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| PHOTOGRAPHY INTERNATIONAL | | 12 — 19 June 2024 | |
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| | Babushka, 2021
© ShuShu Sieberns. | | | | | | | 15 June – 1 September 2024 | | | | Opening: Friday 14 June 2024, 17.30 – 21.00 hrs | | | | | | | | | | | | | Artist ShuShu Sieberns tries to create a bridge between two different worlds: one where queer identity and traditional Russian family values can coexist alongside each other. The exhibition Young Human serves as a sensitive exploration of the internal conflict that the artist experiences in the relationship between her deeply religious grandmother and her partner.
The title, Young Human, is a direct translation from the Russian phrase ‘Molodoy Chelovek’, commonly used by young women to refer to their male partners. ShuShu Sieberns adopted this term to talk to her grandmother about her relationship with her non-binary partner. There is an ambiguity between how her grandmother interprets the word and how Sieberns uses the word. The exhibition is an emotional and personal reflection about queerness, intergenerational love and belonging in which the artist takes the viewer along in her personal journey.
ShuShu Sieberns is an artist who does not limit herself solely to photography: she uses film, photography, poetry and performance to convey her ideas. Her wide-ranging practice addresses the complexities of nationality and identity in today's global landscape. While her German-Russian heritage hints at broader political undertones, her focus remains introspective, centred on the human journey in search of defining your identity. In Young Human, she applies this multimedia approach by recreating the familiar atmosphere she always experienced at her grandmother’s house. | | |
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| | J. Scriba: Außendienst AD-NE_023086, 2020
© Jürgen Scriba | | | | | | | | 14 June – 8 September, 2024 | | | | Opening: Thursday, 13 June, 7pm | | | | | | | | | | | | | Through the vagaries of fate, physicist Jürgen Scriba became a photographer.
A short-term consultancy job at an organ building company developed into several years of interim management and finally a company for organ electronics.
The disappointment of having to put the camera down for longer than planned became the inspiration for the "Field Service" photography project.
For around six years, Scriba has had a camera permanently mounted in his car for this purpose. This allows him to take photos when he is not actually on the road as a photographer, but on "field service". He has now pressed the shutter button over 80,000 times. The image sensor attached to the car captures what is out there. And yet the images show the photographer's highly subjective perceptions - surreal scenes that the driver's brain normally blocks out in a kind of autopilot mode: Unexpectedly beautiful landscapes, quasi-officially chronicled cityscapes and irritating traces of human life.
For his "Road Photography", Scriba cataloged his photographic finds in 15 categories, such as "Main roads", "Closed towns" or "Maintenance and service areas", in the style of an imaginary authority. Despite the virtual absence of people in the street scene, the images from his expeditions reveal a great deal about the social fabric of society with subtle humor. | | |
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| | | | | | | AFRICA, STORIES
Lee-Ann Olwage für GEO |
| | | | | | | | | | | | Thu 13 Jun 19:00
14 Jun – 7 Jul 2024 | | | | | |
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| | | | | | | Max Jacoby
"Berlin - Mauer - Kreuzberg", 1965
© Max Jacoby / Sammlung Bunge |
| | | | | | | | | | | | Sat 15 Jun 11:00
15 Jun – 30 Aug 2024 | | | | | |
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| | | | | | | | Mark Seliger, Nikki Exotica, 2016. Gelatin silver print, 91.4 x 91.4 cm (36 x 36 in.) Collection of the artist © 2020, all rights reserved Mark Seliger |
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| | Lebohang Kganye
Mohlokomedi wa Tora, 2018, Scene 2
© Lebohang Kganye | | | | | | | | | | | | | 13 June – 22 September 2024 | | | | | | | | | | | | | Lebohang Kganye was announced as the 2024 winner of the prestigious £30,000 prize at The Photographers' Gallery, London, on Thursday 16 May 2024. The artist was awarded the Prize for the exhibition "Haufi nyana? I’ve come to take you home" at Foam, Amsterdam, The Netherlands (17 February – 21 May 2023).
The influential prize which we present annually together with The Photographers' Gallery, rewards artists and their projects recognised as having made the most significant contribution to international contemporary photography over the past 12 months.
The four international artists shortlisted for the Deutsche Börse Photography Foundation Prize 2024 are VALIE EXPORT, Gauri Gill & Rajesh Vangad, Lebohang Kganye and Hrair Sarkissian.
