither narrative nor do they represent anything. For Theinert, the visible world is merely a starting point that allows him to use the means of photography to investigate the medium itself, as well as processes in space and time, such as changes in perspective or changing colour effects. His research, which is more intuitive than planned, results in images of great creative lucidity.
In his Randerscheinungen [Peripheral Phenomena], Theinert reverses the photographer’s conventional gaze: instead of concentrating on a central motif, he focuses his attention on the usually insignificant margins of his visual field. In the multi-part series Every Now and Then and Tagundnachtgleiche [Equinox], he examines for instance changes in colour in different light situations. And in the series Farbreste [Leftover Colours], his concern is with visualising colours that are present in even the greyest of greys in a concrete wall or stretch of masonry, enhancing them by means of digital image processing to create psychedelic colour compositions.
The desire to create dynamic, dematerialised art led Theinert to light art. Using light as a medium, he has succeeded in creating changing colour effects and intimating m… | | |
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| | | © Robin Rhode | | | | | | | Photo Art Fair | | | | | | | | 3 – 5 May 2024 | | | | Preview: Thursday 2 May 2024 | | | | | | OGR – Officine Grandi Riparazioni Sala Fucine, Entrance: Corso Catelfidardo,22 – Torino www.thephair.com | |
| | | | | | The Phair is addressed to some of the leading contemporary art galleries – and not necessarily only to those already specialized in photography – that, on the occasion of the fair, showcase an artistic project related to the theme of the image and art works created with photographic or video material.
A careful curatorial choice guarantees the selection of an organic proposal not divided into themes and sections but as a whole exhibiting experience; equal spaces for all ensure a “tailor-made” setting, innovating the traditional fair structure and suggesting new methods of understanding and analysis of the artworks proposed. | | |
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| | | | | | | | | | | | | | Fri 3 May 18:00
3 May – 26 May 2024 | | | | | |
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| | Kunststiftung DZ BANK
Fotomuseum Winterthur, Depot, 2023
© Fotomuseum Winterthur, Conradin Frei | | | RAY 2024 ECHOES | | | | 5th International Triennial of Photography | | | | | | | 3 May – 1 September 2024 | | | Festival: 3 – 5 May 2024
Program: here
Opening RAY Triennial: Thursday 2 May, 7 pm, Museum Angewandte Kunst, Frankfurt | | | | | | | | | | | | | The international Triennial of Photography RAY is celebrating the diversity of photography in Frankfurt and the Rhine-Main region for the fifth time with a focus on "ECHOES". Eleven institutions and exhibition venues in Frankfurt and the Rhine-Main region will be showing works on the theme of "ECHOES" by contemporary photographers and artists. With exhibitions, numerous events, and a three-day festival on the triennial theme of "ECHOES", RAY offers a multifaceted exploration of photography.
How do images contribute to the understanding of our identity, our memories, our emotions, and the ability to grasp and process current social, communal, and political challenges? RAY Echoes offers no answers to these questions, but rather – like a laboratory – it offers many perspectives and opportunities for individual exploration.
The artists of the RAY 2024 – Triennial of Photography use photography and related media to explore and reflect on the challenges and tensions of self-perception and human interaction. Their works span the past, present, and future, from the intimate and personal to the collective. By capturing these diverse moments and phenomena, they generate an echo that draws the public’s attention to their themes. Similar to a sound experience, they create reverberation that is perceived as an independent event beyond what is depicted. On this basis, RAY Echoes concentrates on three focal points: identity, memory, and emotion.
In the exhibition RAY Echoes Identity at the Fotografie Forum Frankfurt (3 May – 1 September, 2024, opening on 2 May), the artists explore the making and breaking away from identities. Echoes are present in the form of reflections on personal experience… | | |
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| | | | | | Rencontres photographiques de Montpellier 18th edition | | | | | | | Fri 3 May 19:00
4 – 26 May 2024 | | | | | |
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| | | © Kalina Pulit | | | EXPOSED. Torino Foto Festival | | | | New Landscapes - Turin’s New International Festival of Photography | | | | | | | From 2 May to 2 June 2024 | | | the first edition with the title New Landscapes – Nuovi Paesaggi
Artistic Directors: Menno Liauw and Salvatore Vitale
Over 20 temporary exhibitions in more than 20 venues
One programme of events dedicated to photography organized with the city’s main cultural institutions and independent organizations | | | | | | | | | | | | | EXPOSED is Turin’s new international festival of photography, which every year will bring temporary exhibitions, a specialised fair, educational activities, meetings, artistic commissions and off-site events centered around a theme to the Piedmontese capital in May. Promoted by the City of Turin, the Piedmont Region, the Turin Chamber of Commerce, Intesa Sanpaolo, Fondazione Compagnia di San Paolo and Fondazione per l’Arte Moderna e Contemporanea CRT on behalf of Fondazione CRT and organised by Fondazione per la Cultura Torino, EXPOSED was created to strengthen the deep bond between Turin and photography.
The goal is to provoke contemplation regarding the transitional state of photography. Starting from a historical perspective, Exposed seeks to present various approaches, perspectives, narratives, and intersections that showcase the diverse forms the medium takes on. Simultaneously, it aims to inspire, evoke emotions, entertain, and propose new ways of interacting with, interpreting, and appreciating the work of both classic and contemporary artists.
Exposed envisions itself as a cutting-edge presence in the international photography panorama, complementing the existing offerings. Therefore, the festival’s artistic direction is focused on an inclusive approach to attract diverse audiences—both local and international—through a diverse program that encompasses different approaches to photography: from classic to contemporary, cross-media, installative and performative.
