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| PHOTOGRAPHY INTERNATIONAL | | 13 - 20 February 2019 | |
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| | Los Angeles Art fairs 2019 | | | Frieze is launching a new annual contemporary art fair in Los Angeles! 70 of the most significant and forward-thinking contemporary galleries on display at Paramount Studios. Premiering February 15 –17, 2019.
frieze.com
ALAC Art Los Angeles Contemporary presents from February 15 –17, 2019 top established and emerging galleries from around the world.
artlosangelesfair.com |
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Paramount Pictures Studios, Hollywood, Los Angeles | | | | | | | |
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| | "Rage for color", Look, October 15th, 1958.
(models from the left to right : Renée Breton, Tess Mall, Dolores Hawkins, Anne St. Marie, Bani Yelverton)
© The Estate of Erwin Blumenfeld | | | | | | | 15 February - 14 April 2019 | | | | PUBLIC OPENING: Thursday 14 February 2019 from 17.30 hours | | | | | | | | | | | | | | From 15 February, Foam will be showing the colour photography of the influential German photographer Erwin Blumenfeld. Blumenfeld (1897-1969) was born in Germany. He mastered photography in the Netherlands, where he shot portraits. After he went to Paris he built a career in fashion photography for a few years and he only worked in black and white. He liked to experiment with various techniques such as double exposure, distortion and solarisation. But from the moment that colour photography was introduced to the world, he transformed his original compositions in black and white into colour. | | |
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| | | From the Series Train Church. Photograph by Santu Mofokeng (b.1956) © Santu Mofokeng Foundation. Image courtesy of Lunetta Bartz, MAKER, Johannesburg and Steidl GmbH. | | | | | | | | 15 February - 28 April 2019 | | | | PUBLIC OPENING: Thursday 14 February 2019 from 17.30 hours | | | | | | | | | | | | | This year marks the 25th anniversary of South Africa’s first democratic elections, followed by the inauguration of Nelson Mandela as president in 1994. This historic event marked the end of apartheid: a regime of institutionalised racial segregation that was in effect from 1948 to 1991. South African photographer Santu Mofokeng (b. 1956) documented the everyday lives of rural sharecroppers and of labourers in the townships. At a time when propaganda dominated the media, his images offer a more nuanced understanding of daily life under apartheid and after. Foam presents a major monographic exhibition with previously unseen works from the photographer’s personal archives. The exhibition brings together 11 visual stories that each narrate an hour, a week, or sometimes years of everyday life in a rapidly changing political climate.
Mofokeng grew up in Soweto, a township on the outskirts of Johannesburg. As a black photographer under apartheid, he would be one of the few to document various South African communities up close and from within. The exhibition brings together a number of important photographic essays, including Mofokeng’s first and most celebrated visual story Train Church (1986): a report on the spontaneous religious rituals that occurred in the commuter train between Soweto and Johannesburg. Other photos portray street life and the shebeens (illicit drinking establishments) in the townships of Soweto and Dukathole. The exhibition also presents early journalistic images of unionization and political rallies that formed the prelude to the eventual abolishment of apartheid and the election of Nelson Mandela as president in 1994. Together, hundreds of photographs paint a dynamic portrait of a complex society in a state of transition. | | |
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| | | | | | | | Trine Søndergaard, "Guldnakke #6," archival pigment print, 2012. Courtesy of the artist. |
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| | | | | | | | Paula Markert, Ring/Halqa, 2018 © Paula Markert, courtesy Vonovia Award für Fotografie 2018 (2. Preis Beste Fotoserie) |
| | | | | | | | | | | | Thu 14 Feb 19:00
15 Feb – 21 Apr 2019 | | | | | |
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| | | | | | | | © Laia Abril from the series "The Epilogue" |
| | | | | | | | | | | | Thu 14 Feb 19:00
15 Feb – 21 Apr 2019 | | | | | |
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| | © Edward Burtynsky
Log Booms #1, Vancouver Island, British Columbia, Canada, 2016
Series: The Anthropocene | | | | | | | | 12 February – 18 April, 2019 | | | Lecture
Edward Burtynksky and Prof. A. Levermann, Potsdam Institute for Climate Impact Research:
Thursday 14 February, 7 pm | | | | | | | | | | | | | Humankind reached an unprecedented moment in planetary history. Humans now affect the Earth and its processes more than all other natural forces combined. The "Anthropocene Project" is a multidisciplinary body of work combining fine art photography, film, virtual reality, augmented reality, and scientific research to investigate human influence on the state, dynamic, and future of the Earth.