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 is on show at The Photographers' Gallery, London from 23 February to 2 June 2024. It will then be on display from 13 June to 22 September 2024 at the Deutsche Börse Photography Foundation in Eschborn/Frankfurt.
This year's jury was composed of: Rahaab Allana, Curator/Publisher, at Alkazi Foundation for the Arts, New Delhi, India; Quentin Bajac, Director of the Galerie Nationale du Jeu de Paume, Paris, France; Anne-Marie Beckmann, Director of the Deutsche Börs… | | |
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| | Claudia Andujar
O desabamento do céu. O fim do mundo da série Sonhos Yanomami
[The Fall of the Sky. The End of the World from Yanomami Dream series], 2002
© Claudia Andujar. Courtesy Galeria Vermelho, São Paulo | | | | | | | | ... until 11 August 2024 | | | | | | | | | | | | | The Swiss-born Brazilian photographer and activist Claudia Andujar (*1931) serves as a role model for many politically motivated artists today. She is not only an outstanding photographer but also an activist who uses her artistic voice to draw attention to social injustices and defend the rights of indigenous communities. Her political commitment is reflected in her photography, which is not only artistically documentary but also carries a clear political message.
After fleeing the Nazis, she decided to pursue a career as a photojournalist and became involved in the fight against dictatorship and violence in her new home of Brazil. From the early 1970s, she documented not only the daily life of the Yanomami indigenous community in the Amazon in northern Brazil, but also the conflicts they faced due to mining, land disputes, and diseases. Andujar henceforth dedicated her life and work to the struggle for the rights of the Yanomami, a community she joined.
As part of her five decades of dedication to the protection of the Yanomami, Andujar has taken over 60,000 photographs. She has advocated for the Yanomami through her art and has also become a vehement supporter of their rights. Her efforts helped to draw international attention to the threats they face. Many indigenous activists today refer to Andujar’s impactful work over the past decades.
Today, Claudia Andujar is considered one of the most important figures in photography in South America. Her works have been exhibited in renowned museums and galleries around the world, including the Museum of Modern Art (MoMA) in New York. She has received numerous awards and recognitions for her artistic and social work. | | |
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| | | Installation view Francisco Carolinum, Linz | | | | | | | | ... until 28 July 2024 | | | | | | | | | | | | | "Zofia Kulik – Rhythms of Power" is the Polish artist’s first survey exhibition in Austria. Besides large-format photographic works and the self-portrait The Splendour of Myself, the presentation includes parts of Kulik’s diploma project that were created between 1968 and 1971, towards the end of her studies at Warsaw Academy of Fine Arts.
For decades, Kulik has been archiving thousands of photographic negatives and compiling a huge collection of visual phenomena. The motifs are organised into more than 250 different categories, ranging from images of models in various poses to themes such as skulls, bones, vegetables, flowers, dogs, fabrics, buildings, postcards, masks, explosions or cities – to name just a few.
In the darkroom, Kulik employs an analogue process of multiple exposure to combine hundreds of single images from this archive into complex, multi-layered compositions. Sketches and stencils serve to illustrate her working method.
Zofia Kulik organises her visual materials like a choreographer of mass gatherings – controlling the rhythm as she arranges single images into rows, circles and other geometric figures; often determined by the rules of symmetry, they define a world order in the manner of a mandala or join together in a serial arrangement to create an ornament.
Kulik’s artworks were shown in the 2023 edition of Les Rencontres de la photographie in Arles, at documenta 12 in Kassel in 2007, and at the 47th Venice Biennial in 1997. Her work is also represented in leading international museums, including Tate Modern, London; Centre Pompidou, Paris; Moderna Museet, Stockholm; and MoMA, New York.
Curated by Nathalie Hoyos and Rainald Schumacher | | |
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| | | Installation view Francisco Carolinum, Linz | | | | | | | | ... until 28 July 2024 | | | | | | | | | | | | | Margaret Courtney-Clarke is a multi-award winning Namibian photographer. The exhibition at the Francisco Carolinum presents works from over 40 years of work and shows what the artist first brought into the public eye: South, West and North African indigenous women in their domestic environment.