Collaboration and collectivity are key aspects highlighted by the artistic direction, emphasizing the multidisciplinary and kaleidoscopic nature of Exposed. Diverse visions, approaches, ideas, and projects make the festival—and consequently, the city of Turin—an in… | | |
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| | | © Arko Datto | | | FOTOGRAFIA EUROPEA 2024 - XIX edition | | | | Nature loves to hide | | | | | | | Reggio Emilia until 9 June 2024 | | | Dedicated to the interconnections between humans and nature, and to the transformations human beings can undertake beyond an approach of dominant control, the 19th edition of the Reggio Emilia Festival returns to invite us reflect on pressing critical issues
Palazzo Magnani, Chiostri di San Pietro, Palazzo da Mosto, Villa Zironi, Palazzo dei Musei, Biblioteca Panizzi, Spazio Gerra and the spaces of the Circuito OFF host exhibitions by both established photographers and young talents | | | | | | | | | | | | | | | From 26 April to 9 June 2024, Reggio Emilia will once again observe the changes to the contemporary sphere through the eyes of great photographers and young practitioners with the 19th edition of FOTOGRAFIA EUROPEA: the festival promoted and organised by Fondazione Palazzo Magnani and the Municipality of Reggio Emilia, with support from the Emilia-Romagna Regional Council.
Nature loves to hide is the theme chosen by the Festival’s artistic board, this year made up of Tim Clark (editor of 1000 Words), Walter Guadagnini (photography historian and Director of CAMERA – Centro Italiano per la Fotografia) and Luce Lebart (researcher and curator, Archive of Modern Conflict).
Drawing on the paradox expressed in a famous fragment by Heraclitus, the title seeks to encompass the power of a nature that so often conceals its essence right before our eyes, while increasingly revealing it in destructive ways, in a continuous process that may be understood as an oscillation between being and becoming. Through this edition’s many prestigious solo and group exhibitions, Fotografia Europea 2024 sets out to explore the connections between concealment and discovery that characterise our relationship with nature, imagining new narratives bound up in an eco-centric conception as opposed to an attitude of dominant control that our species exercises over the planet, so as to understand the current dynamics and the new directions to be taken. | | |
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| | | | | | Even Better Than the Real Thing | | | | | | | – 30 Sep 2024 | | | | | |
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| | | | | | Rencontres de la jeune photographie internationale 2024 | | | | | | | – 25 May 2024 | | | | | |
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| | | | | | Festival de la jeune photographie européenne | | | | | | | – 2 Jun 2024 | | | | | |
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| | | | | | Ten Thousand Suns | | | | | | | – 10 Jun 2024 | | | | | |
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| | | | | | Triennial Exhibition | | | | | | | – 28 Jul 2024 | | | | | |
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| | From the series Keepers of the Ocean (2019) © Inuuteq Storch
The Danish Pavilion: Rise of the Sunken Sun by the artist Inuuteq Storch | | | | | | | Stranieri Ovunque - Foreigners Everywhere | | | | | | | | 20 April – 24 November 2024 | | | | | | | | | | | | | The 60th International Art Exhibition , titled Stranieri Ovunque – Foreigners Everywhere , will open to the public from Saturday April 20 to Sunday November 24, 2024 , at the Giardini and the Arsenale; it will be curated by Adriano Pedrosa and organised by La Biennale di Venezia . The pre-opening will take place on April 17, 18 and 19 ; the awards ceremony and inauguration will be held on 20 April 2024 .
Since 2021, La Biennale di Venezia launched a plan to reconsider all of its activities in light of recognized and consolidated principles of environmental sustainability. For the year 2024, the goal is to extend the achievement of “carbon neutrality” certification , which was obtained in 2023 for La Biennale’s scheduled activities: the 80th Venice International Film Festival, the Theatre, Music and Dance Festivals and, in particular, the 18th International Architecture Exhibition which was the first major Exhibition in this discipline to test in the field a tangible process for achieving carbon neutrality – while furthermore itself reflecting upon the themes of decolonisation and decarbonisation.
The Exhibition will take place in the Central Pavilion (Giardini) and in the Arsenale, and it will present two sections: the Nucleo Contemporaneo and the Nucleo Storico.
As a guiding principle, the Biennale Arte 2024 has favored artists who have never participated in the International Exhibition—though a number of them may have been featured in a National Pavilion, a Collateral Event, or in a past edition of the International Exhibition. Special attention is being given to outdoor projects, both in the Arsenale and in the Giardini, where a performance program is being planned with events during the pre-opening and closing weekend of the 60th Exhibition.
Stranieri Ovunque - Foreigners Everywhere, the title of the 60th International Art Exhibition of La Biennale di Venezia, is drawn from a series of works started in 2004 by the Paris-born and Palermo-based Claire Fontaine collective. The works consist of neon sculptures in different colours that render in a growing number of languages the words “Foreigners Everywhere”. The phrase comes, in turn, from the name of a Turin collective who fought racism and xenophobia in Italy in the early 2000s.
«The expression Stranieri Ovunque - explains Adriano Pedrosa - has several meanings. First of all, that wherever you go and wherever you are you will always encounter foreigners— they/we are everywhere. Secondly, that no matter where you find yourself, you are always truly, and deep down inside, a foreigner.» | | |
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© 1 May 2024 photography now UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editors: Claudia Stein & Michael Steinke
contact@photography-now.com . T +49.30.24 34 27 80 |
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