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| PHOTOGRAPHY INTERNATIONAL | | 12 - 31 December 2018 | |
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| | | | | Artists’ Film Days | Symposium | Exhibitions
Since VIDEOART AT MIDNIGHT was founded in 2008, on 99 nights up to now, artists have seized the opportunity to show their film and video works outside of the usual exhibition context for once: at the cinema, on the big screen. At the center of the anniversary is a two-day artist film and video program at Kino Babylon in Berlin Mitte: 100 Artists—100 Films. The program kicks off on Friday night with the 100th edition of VIDEOART AT MIDNIGHT with Ed Atkins. |
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| | | Peluquería, Limones, 1979 © Ouka Leele | | | | | | | | | | | | | 21 December 2018 – 6 March 2019 | | | | Opening: Thursday 20 December 17:30 | | | | | | | | | | | | | In December Foam will present the exhibition Feast for the Eyes - The Story of Food in Photography. This exhibition shows the rich history of food photography - not only in the visual arts, but also in commercial and scientific photography and photojournalism. From the banality of the diner-breakfast special of Stephen Shore to the allegorical still life of Laura Letinsky, from Roger Fenton's extensive nineteenth-century displays of food to the cookbooks of the sixties. The extensive exhibition, Feast for the Eyes - The Story of Food in Photography, explores the most important figures and movements in food photography.
Due to the complexity of the form, the meaning of food, and the fact that it is often available, it has become a much-photographed subject through the history of photography. Interest in both food photography and food as a subject has increased in the recent years. By sharing photos on social media platforms such as Instagram, Snapchat, Facebook and Twitter, photography has become part of the dining experience itself. Photos of food are rarely just about food, food can represent a lifestyle or a nation, hope or despair, hunger or excess. | | |
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| | | Artefact #1: Polyresin (USA/China), 1981 © Daan Paans | | | | | | | | 21 December 2018 – 10 February 2019 | | | | Opening: Thursday 20 December 17:30 | | | | | | | | | | | | | This winter Foam shows the work of Dutch artist Daan Paans in his first solo museum exhibition Panta Rhei. Comprising photography, sculptures and a video piece, in this exhibition the artist plays with the way in which we assign value to artworks and historical artefacts, and how our interpretations change imperceptibly over time.
In the opening scene of Indiana Jones – Raiders of the Lost Ark (Steven Spielberg, 1981), the fictional archaeologist Indiana Jones manages to obtain the coveted Golden Idol from a hidden temple deep in the Peruvian jungle. This magical film prop is based on a pre-Columbian statuette – Dumbarton Oaks’ Birthing Figure – that allegedly represents the Aztec goddess Tlazolteotl. Research has revealed, however, that this figurine in the collection of the Dumbarton Oaks Museum in Washington is not pre-Columbian after all, but was most likely produced in Europe or Asia in the nineteenth century.
Paans was captivated by the confusion between replica and original, and how the museum assigned value to an object that is in no way related to any original effigy of Tlazolteotl. The artist continued this cultural mutation. He bought a plastic replica of the Golden Idol, photographed it, and sent the photograph to an artisan. Based on the photo – which shows only one side of the figurine and gives no indication of the object’s size – this artisan then created a replica of his own, which he sent back to Paans. Paans photographed this new version, sending the photograph to yet another maker, and so on; but each maker only saw the photographed version of the previous maker’s figurine. The artisans belonged to different countries, including Mexico, China, Uganda, Gree… | | |
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| | | © Bastiaan Woudt, Tinotenda Mushore, 2018 © Schilte & Portielje, 18_B15- 119X195CM | | | | | | | | | | | | | on show until January 18th, 2019 | | | | | | | | | | | | | | This exhibition has been selected by the whole Kahmann Gallery team and all of the represented artists will be on show. It will provide a unique insight into the personal choices behind an exhibition. The common denominator between the works is the personal meaning they have to the Kahmann Gallery team. Works of several important periods will be on show, from vintage to the newest talents. | | |
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| | | | | | | | Christer Strömholm, Sillans-la-Cascade, France, 1958 |
| | | | | | | | | | | Fri 14 Dec 18:00
15 Dec 2018 – 9 Feb 2019 | | | | | |
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| | | A.W.C. #0492 Chromogenic color print acrylic face-mounted 120 cm x 120 cm © Ralf Tooten | | | Ralf Tooten » A.W.C. 2018 - Asian Workers Covered | | | | On the occasion of the first Bangkok Art Biennale 2018 | | | | 12 December 2018 – 3 February 2019 | | | | | | | | | | | | | In Thailand, completely covered up construction workers are a familiar sight. Thousands of them toil in intense heat on skyscrapers and along roadsides. In their lunch-breaks, they sit by the side of other people’s dreams they have been recruited to build, and laugh, eat and smoke, sometimes without removing their protective clothing - masks, sunglasses, balaclavas, scarves - which renders them virtually invisible to ordinary Thais.