Another focus of the artist is on the dark history of those people who historically lived in the Namib and Kalahari deserts. The long-term relationships and friendships she has built over the years not only grant her access to intimate portraits of embattled but resilient peoples, but also speak in detail to the big social justice issues of our time - persistent droughts, climate change, environmental degradation and the impact of the extractive industry in a resource-rich but water-scarce country.
Courtney-Clarke's acclaimed project Caged reflects the constraints of socio-economic and political forces by documenting fences, pens and cages that limit, protect and demarcate Namibia's individuals and places in various ways. Her ongoing quest to advocate for the neglected and overlooked is pragmatic in vision to highlight injustices, but poetic in formulation. Margaret Courtney-Clarke reveals her ingenuity and resilience, drawing attention to the ordinary in extraordinary circumstances.
Curator: Virginia MacKenny, Emeritus Associate Professor of Fine Arts, University of Cape Town, South Africa. | | |
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| | | Installation view: Hans Frank Galerie, Francisco Carolinum, Linz | | | | | | | Fascination with colour: A look into the pioneering days of colour photography | | | | | | | | ... until 8 September 2024 | | | | | | | | | | | | | Hans Frank (1908-1987) is considered a key figure in the history of the Upper Austrian State Museum's photo collection, which is largely due to his passion for collecting and expertise. By founding the first Austrian photography museum in Bad Ischl, he realized his visionary ideas by continuously enriching an exquisite collection, which today forms the cornerstone of Upper Austria's historical photography collection. The inauguration of the Hans Frank Gallery on the ground floor of the Francisco Carolinum not only pays due respect to Hans Frank, but also provides Upper Austria's photographic collection with a striking stage to present itself to the public in the future.
The opening exhibition is dedicated to the internationally outstanding collection of autochromes and early forms of transparent color light images. The brothers Auguste and Louis Lumière marked a significant milestone in 1907 with the launch of Autochrome, a technically advanced method based on additive color mixing and an emulsion of tiny, colored potato starch grains on glass plates, paving the way from monochrome to color photography. The selection of around 50 objects for this exhibition comes from the state of Upper Austria's photo collection, which includes around 1,000 early transmitted-light color images. These include unique major works by the Lumière brothers and other pioneers of color photography.
In collaboration with the Linz design office MARCH GUT, an innovative viewing system was created that allows visitors to view these extraordinary and at the same time highly sensitive image treasures in their authentic brilliance. | | |
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| | | Installation view Francisco Carolinum, Linz | | | | | | | | ... 28 July 2024 | | | | | | | | | | | | | Elfie Semotan born in 1941 in Wels, Upper Austria, is a renowned photographer who has created an extensive body of work over the past 50 years. Her ability to dissolve the boundaries between art history, fashion, advertising campaigns, and the everyday using the means of photography has become a defining characteristic of her work.
The exhibition showcases a cross-section of her work, beginning with the series "o. T. (Birkenwald), New York, 1999," in which blurry silhouettes move through a dark, "natural" environment that reveals itself as an artificially constructed backdrop upon closer inspection. This series sets the tone for the exhibition: viewers are invited and challenged to unveil the fiction within the staging and discover parallels between nature, art, and the human body.
Classical fashion photography is not to be found here, the artist deviates from the endeavour to create only aesthetically pleasing and glamorous images. Instead, the focus is on a deliberate departure from conventional norms. And unveil a less perfect and more enigmatic facet. The faces presented are often less perfect and inaccessible and elegant movements are not clichéd as an ideal, but instead shown in the form of unusual gestures.
Elfie Semotan's creative freedom in staging fashion campaigns is evident in the selected works for fashion house LISKA between 1999 and 2018, as well as in editorials for magazines such as Allure, D-Magazine, or Madame. Deep friendships with artists and designers and their appreciation of her ideas provided her with the space to implement extraordinary photographic productions. Her long, trusting collaboration with fashion designer Helmut Lang is expressed in fragmented, underexposed "backstage… | | |
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| | | Installation view Francisco Carolinum, Linz | | | | | | | | ... until 28 July 2024 | | | | | | | | | | | | | Digital images can display a maximum of 16,777,216 colors. This fact is not noticeable in everyday life, because in the visual perception the individual color pixels form into motifs, color gradients, outlines and shapes. However, in Adrian Sauer's artistic work they themselves become thematic. Like other parameters of photography, they serve the basic photographic research that the artist has been conducting for 25 years. In Sauer's work, each of these colors is represented by a pixel in a hue of the RGB (red-green-blue) spectrum. This generates images with colorful motifs from digital communication as well as latent images of gray noise that contain all kinds of images.
