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| PHOTOGRAPHY INTERNATIONAL | | 10 - 17 April 2019 | |
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| | FOTOGRAFIA EUROPEA 2019 - REGGIO EMILIA invites
12, 13 & 14 April to the Opening days of 24 festival exhibitions, with over 120 artists, 85 events and
OFF Circuit, that includes over 300 exhibitions. |
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| | Vincent Fournier
THE SPACE PROJECT - General Boris V., Yuri Gagarin Cosmonaut Training Center [GCTC] 2007
130 x 100 cm / 200 x 150 cm / 235 x 180 cm
Ink jet on Hahnemühle Baryta paper / Edition of 10 | | | | | | | | until 11 May 2019 | | | | | | | | | | | | | The Ravestijn Gallery is proud to present the return of Vincent Fournier and his series Space Utopia in its new gallery.
Space Utopia collects over a decade of Fournier’s work surrounding space exploration on earth. Evoking a tenacious nostalgia toward the science fiction of the twentieth century, his photographs reflect on international space travel over generations. His latest work consists of several NASA Space Centers (including Houston and Cape Canaveral) and presents the world’s most powerful rocket, SLS, which will launch astronauts in the agency’s Orion spacecraft on missions to an asteroid and eventually to Mars.
Such images remind us of a time when space was still an unknown territory; a time when the race for discovery was broadcasted worldwide in black and white. Through his eerie perspective, and sometimes humorous approach, Fournier connects these romanticised memories of the past to both the present and the possibilities of the near future - exactly 50 years after ‘one small step for man’ landed on the moon.
Fournier has had unparralled access to various NASA space and research centers alongside facilities such as the European Space Agency (ESA), the Russian space agency (Roscosmos) and the European Southern Observatory (ESO). Thus, Space Utopia not only reflects his own artistic interpretation of these space programs, but also acts as a documentation of the way humans approach outer space and adds a question mark to our utopian view on space travel as real life science fiction.
Vincent Fournier is a French fine art photographer exploring significant utopian and futuristic stories. Fournier was born in 1971 in Ouagadougou, Burkina Faso, where he spent the first five years of his life before moving to France. He earned degrees in sociology and visual arts before studying photography at the National School of Photography in Arles. | | |
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| | Taiyo Onorato & Nico Krebs, Spin 07 (green brown), 2012, C-Print
Courtesy the artists & Sies + Höke, Düsseldorf © The artists & Sies + Höke, Düsseldorf | | | | | | | On New Visions in Contemporary Art | | | | | | | 11. April – 25. August 2019 | | | Opening: Wednesday, 10 April, 7pm
An exhibition organized by the Kunstbibliothek – Staatliche Museen zu Berlin in cooperation with the NRW-Forum Düsseldorf and the Kunsthalle Darmstadt. Funded by the Bauhaus heute Fund of the German Federal Cultural Foundation, the NRW-Forum Düsseldorf, the Hesian Ministry for Science and the Arts, and the Hochschule Darmstadt | | | | | | | | | | | | | The centenary of the Bauhaus provides opportunity for a dialogue between the photo-avant-garde of circa 1930 and contemporary art photography. The historical point of reference for this exhibition is a two-part curatorial-scenographic reconstruction of a presentation, conceived by László Moholy-Nagy, of the history of photography, entitled “Wohin geht die fotografische Entwicklung?” (Where is photography developing?). It was shown in 1929 at the international traveling exhibition "Film und Foto", organized by the German Werkbund – the program was supplemented by a presentation of works by the renowned avant-garde artist and former Bauhaus instructor. This reconstruction will be extended and given greater sensory concreteness through the inclusion of numerous vintage prints from the holdings of the Kunstbibliothek and a presentation of films from the 1920s.
How do the innovations introduced by the Bauhaus continue to contribute to the development of photographic visual languages today? For contemporary artists, what role is played by the photo-avant-garde of circa 1930? This question is answered by 70 works by artists such as Daniel T. Braun, Max de Esteban, Doug Fogelson, Douglas Gordon, Antje Hanebeck, Taiyo Onorato & Nico Krebs, Thomas Ruff, Vivianne Sassen, Kris Scholz, Stefanie Seufert, Dominique Teufen, and Wolfgang Tillmans.