The brilliance of Ralf Tooten’s stark portraits of these "AWC – Asian Workers Covered" – rests in his ability to make a social taboo highly visible. Tooten shot the original AWC series between 2006 and 2009. He set up his mobile studio – a dark background, a few lights – in quiet corners of Bangkok’s construction sites and photographed scores of male and female workers from Thailand, Laos, Cambodia and Burma. In 2012, Tooten shot a second series of portraits in Ratchaburi, a town in central Thailand, and went on to spread his work across 2000 square meters of vinyl banners on the town’s public structures – the first time contemporary art was made accessible to so many people in Thailand.
The photographs, all taken on a mid-format Hasselblad V on negative film, are deceptively simple. There’s a fashionable and yet arbitrary riot of colors at play in the subjects’ head and face coverings that betrays a stubborn vivacity quite in contrast to their blank eyes. And there are weightier reasons than heat, dust and pollution for the workers’ disguises. In many parts of Asia, light skin is seen as highly desirable, a visual marker for class and wealth. As a consequence, the men and women Tooten captured fear the sun. And as many are illegal foreign… | | |
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| | | | | | | | Penny Slinger: Promised a Bed of Roses, 1973 |
| | | | over 300 artworks from the Vienna SAMMLUNG VERBUND collection | | | | | | Tue 11 Dec 18:00
12 Dec 2018 – 3 Mar 2019 | | | | | |
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Veronika, WIR ANDEREN © Kati Bruder |
Fadel, WIR ANDEREN © Kati Bruder |
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| | | | | | | | | until 16 May 2019 | | | | | | | | | | | | | The title of Kati Bruder’s work combines two concepts, which are in fact opposites: we and the others. What usually stands in confrontation to one another meets in agreement, on the same level. The title becomes a statement calling for reconciliation, for an acceptance of differences and contrasts, and even for new reflections and encounters. The "We" prevents a comfortable distance wherefrom the observer can look at and judge the world in order to dissociate himself from what appears to him as unusual or unfamiliar.
The surrendering of the safe position is pictured in the opening of doors to private living spaces. The gaze of the Other can enter without encountering an obstacle and leads straight to the "I". It becomes personal. The observer is a part of the action and becomes an element of the picture. The threshold, which leads from the shared to the private space, signifies an intersection where many impressions meet.
"We, the Others is a project about the perception and the forming of communities in our society, about the emergence of a sense of belonging, cohesion, exclusion, loneliness, proximity in space and isolation. It is a visual work about visibility and representation." (Kati Bruder)
More information: www.katrinbruder.com | | |
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| | | | | | | Day 02: NRW, Weisweiler: harvesting hay in front of the powerstation.
© Andreas Teichmann |
| | | | | | | | | | | | 50 days – A hike across Germany | | Sun 16 Dec 15:00
17 Dec 2018 – 20 Jan 2019 | | | | | |
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| | | | | | | | | | (The last deep mine - life without coal) | | | | | | Tue 18 Dec 18:30
19 Dec 2018 – 6 Apr 2019 | | | | | |
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Single Image from Surveillance Panorama Project No. 4
Vienna MMIX 10008/7000, 2009 |
Single Image from Surveillance Panorama Project No. 4
Vienna MMIX 10008/7000, 2009 |
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| | | | © Jules Spinatsch, 2018
Courtesy Galerie Luciano Fasciati, Chur
Christophe Guye Gallerie, Zürich | | | Jules Spinatsch »
Semiautomatic Photography 2003-2020 | | | | 12 December 2018 – 27 January 2019 | | | | | | | | | | | | | Jules Spinatsch is one of the most important Swiss photographers on the international scene today. To be specific, he has exhibited at the MoMA in New York, the Fondation Cartier in Paris, the Villa Arson in Nice, the Walker Art Center in Minneapolis, Tate Modern in London, the SFMoMA in San Francisco, as well as at Kunsthaus Zürich or the Fotomuseum Winterthur, to mention only those institutions.
The exhibition sums up the panoramic photography projects he has carried out between 2003 and 2018. The artist first used a webcam technique he had developed in collaboration with the engineer Reto Diethelm, then after 2012 he used a computer-controlled SLR that he programmed himself. To explain the principle in a few words: Following a precise grid, a camera records single images at regular intervals over a timespan of between one and 24 hours. Then all the single images are combined in chronological order into a large panoramic view. The panoramic image conveys one continuous space that is cut into time fragments. Once the camera is released, it runs on its own. The camera controls the space but not the action.