Of course, speaking of possible images means having an idea of what photography is fundamentally capable of depicting. A look at the history of photography and its theory makes it clear that the question of what reality photography actually shows and how it does so has been and is answered very differently. What role does objectivity play, as does the manipulation of photographic images with filters and editing programs? What are the consequences of the digitalization of photography and what are the consequences of the use of artificial intelligence to generate images?
Can a photographic image still claim to be truth in the present? Adrian Sauer approaches these questions by portraying the possibilities of digital photography and at the same time critically exploring its limits. Intellectual clarity is always combined with a pinch of humor in Sauer's work. Truth Table is the artist's first solo exhibition in Austria and offers a comprehensive insight into his oeuvre to date. | | |
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| | Alfred Ehrhardt
Sichelwellen, 1933-1936
from the series: "Das Watt"
Ann and Jürgen Wilde Foundation, Bayerische Staatsgemäldesammlungen, München
© Alfred Ehrhardt Foundation | Alfred Ehrhardt
Der Dünenkamm, 1934
from the series: "Die Kurische Nehrung"
Ann and Jürgen Wilde Foundation, Bayerische Staatsgemäldesammlungen, München
© Alfred Ehrhardt Foundation |
| | | | | | | | 14 June – 8 September, 2024 | | | Opening: Thursday, 13 June, 7pm
A cooperation between the Ann and Jürgen Wilde Foundation, the Bayerischen Staatsgemäldesammlungen (Bavarian State Painting Collections), and the Alfred Ehrhardt Stiftung, Berlin | | | | | | | | | | | | | One little-known part of the holdings of the Ann and Jürgen Wilde Foundation is the extensive collection of photographs by Alfred Ehrhardt (1901–1984), who was active as an artist, church musician, art teacher, and maker of "Kulturfilme" (scientific, educational documentaries).
Ehrhardt took up the camera in 1933 after being dismissed from his teaching post at the state art school in Hamburg, as the newly installed Nazi government’s cultural policies came into effect. During his time as choirmaster and organist in Cuxhaven, the mudflats of the North Sea coast provided a motif allowing him to try out a modern visual vernacular. With the portfolios "Das Watt" (The Tidelands, 1933–36) and "Die Kurische Nehrung" (The Curonian Spit, 1934), Ehrhardt created a series of masterful nature and landscape photographs. Abstracted organic surfaces and sculptural forms reflect an understanding of nature that sees a primal force in all creation. The same philosophical underpinnings lie in Ehrhardt’s later image series on crystals and shells.
Ann and Jürgen Wilde first came into contact with Alfred Ehrhardt in 1972 and were able to acquire an extensive collection of vintage prints from the 1930s directly from the artist. The Wildes were instrumental in the rediscovery of Ehrhardt’s camera work, with exhibitions at their gallery in 1981 and the publication of a portfolio of his work. They initiated research into his photographic legacy and supported the establishment of the Alfred Ehrhardt Stiftung in 2002, which handles his artistic estate.
The exhibition shows around 60 vintage prints, some of them large-format, and historical documents from the Ann and Jürgen Wilde Foundation’s collection. The presentation is accompanied by a publication. | | |
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| | Jean-Claude Gautrand
Le Galet (#1), 1968-1969
Gelatin silver print, vintage. Printed by the artist.
© Estate Jean-Claude Gautrand
Courtesy Les Douches la Galerie, Paris | Jean-Claude Gautrand
Recherches, Cosmonaute, 1961
Gelatin silver print, vintage. Printed by the artist.
© Estate Jean-Claude Gautrand
Courtesy Les Douches la Galerie, Paris |
| | | | | | | | ... until 13 July 2024 | | | | | | | | | | | | | Ahead of the retrospective Libres expressions, dedicated to Jean-Claude Gautrand by the Musée Réattu in Arles this summer (June 29-October 6), Les Douches la Galerie is pleased to present, for the first time, a solo show dedicated to French photographer Jean-Claude Gautrand (1932-2019). You are invited to discover his early experiments from the 1960s, with a selection of vintages from his iconic series. The book Recompositions by Jean-Claude Gautrand, published last April by Contrejour editions, accompanies these two exhibitions.