Exhibition catalogue
Bauhaus und die Fotografie – Zum Neuen Sehen in der Gegenwartskunst. Hg. von Corina Gertz, Christoph Schaden, Kris Scholz. Kerber Verlag, Bielefeld, 40 Euro | | |
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| | | | | | Hartford MFA Group Photography Exhibition | | | | | | | Thu 11 Apr 18:00 - 21:00
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| | | | | | | | Auf dem Rummelplatz, Berlin, 1969 © Roger Melis Nachlass |
| | | | | | | | | | | | Photographs from three decades of GDR | | | Thu 11 Apr 19:00
12 Apr – 28 Jul 2019 | | | | | |
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| | | | | | | | Christof Klute, from the series White City A1, Tel Aviv, 2012 © Christof Klute |
| | | | | | | | Bauhaus Architecture in Contemporary and Historic Photography | | | | | | | Fri 12 Apr 19:00
13 Apr – 30 Jun 2019 | | | | | |
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| | Haute Couture des Himmels: "Pioneer" + "Viking" 2018
Recom-art Ditone 140 x 95 cm, unique print
© Christian von Alvensleben | | | | | | Haute couture of the sky | | | | 10 & 11 April, 2019, 5:30 – 8 pm | | | | Introduction by Sebastian Lux, Stiftung F.C. Gundlach | | | | | | Haller 6 | Hallerstr. 6, 20146 Hamburg
Christian und Helga von Alvensleben
T +49.4531-8801310 | alvensleben.com
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| | | | | | "We took photographs of the earth’s sensitive atmosphere at the Tropic of Cancer where, at the end of the year, hot winds from the Sahara meet the moist north-eastern trade wind."
Elemental. This is the word to aptly describe the photographs Christian and Helga von Alvensleben have created over the past few years. Their current series of works entitled "Haute Couture des Himmels" now focusses on nothing less than clouds, atmosphere and air.
The pictorial language of the 16 large-format photographs is also elemental. Devoid of a horizon line, the sky covers the entire surface of the image. Sometimes the vapour is light and airy, sometimes dark and threatening in the way it merges to form veils, vortexes and towers of cloud demonstrating to us the impressive depth and simultaneously the fragile delicacy of the mantle of air enveloping the earth. When this is joined by the fine desert sand that the Calima, the desert wind from the Sahara, blows up into the air masses above the Canary Islands, then exciting traces of colour suddenly become visible in the skies. | | |
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| | Stab & Fleisch, 2015
iPhone-Video, 16:9, Farbe, Stereo, 15:05 Min.
Courtesy of the artist (Rosanna Graf)
© Rosanna Graf | | | | | | | Video Art from Hamburg | | | | | | | | 13 April – 3 November 2019 | | | | Opening: Saturday 13 April 2019, 12pm | | | | | | | | | | | | | The exhibition FUZZY DARK SPOT at the Falckenberg Collection will bring together 56 video works by more than 30 mostly Hamburg-based artists ranging from the 1970s to the present day, featuring historical and contemporary productions in both thematic and monographic groups. The exhibition examines how video in art interprets social and media irritations and manipulations. The title FUZZY DARK SPOT comes from a discussion in an internet forum about camera lenses contaminated with mold.
The fields of this investigation include references in video art to television, the educational movement of the counter-public of the 1970s, as well as the use of video as a surveillance medium, a means of artistic narrative, a psychosocial mirror, and an instrument of self-optimization in the digital present. The major impact of video images on the collective memory and consciousness in the 20th and 21st centuries makes doubts about images, the uneasiness with the familiar, as well as the distrust of truth claims important subjects of artistic reflection. The title summarizes the common theme of the works in the exhibition: a nebulous, fuzzy dark spot, place, or condition.
The exhibition, curated by the Hamburg-based video artist Wolfgang Oelze, is programmatically linked to the exhibitions Weisser Schimmel (2010) and Captain Pamphile (2011), which offered a look at the diverse works of artists in Hamburg within the Falckenberg Collection with specific curatorial concepts.