"Jules Spinatsch Semiautomatic Photography" is a continuous sequence of manual and automated image-making. Starting in 2003, the date of his first solo exhibition at the CPG entitled Temporary Discomfort, he succeeded in responding artistically to a method of photographic production which would subsequently only become more widespread, namely automated surveillance photography. The first panorama made in 2003 during the World Economic Forum [WEF] in Davos, the photographer’s birthplace, marks a turning-point in the history of critical documentary photography.
It has to be remembered that three years earlier Allan Sekula had immortalised the nascent alternative globalization movement in Waiting for Tear Gas. As a private citizen (with no press card or accreditation) he photographed the major demonstration in Seattle against the globalisation of the economy from within the middle of the crowd. | | |
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| | © Erik Madigan Heck, Family in Turquoise, 2017
Courtesy Christophe Guye Galerie | | | | | | | | until 27 January 2019 | | | | | | | | | | | | | | | | In his Old Future series, American photographer Erik Madigan Heck (b. 1983) explores the intersection of photography and painting as he borrows from and bends the genres of fashion photography, landscape painting and portraiture. Heck quickly gained prominence as a fashion photographer – his work has appeared in Harper’s Bazaar, Vanity Fair and The New York Times Magazine – while at the same time making a name for himself in the art world thanks to a sui generis photographic language. Influenced by Romantic painters, Impressionists and Les Nabis, he is able to convey the essence of painting through his lenswork and deft interplay of vivid colors and a pointillist style, producing oneiric images that transcend time. The fashion industry serves as a creative laboratory for Heck, whose creations nevertheless build on the work of the 20th century painters he admires. | | |
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| | ANSEL ADAMS
Moonrise, Hernandez, New Mexico, 1941
Gelatin silver print
© The Ansel Adams Publishing Rights Trust | | | Ansel Adams » Landscapes of the American West | | | | until 2 February 2019 | | | | | | | | | | | | | "When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence." Ansel Adams
Atlas Gallery is delighted to present Ansel Adams: Landscapes of the American West, an exhibition of works by the celebrated landscape photographer and environmental activist. This is the first time for many that a significant body of Adams work will be exhibited in a London gallery. The exhibition opening on Thursday 29th November will coincide with the Chiltern Street Christmas Evening reflecting its 2018 focus on environmental consciousness.
Landscapes of the American West demonstrates Adams’s technical mastery and innate sensitivity to nature. It features some of Adams’s most dramatic and recognisable images including the haunting Moonrise, Hernandez, New Mexico, 1941 in which a solitary moon hovers over wraithlike clouds blanketing a valley near Española in Santa Fe. ‘I felt at the time that it was an wrote. ‘There seems to sense of satisfaction when the shutter is released for certain exposures.’ No two prints of Adams’s photographs are exactly the same and Moonrise, Hernandez, New Mexico varied over the years as he ‘sought more intensity of light and richness of values.’
Adams grew up in San Francisco amid the sand dunes beyond the Golden Gate. From an early age he fell in love with the landscape around him; his life ‘coloured and modulated by the great earth gesture of the Yosemite Sierra’. For Adams the wilderness was one of great depth, ‘a mystique: a valid, intangible, non-materialistic experience’. His connection to Yosemite lasted his whole life, frequently returni… | | |
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| | | | | | | | Luxembourg Portraits 2018 © Marc Wilwert |
| | | | | | | | 30th anniversary of Gallery Clairefontaine | | Fri 14 Dec 18:00
14 Dec 2018 – 19 Jan 2019 | | | | | |
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| | | | | | | David LaChapelle, Tupac Shakur: To Begin Again, 1996
© David LaChapelle, Staley Wise Gallery. |
| | | | | | | | | | | Thu 13 Dec 18:00
13 Dec 2018 – 2 Mar 2019 | | | | | |
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| | | Untitled, Polaroid & Gold, unique, 1.290€ © Fabien Dettori | | | MEMORIES | | | | | | | until 22 December 2018 | | | | | | | | | | | | | To allow collectors to celebrate Christmas with art, Galerie Thierry Bigaignon is showcasing small format photographs, through the works of three French artists: Thierry Urbain, Fabien Dettori and Thibaud Yevnine, and to make them accessible widely prices start at 690 euros only, framed!