"To photograph is to engage in a race against erasure, disappearance, nothingness. It is a fight against time, a challenge to oblivion. The camera, a magical instrument capable of immortalizing the fleeting, but also the irremediable."1
It is certainly this "irremediable" quality that demands the most attention in the work of Jean-Claude Gautrand, who photographs the disappearance of things, constructions, or places to inscribe them into eternity. Photography witnesses a battle where destructive forces ally with time to erase what was thought to be eternal. The various post-war photographic clubs he frequented hardly inspired him. "Apart from the world of reporting, the photographic field was then reduced to either illustrative or documentary photography of distressing conformity".2 He discovers in volumes I and II (catalogs of the exhibitions Subjektive Fotographie I and II, from 1952 and 1955) organized by German photographer Dr. Otto Steinert, a different photography that struck him as "an atomic bomb in the mire of photography." | | |
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| | | | | | | | SAYOKO © Noriaki Yokosuka |
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| | | | photo basel 2024 | | | | | | | 11 – 16 June 2024 | | | Opening hours:
Tue, 11 – Sat, 15 June: 12 – 20 pm
Sun, 16 Juni: 12 – 6pm | | | | | | | | | | | | | photo basel is Switzerland’s first and only international art fair dedicated to photography-based art. photo basel brings together galleries from around the world in a unique, authentic setting and sees itself as an integrative and hybrid platform that connects all actors of the art world (online and IRL). As a fair, we want to actively contribute to this dialogue and make art photography even more accessible. To achieve this, photo basel has put together a varied supporting program alongside 41 international galleries (coming from 15 countries) for this year's 9th edition.
Since 2016, photo basel is located in the immediate proximity of Art Basel, situated in the beautiful compound of the Volkshaus Basel. Volkshaus Basel is a building softly renovated by acclaimed Swiss architects Herzog & de Meuron. Volkshaus is located at Rebgasse 12, just 700 meters from the Art Basel exhibition center.
photo basel welcomes 41 galleries from 15 countries to its ninth edition. Over 450 photographic positions (artworks) by 150 artists are on show.
photo basel is delighted to count among this year's new galleries Anita Beckers (Frankfurt am Main), Doyle Wham (London), In The Gallery (Copenhagen & Palma de Mallorca), inside-out gallery (Brussels), nüüd.gallery (Berlin), POLARWIND (Zürich), SmithDavidson Gallery (Amsterdam, Mexico City & Miami), AN INC. (Seoul) as well as Window Fourteen (Geneva). | | |
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| | | | | | | | | | | | | | Mon 10 - Wed 12 June
13 – 16 June 2024 | | | | | |
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| | | © Martin Ackerl; Lois Lammerhuber/Vee Speers | | | Festival La Gacilly-Baden Photo 2024 | | | | WORLD.NATURE.HERITAGE | | | | | | Baden near Vienna:
The largest outdoor photography festival in Europe will take place
from 13 June until 13 October 2024.
festival-lagacilly-baden.photo | |
| | | | | | | | | | | | | WORLD.NATURE.HERITAGE – "Humanity has opened the gates to hell", warned Secretary- General António Guterres in an impassioned speech on the margins of the UN General Assembly in September 2023. UN General Assembly in September 2023 to politicians, entrepreneurs and activists, he warned of the terrible consequences of increasingly extreme weather events. "Our concern is that all climate action will be dwarfed by the scale of the challenge”, as humanity is heading for a temperature rise of 2.8°C.
An appeal to the world that has long been inscribed at the heart of our festival. It is our duty to preserve the poetry of creation for our children. On the fundamental issues of urbanisation, biodiversity, natural resources, environmental pollution and global warming, we will try to use images to provide, if not solutions, then at least food for thought. Therefore, in our seventh festival year, we will be showing the work of the great masters of environmental photography: Nazli Abbaspour, Evgenia Arbugaeva, Yasuhoshi Chiba, Joana Choumali, David Doubilet and Jennifer Hayes, Nadia Ferroukhi, Sacha Goldberger, Richard Ladkani, Lucas Lenci, Luca Locatelli, Pascal Maitre, Beth Moon, Maxime Riché, Sebastião Salgado, Alain Schroeder, Vee Speers, Brent Stirton, Lorraine Turci, David Turnley, Peter Turnley and Cássio Vasconcellos.