Participating artists: Vito Acconci, Gabor Altorjay, John Bock, Claus Böhmler, Öyvind Fahlström, Harun Farocki, Jeanne Faust, Lee Friedlander, Gintersdorfer/Klaßen, Rosanna Graf, Britta Gröne/Peter Piller, Romeo Grünfelder, Christian Jankowski, Volko Kamensky, … | | |
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| | | | | | | | Mariken Wessels: from Taking Off. Henry my Neighbor, 2015 |
| | | | Artist-as-Curator: Lotte Reimann | | | | | | | Thu 11 Apr 19:00
12 Apr – 23 Jun 2019 | | | | | |
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| | Police Listening to Colin Jordan’s Nazi Speech, London, 1964
Vintage Gelatin silver print
12 x 15 in. (30.2 x 38.2 cm.)
© Don McCullin | | | | | | | | until 11 May 2019 | | | | | | | | | | | | | To coincide with the major retrospective at Tate Britain (until 6 MAY 2019), Hamiltons will be celebrating Sir Don McCullin’s lifetime achievement by exhibiting rare and unseen vintage prints dating back to the 1950s. Selected from the photographer’s personal archive, they were made shortly after the photographs were first taken on assignments around the world. Intimate and physically modest, the prints provide access to events witnessed and recorded by a photojournalist working on the frontline of multiple, international flashpoints from Vietnam to Cyprus. Largely produced for a photo editor or agency in a pre-digital age, these historic prints have been visibly put to work and bear the physical marks of their use. In these pictures McCullin shares the telling details of a human face or the gestures of a hand. As he earns his subjects’ trust, he communicates their crisis. To comprehend each remarkable scene, the viewer is pulled in tight as if we are standing beside McCullin in proximity to an anxious soldier, a pointed gun or a grieving wife. | | |
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| | Jorge Ribalta » | | | | | | | | | | | | Renaissance Scenes of Industrial Reconversion in the Nord-Pas-de-Calais Coalfield | | Thu 11 Apr 20:00 11 Apr – 20 May 2019 | | | | | | | |
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| | | | | | | PUTPUT, Popsicles #7, 2012
Tirage pigmentaire
15 x 21 cm
Edition de 5
Courtesy Galerie Esther Woerdehoff |
| | | | | | | | International photography exhibition | | | | | | | Thu 11 Apr 19:00
12 Apr – 20 Jul 2019 | | | | | |
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| | Chervine
A Conversation, série Solitudes, 2015-2018
Tirage pigmentaire, 30 x 40 cm, 50 x 60 cm ou 60 x 80 cm, Edition de 7
Courtesy Galerie Esther Woerdehoff | | | | | | | | until 1 June 2019 | | | | | | | | | | | | | Through the streets of New York, Chervine reveals the theatre of everyday life and composes his photographs with light and colour.
Chervine was born in 1972 in Iran. He grew up in Paris and moved to New York in 2008. A self-taught photographer, he trained during his many trips around the world and began working as a press and fashion photographer. Since 2015, he started working on a personal series, photographing the city and its scenes, in black and white and mostly in colour. His work has been shown in several exhibitions in France and abroad and was seen at the Night of Photography in La Chaux-de- Fonds (Switzerland) in February 2018.
Chervine called this series Solitudes and light isolates the people he photographs, showing the loneliness and anonymity of the cities but also what brings us together and unites us. With an empathic glance, Chervinecaptures passers-by in the small theatre of everyday life.
A woman looks at the sun, a couple chats over a coffee, a mother and her daughter cross the road, these innocuous moments, the photographer sublimates them with a search for chiaroscuro that dramatizes the scene and plunges us into a cinematographic world. Chervine invites the viewer to imagine the story of these anonymous figures, both close and foreign at the same time.