"Experience is a memory, but the opposite is true," wrote Albert Camus! The exhibition "Memories" came to Thierry Bigaignon’s mind when he discovered the different styles of these three artists. Each of them creates singular images, but yet, when you have a closer look at the images, you soon realize that they have one particular thing in common. They all have the power to take you to a kind of mental journey through a period in time that is gone, that seems familiar to us without us knowing it! These photographs, by their dreamlike nature, are loaded with imaginary memories.
The three artists have a particular relationship with the photographic medium: whereas Thierry Urbain plays with textures, applying different layers to his photographs and bringing out a notion of mystery, Fabien Dettori does not hesitate to tear up his Polaroids to better sublimate them as he reconstitutes them with gold leaf, following the example of the Kintsugi philosophy that inspires him. Thibaud Yevnine, for his part, opts for the palladium to give his images a tone that perfectly highlights this idea of mental journey, of dream, of memory in short. And Thierry Bigaignon added: "I was willing to organize a group show for the end of the year with, if possible, small formats, presented as ‘jewels'. When I discovered the work of these artists, I was instantly seduced by their respective approaches. They each have a unique signature but I s… | | |
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| | | | | | | | Alexis Roitman, 2018. Courtesy of the artist |
| | | | | | | | ACP's annual celebration of the talent existing within our student community | | Thu 13 Dec 18:00
14 Dec 2018 – 7 Feb 2019 | | | | | |
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| | | | | | | Ted Witek
Riverfront Bridge
Toronto, 2018 |
| | | | | | | | | | | Thu 13 Dec 17:00
13 Dec 2018 – 13 Feb 2019 | | | | | |
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| | | | | | | | | | | | | Thu 13 Dec 10:00
8 – 11 Dec 2018 | | | | | |
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| | | | | | | | | | | | | | 12 – 16 December 2018 | | | | Opening: Friday 14 December 2018, 22:00 | | | | | | | | | | | | | Since VIDEOART AT MIDNIGHT was founded in 2008, on 99 nights up to now, artists have seized the opportunity to show their film and video works outside of the usual exhibition context for once: at the cinema, on the big screen, before a big audience that views the entire work together, focused, and from beginning to end. In the ten years of its existence, the series has developed into an internationally renowned platform for artist films and video, highly appreciated not least by the artists living in Berlin. The 100th edition is a cause to celebrate— the anniversary, cinema, art, and of course the artists themselves.
At the center of the anniversary is a two-day artist film and video program at Kino Babylon in Berlin Mitte: 100 Artists—100 Films. The program kicks off on Friday night with the 100th edition of VIDEOART AT MIDNIGHT with Ed Atkins. For the festival program on the following Saturday and Sunday, all of the artists who have been guests over the years are once again invited to show a new piece of work or one that is particularly important to them. Many of them will be attending in person and presenting their work to the audience.
Before this weekend, an international symposium, curated by Marie-France Rafael and entitled Future Continues Present(s)—“Video Art” Through Time, will take place at Hamburger Bahnhof – Museum für Gegenwart – Berlin. For two days, experts and practioners will be discussing issues such as media archaeology, medium specificity, or the exhibition, collection, and conservation of video art, raising questions on the past, present, and of course the future of the genre. Part of the symposium is a Keynote Lecture at the Neuer Berliner Kunstverein (n.b.k.). The night before the symposium opens, Wulf Herzogenrath, whose work as a curator has made important contributions to establishing video art in Germany over the past decades, will provide insights into his career and the history of video art, moderated by Franziska Stöhr, at Akademie der Künste.
A video art festival would not be complete without exhibition of the medium in space. In cooperation with renowned Berlin institutions, four presentations will be taking place as part of the festival, which will put video art and artists’ films into focus in a different manner. The Berlinische Galerie will be showing an expansive video sculpture by Raphaela Vogel in her first solo exhibition in a Berlin institution, the KW Institute for Contemporary Art will be presenting an installation by Christian Friedrich, Galerie Pankow will be engaging with the filmic work of Barbara Metselaar Berthold, an artist primarily known as a photographer, and the Akademie der Künste will for the first time open the archive of Wulf Herzogenrath to the public, which is housed there.