"We all need Eden as a horizon," writes Cyril Drouhet in his essay in the festival catalogue. "There was a time when we had a rainbow in our heads: We believed in the future, in progress, our dreams were full of utopias. In the third millennium, this colour has turned grey. But life needs radiant colours like in photography to enchant the world again. That is the cha… | | |
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| | | | düsseldorf photo+ | | | | Biennale for Visual and Sonic Media: On Reality | | | | | | | ... until 14 July 2024 | | | | 50 participating institutions, galleries and off-spaces | | | | | | | | | | | | | | | The third edition of the Biennial for Visual and Sonic Media düsseldorf photo+ from 17 May to 14 July 2024 is themed "On Reality". In exhibitions and concerts, talks, panels and other events, current and updated photography as well as media-based art in its most diverse facets can be experienced throughout Düsseldorf. The artists will reflect in a wide variety of ways on how media significantly shapes our understanding of reality today and in the past. Computer-generated worlds of images and sounds surround us everywhere, and the Biennale integrates these into the art trail and links analogue-generated audiovisual realities. In total, the Biennale offers over 50 exhibitions and events in museums, collections, galleries, independent exhibition spaces and universities. This year's düsseldorf photo+ is being organised under the artistic direction of Pola Sieverding and Rupert Pfab. Ljiljana Radlovic oversees the project management.
Highlights from our varied exhibition programme:
In photographs, now seen as historic, Allan Sekula critically illuminates social structures operating within the industrial workforce of the USA at Galerie Konrad Fischer. The group exhibition at the gallery boa basedonart, another retrospective show, focuses on social stereotypes in relation to self-portraits. Sumi Anjuman offers a contemporary insight into gender inequality at the private Philara Collection.
Toby Binder also takes a sociological standpoint with a look at crisis-ridden milieux at the gallery Clara Maria Sels. The exhibition at Julia Ritterskamp further investigates this stance in a show of t… | | |
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| | | | RAY 2024 ECHOES | | | | 5th International Triennial of Photography | | | | | | | ... until 1 September 2024 | | | | | | | | | | | | | 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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| | | | | | Flucht in die Öffentlichkeit | | | | | | | – 16 Jun 2024 | | | | | |
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| | | | 6. Fotofestival Lenzburg | | | | Synthesis | | | | | | | Festival until 23 June 2023 | | | | | | | | | | | | | A synthesis of numerous topics
The exhibitions this year focus on the theme of 'Synthesis' and encourage us to consider the rapid advancements in technology and the overwhelming amount of information that we encounter. In the midst of this diversity, individuals can feel lost, but can also find ways to rediscover themselves and strive for balance. The theme of synthesis is also reflected in the art on display, which explores the permanence and transformation of images.
The exhibited artists address various urgent themes, such as light pollution, the intersection of bacteria and art, the love of food, the art of play, and the complexity of human relationships. Through their photographic projects, these artists evoke emotions and inspire reflection on these pressing issues in our society.
With over 300 images, 13 locations and 20 indoor and open-air exhibitions, this year's edition of Fotofestival Lenzburg is the most extensive to date. | | |
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| | | | | | Festival de photographie international et gratuit | | | | | | | – 14 Jul 2024 | | | | | |
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| | | | | | | | over 85 free outdoor photo exhibitions across all five boroughs of NYC | | | | | | | | – 16 June 2024 | | | | | | | | | | | | | | The annual Photoville Festival is returning to Brooklyn Bridge Park and in all five boroughs of NYC, June 1-16, 2024 ! This year brings a special and outstanding group of artists and programming partners to curate and present 85+ free outdoor photo exhibitions across all five boroughs of NYC . With stories highlighting hope, joy, and compassion, while honoring experiences of adversity and heartbreak, Photoville aims to elevate the power of visual storytelling by fostering empathy and understanding within our communities. Join in celebrating the kick off of this year’s festival, June 1st & 2nd, 2024 for the Opening Weekend Community Celebration in Brooklyn Bridge Park! Enjoy two full days of family-friendly activities, carefully curated photography workshops for professionals and lovers of the craft, engaging tours, and a powerfully captivating night of visual storytelling. And not to mention, free public programming throughout the month of June! | | |
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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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© 12 June 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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