Immersed in New York's spectacular urban landscape, the photographer looks at his subject in the tradition of street photography and manages to capture the decisive moment, this symbol of photography, which preserves movement, the souvenir of an atmosphere, the fleeting nature of light and shadow. With a mastery of colour that echoes the great American masters of the 60s and 70s, Chervine seeks contrasts, brightness and the colourful touch that illuminates the… | | |
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| | | | | | | | Oliviero Toscani, Angelo e Diavolo, United Colors of Benetton, 1992 © Studio Toscani |
| | | | | | | | | | | | Sat 13 Apr 18:00
14 Apr – 30 Jun 2019 | | | | | |
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| | | | | | | | Larry Fink, New York Magazine Party, New Yprk City, October 1977 |
| | | | | | | | | | | | | | | | Fri 12 Apr 19:00
12 Apr – 9 Jun 2019 | | | | | |
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| | | | | | | Horst P. Horst, Mainbocher corset, Paris 1939
cm 40,5x50,5 cs.; Courtesy Paci contemporary gallery (Brescia – Porto Cervo, IT) |
| | | | | | | | | | | | | | | | Fri 12 Apr 19:00
12 Apr – 9 Jun 2019 | | | | | |
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| | | | | | | | | | | | | | | | | | Fri 12 Apr 19:00
12 Apr – 9 Jun 2019 | | | | | |
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| | | | | | | | Michele Nastasi, Plant Souk, Riyadh, Riyadh, Arabia Saudita, 2017. Courtesy l’artista |
| | | | | | | | | | | | | | | | Fri 12 Apr 19:00
12 Apr – 9 Jun 2019 | | | | | |
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| | | | | | | | Stephen Shore, dalla serie Luzzara # 3, 1993 |
| | | | Photographs and videos from the Linea di Confine Collection | | | | | | | Sat 13 Apr 17:00
13 Apr – 9 Jun 2019 | | | | | |
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| | | | | | | London (Garrick) 2008
Archival pigment print
72 x 93 cm
Edition of 5 + 1 AP
© John Riddy |
| | | | | | | | | | | | Sat 13 Apr 15:00
13 Apr – 1 Sep 2019 | | | | | |
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| | | | | | | | | | | | | | Wed 10 Apr 16:00
11 – 14 Apr 2019 | | | | | |
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| | | | | | | | | | | | | | Thu 11 Apr
12 – 14 Apr 2019 | | | | | |
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| | | | | | | | | | | | | | Thu 11 Apr
12 – 14 Apr 2019 | | | | | |
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| | | Pixy Liao - It's never been easy to carry you. 2013 | | | FOTOGRAFIA EUROPEA 2019 - REGGIO EMILIA | | | | | | | Opening days 12, 13 & 14 April | exhibitions open through 9 June, 2019. | | | | 24 festival exhibitions, 10 exhibition venues across the city, 6 regional partners, over 120 artists, 85 events and OFF Circuit, an extended collective event and creative showcase for professionals, amateurs and upcoming artists that includes over 300 exhibitions. | | | | | | | | | | | | | From April 12th to June 9th, Reggio Emilia will host the XIV edition of FOTOGRAFIA EUROPEA, the festival organised by Fondazione Palazzo Magnani in collaboration with the Comune of Reggio Emilia and the Region of Emilia-Romagna, with support from the Ministry of Cultural Heritage and Activities. The festival explores all spheres of photography, the art form that best interprets the complexities of contemporary society.
Exhibitions, talks, performances and workshops are highlights of Fotografia Europea, an event never before so rich, which is populated by key figures in photography, culture and knowledge, and hosted across the city's main cultural institutions and exhibition spaces.