During the entire festival, as part of the Campus event, students of four German art schools have the opportunity to engage with the artists present during backstage conversations and to benefit from their expertise. | | |
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| | | | | | As We May Think: Feedforward | | | | | | 21 Dec 2018 – 10 Mar 2019 | | | | | |
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| | | | | | | | | | | | | Fri 14 Dec 19:00
15 Dec 2018 – 11 Jan 2019 | | | | | |
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| | | | | | Possibilities for a Non-Alienated Life | | | | | | 12 Dec 2018 – 29 Mar 2019 | | | | | |
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| | | | | | | Bangkok Art Biennale’s installation of A.W.C. portrait #8991 at BACC Bangkok
mounted vinyl banner 1400 cm x 1400 cm © ralf tooten |
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| | | | | | | | © Munem Wasif, Kheyal (still) Single channel, 23m30s, BW, Stereo, loop, 2018 |
| | | | | | | | | | | 24 Nov 2018 – 28 Apr 2019 | | | | | |
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| | | | | | | | Entre Morros 2014 © Claudia Jaguaribe |
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| | | Vincent Fournier : Man Machine | | | | | | | The Wind of Time | | | | | | | | 1 December 2018 – 3 January 2019 | | | | | | | | | | | | | Lianzhou Foto Festival celebrates photography with over 60 international shows and a thematic exhibition. The theme exhibition ‘The Wind of Time’ of Lianzhou Foto Festival 2018 will gather the work of 25 local and international photographers, all investigating the ways we have shaped our world to fit our modern needs, technological ambitions, globalized and liberal ideals – and how in turn, this new modern world has shaped us, impacted labour and trade, modified the way we interact and occupy space. Curated by French curator Jérôme Sother, the theme exhibition will present artists such as Mathieu Pernot, Mohamed Abakar, Jacqueline Hassink, Yann Mingard, Oliver Sieber, Zhou Tao, Tom Wood, Salvatore Vitale, David de Beyter, Eline Benjaminsen, Lau Wai and more.
Furthermore 30 solo exhibitions are included by Paulo Coqueiro (Brazil), Erwin Blumenfeld (Germany / USA), Koji Onaka (Japan), Zhang Kechun, Zhang Er (China). | | |
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| | | | | | | | © Marie Hudelot, Camouflage Aux Plumes, from the series Heritage |
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| | | | | | | Thomas Bangsted, Sopnes, 2017
Courtesy the artist & Gallery Tom Christoffersen
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| | | | Photography to end all Photography | | | | | | – 31 Dec 2018 | | | | | |
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| | | | | | Brave New World | | | | | | – 10 Feb 2019 | | | | | |
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| | | Anna Skladmann, Jacob shooting at ballerinas, Moscow 2009, from the series Little Adults | | | | | | | 21 exhibitions, 142 artists of Greek and international photography | | | | | | | | until 19 January 2019 | | | | | | | | | | | | | The Thessaloniki PhotoBiennale 2018 presents to the public 21 exhibitions of Greek and international photography, of varying themes and photographic approaches, with the participation of 142 artists from many countries of the world. At this year's event, the central exhibition entitled Capitalist Realism is curated by Penelope Petsini and assistant curator Fotis Milionis. Structured in two large sections hosted at the Thessaloniki Museum of Photography and the Thessaloniki Contemporary Art Center, the exhibition attempts to highlight issues that contribute to the emergence or exacerbation of economic crises in the international environment, on a contemporary and historical horizon. This year's event, which marks the 30th anniversary of its founding, adopts some new ideas and practices for the festival | | |
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| | | I’m just Wan Chai girl, 2018 © Lau Wai. Jimei x Arles Discovery Award | | | | | | | | | | | | | – 2 January 2019 | | | | | | | | | | | | | Co-produced by Three Shadows Photography Art Centre and Xiamen’s Jimei District - Tianxia Jimei Media, the festival’s art direction is ensured by Bérénice Angremy and Victoria Jonathan, co-founders of cross-border art agency Doors 门艺. This year, the festival will boast 30 exhibitions and feature the work of 70 artists from the United States, France, Switzerland, Poland, Turkey, South Korea, Slovenia, and of course China.
Bringing each year to China exhibitions from one of the most renowned photo festival in the world, Rencontres d’Arles, Jimei x Arles also aims at providing a platform for new Chinese photography with several exhibitions showcasing young Chinese photographers and curators. Aside from the Jimei x Arles Discovery Award, which rewards a Chinese photography talent with 200,000 RMB and an exhibition at Rencontres d’Arles the next summer, the festival has created in 2017 a special prize for women photographers: the Jimei x Arles – Madame Figaro China Women Photographers Award, co-organized with women's magazine Madame Figaro, with the support of Women in Motion, an international programme launched in 2015 by luxury group Kering to showcase the contribution of women to the film and image industry.
Along with the exhibition program, a number of events are organized for photography professionals, art lovers and the public during the Opening Week: PhotoFolio Reviews, public discussions about photography, performances, university lectures, and exhibition tours guided by artists and curators. | | |
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© 5 December 2018 photography-now.com
Ziegelstr. 29 . D–10117 DE . Berlin . Editor: Claudia Stein + Michael Steinke . contact@photography-now.com . T +49.30.24 34 27 80 |
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