Galerie Springer Berlin is showing a high-quality selection of new photographs from the "Anthropocene Project".
The entire body of work is currently being shown simultaneously at the Art Gallery of Ontario and the National Gallery of Canada. The documentary film "The Anthropocene: The Human Epoch" by Jennifer Baichwal, Nicholas de Pencier and Edward Burtynsky will soon be shown in cinemas.
The book "The Anthropocene" has just been published by Steidl in Göttingen.
Detailed information about the entire project: theanthropocene.org | | |
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| | | Echappée Belle: Installation D'Isabelle Graeff, Exit © Blitz Photo Agency / CDI | | | | | | | | until 27 September 2019 | | | | | | | | | | | | | | | Isabelle Graeff moved to England after a death in the family. Coming to terms with significant events in a person’s life requires time for recentering and questioning of identity. The personal circumstances intuitively put the German photographer in tune with the particular atmosphere in a country on the threshold of the Brexit decision.
Her work is not beholden to a specific genre. Isabelle Graeff’s snapshots seem to draw a portrait of the country. Just as the change of seasons introduces a mood shift, so her visual inventory catalogues an atmosphere that portends an upheaval. Perhaps it is merely subjective impressions that retrospectively make the connection between the photographs and Brexit and give the collection its name. But aren’t images always the result of subjective impressions? And isn’t the viewer’s gaze invariably tinted by interpretation?
Viewing it from the other side of political developments, a wholly new portrait emerges, showing a desolate cultural landscape, wide nature shots, austere urbanity and a variety of human faces. Stagnation and change, expectation and wonder, proximity and distance, familiarity and foreignness alternate. The glance towards strangers is fleeting. The alternation of subjects from image to image conveys a feeling of movement through space and progress through time. The photographer lines up impressions like links in a chain. Just like a jigsaw puzzle, these snippets combine to form a full picture between subjective premonition and factual documentation – the freedom of deciphering it is up to the viewer.
More Information: www.editionexit.com | | |
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| | | | | | | | Die Geister der Ahnen © Werner Bollmann |
| | | | | | | | | | | | Fri 15 Feb 19.30:00
15 Feb – 7 Apr 2019 | | | | | |
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Facial representation of a young adult woman.
Skull registration number 2012. El Museo Canario.
Her remains were found in Guayadeque, Gran Canaria. |
Woman, 2018. Her family from La Palma.
© Francesca Phillips |
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| | | | Francesca Phillips » The Quest for Ancestral Faces
(La búsqueda de caras ancestrales) | | | | until 31 March 2019 | | | | | | | | | | | | | Originally arriving in the Canary Islands to photograph the lives of cave dwellers, Francesca Phillips became intrigued by the mysteries surrounding their indigenous population. Produced and curated by Francesca, the exhibition is the result of her multidisciplinary art and science research project that includes themes of migration, identity and culture, the objective of which is to provide a more complete picture of the heritage of the islands, and establish a connection between the ancient Canarians and the people of today.
Just over five hundred years ago the Castilians invaded and conquered a mysterious and isolated population lying between the three continents of Africa, Europe and America. Pliny the Elder wrote about the Canary Islands in his encyclopaedia Naturalis Historia in AD 77-79, and throughout the centuries the archipelago has sustained continuous migratory waves. Genetic analyses have now established that these original inhabitants were similar to North African Berbers, and that their DNA remains in the contemporary Canarian population. Francesca has made fifty portraits of people from across the eight islands, along with video interviews and conversations between experts in the fields of genetics, archaeology and anthropology.