Conceived and designed by the Scientific Committee of Fondazione Palazzo Magnani – composed of Marco Belpoliti, Vanni Codeluppi, Marina Dacci, Marzia Faietti and Gerhard Wolf, under the artistic direction of Walter Guadagnini – FOTOGRAFIA EUROPEA 2019 is built around the theme of BONDING: Intimacy, Relationships, New Worlds, which will run like a fil rouge through all the exhibitions in the programme. | | |
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| | | | | | | | | | | | | | | | | | Fri 12 Apr 18:00
12 Apr – 9 Jun 2019 | | | | | |
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| | | | | | | | | | | | | | The World Press Photo Festival 2019 takes place at Amsterdam’s Westergasfabriek on 12-13 April from 10:00 - 19:00 daily, include the Opening Night of the World Press Photo Exhibition 2019 at De Nieuwe Kerk on 12 April from 20:00 - 23:00. The Festival hosts a rich program of presentations, workshops and meetups, featuring award winning special guest speakers. | | |
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| | | What Photography has in Common with an Empty Vase by Edgar Martins. © Edgar Martins | | | | | | | FOREVER//NOW | | | | | | | | until 14 April 2019 | | | | | | | | | | | | | In Derby’s museums, art galleries and historic, pop-up and renovated spaces and buildings the festival will present over 50 exhibitions, including portraits of Elvis impersonators and off grid Siberian communities; documentary projects on the tribes of native Indians and the post conflict and wartime landscape of North Africa; a French treasure hunt for buried gold and the search for the truth behind the exclusive Bohemian Club in America. These are just a few of the many extraordinary photography stories visitors to Derby will discover at FORMAT19. The new generation of photographic artists rush towards the new, embracing the rapid transformation that technology and cultural exchanges bring to it. It is such new approaches to photography that FORMAT19: FOREVER//NOW will address during the festival. Forever is an idea built into the very nature of the photograph that records the moment and immediately presents us with a visual memory of the past. Forever touches upon our obsession to record and share the continuous moments of our lives. Yet forever is an illusion and the immortality photography proffers can quickly sour when digital anonymity becomes virtually impossible to obtain. The eruption of selfies and Instagram is contradicted by campaigns around the right to be forgotten or opt out. Now is the new photography orthodoxy, in which the message is all, the product of an era that is seen as "post truth", regardless of whether it is a fictionalised story or a factual narrative or an aesthetic mixture of the two. The challenge for the photographer is how to establish their message in the now and stop it being transitory. In this era of Trump’s fake news, where truths, lies and myths are easily interchanged, we need to find a new structure to realign our perception of reality and provide a frame of reference for identifying where the truth really resides. FORMAT19 will look at how photography is evolving and moving ever forward, while keeping a curatorial eye on its past and how it is being constantly reinterpreted. Even as we endeavour to extend subjects through photography, time and material can never be endless, it is a difficult concept to pin down and the immortality that photography seems to offer is always just out of reach. Alongside the mass production of pictures and our seemingly endless desire to be seen, there are calls for digital anonymity and campaigns around the right to be forgotten or to opt out. FOREVER//NOW is a contested idea that we invite you to think widely about, there are many ways to perceive it. | | |
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| | | | | | | | MAO ISHIKAWA, Red Flower: The Women of Okinawa, 1975–1977, gelatin silver print, 15.4 x 20.1 cm. © MAO ISHIKAWA / Nap gallery, Tokyo |
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| | | | | | L’abîme du temps | | | | | | | – 14 Apr 2019 | | | | | |
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| | | | | | | | © David Lynch SmallStories HEAD #2 – Courtesy: Item éditions, Paris |
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| | | | | | | | Timeshifts / Before the Content © Kurt Laurenz Theinert |
| | | | Sound + Vision | | | | | | | – 30 Apr 2019 | | | | | |
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| | | | | | | | © Rip Hopkins, Galerie Le Réverbère / Agence VU’ |
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| | | | | | | | Kris Graves, The Murder of Eric Gardener |
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| | | | | | | | | | 11th Moscow International Biennale | | | | | | | Feb – April 2019 | | | | | |
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| | | | | | | | © Francesco Morandin, sans titre - 1997 |
| | | | Rencontres de la jeune photographie internationale 2019 - 200 artists | | | | | | | – 11 May 2019 | | | | | |
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| | | | | | | Construct 32, 1986. Cibachrome; 94 x 74.5 cm.
Courtesy of the artist and Bortolami. © Barbara Kasten |
| | | | Leaving the Echo Chamber | | | | | | | – 10 Jun 2019 | | | | | |
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| | | | | | | | Hannah Bronte FUTCHA ANCIENT (detail) 2018 lightboxes, photographic prints, textiles, ink, shell Photograph: Mia Forrest |
| | | | Art Gallery of New South Wales / Carriageworks/ Museum of Contemporary Art | | | | | | | 30 Mar – 23 Jun 2019 | | | | | |
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| | | | | | | Pushpamala N
Sunhere Sapne (Golden Dreams) 1998
hand-tinted black and white photograph
Shumita and Arani Bose Collection, NY |
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| | | | | | | | Éva Szombat, Zsófi from Happiness Book 2013 © Éva Szombat |
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© 27 Mar 2019 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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