Their appearance an enigma until now, fifty faces of the ancient population are finally revealed. Thanks to the collaboration of Face Lab, based at Liverpool John Moores University in the UK, the contemporary portraits are juxtaposed with facial depictions from skulls dating from the 6th century. This work has been done by Dr. María Castañeyra-Ruiz, a visiting forensic anthropologist from Fuerteventura, and led by Face Lab´s director Professor Caroline Wilkinson, world renowned for her facial depictions of Rameses II, J. S. Bach and King Richard III amongst others. This is the largest facial reconstruction project ever undertaken from a single archaeological population anywhere in the world. | | |
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| | | © Viviane Sassen, Belladonna, from the series Parasomnia, 2010. Courtesy Stevenson Gallery, Cape Town | | | | | | | | 16 February – 26 May 2019 | | | | Opening: Friday 15 February 18:30 | | | | | | | | | | | | | In fairy tales, the mirror often symbolizes a door to another world. Dutch artist Viviane Sassen (b. 1972) sees her photographic work as a mirror, a means of evoking the world of dreams and exploring the subconscious in everyday moments. The exhibition Hot Mirror, which includes pieces from the past ten years, weaves an astonishing narrative from the work of this internationally acclaimed artist: a sort of self-portrait. Sassen’s photography captures the strange, the magical and the wondrous. Hot Mirror contains images from several of her past series: Flamboya, photographs taken in Kenya, where Sassen spent three years during her childhood; Parasomnia, which seeks to evoke the feeling of dislocation between waking and sleeping; and UMBRA, an exploration of shadow in both the physical and psychological sense. Also included are images from her most recent series, Of Mud and Lotus, in which photographs are transformed through collage and paint with a focus on two of the artist’s recurring themes: maternity and fertility. Last but not least, Sassen invites us into her captivating world with TOTEM, an immersive installation composed of mirrors and moving images. Here, visitors are plunged into an infinite landscape and transformed by cast shadows, their presence interacting with the artist’s projection and adding to its disorienting effect. Sassen’s visual poems themselves act as mirrors, reflecting viewers’ questions back at them rather than providing answers.
The exhibition was produced in collaboration with The Hepworth Wakefield museum in Great Britain and is accompanied by a book in English published by Prestel. The artist is represented by Stevenson Gallery in Cape Town. | | |
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| | | © Laura Letinsky Untitled, from the series Time's Assignation, 2002. Courtesy gallery Yancey Richardson, New York | | | | | | | | 16 February – 26 May 2019 | | | | Opening: Friday 15 February 18:30 | | | | | | | | | | | | | The work of Laura Letinsky (b. 1962) sends us back in time. Shooting with Polaroid Type 55 film – the famous instant-development process that creates a single image – Letinsky photographs fruit, flowers, food, cutlery, and other everyday objects. Those familiar with the Canadian artist’s work will recognize her still lifes, a genre in which she has stood out since the 1990s. Like many photographers working prior to the digital age, Letinsky used a Polaroid for tests. But just as she was about the throw away these test images, she became intrigued by how they had deteriorated. The material had changed in unexpected ways and offered a lesson on the vulnerability of life. Digital technology has made much of contemporary photography immaterial and, in many ways, sharp and bright – there is something gripping, therefore, about Letinsky’s Polaroids, degraded as they are by the development process, chance, and the passage of time. They have an air of mystery, of strangeness: a metaphor for life itself.
The exhibition is accompanied by a book in English from Radius Books. The artist is represented by Yancey Richardson Gallery in New York. | | |
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| | | © SMITH, Spectrographies 08, 2014. Courtesy galerie Les Filles du Calvaire, Paris | | | SMITH » SPECTROGRAPHIES | | | | 16 February – 26 May 2019 | | | | Opening: Friday 15 February 18:30 | | | | | | | | | | | | | Self-metamorphosis plays a central role in the artistic practice of French artist SMITH (b. 1985), whose poetic images invite reflection and evoke the memory of absent bodies. The Spectographies resemble laboratory images and reference new technologies that allow us to see, touch and communicate with physically absent beings through the screen. SMITH uses an infrared camera to explore and transform anatomy, and to seek to represent what lies beyond the body. The resulting thermographic images, or thermographs, are specters conjured from absence. In an accompanying film, a figure walks alone in the night. Here, too, the body becomes phantom; absence becomes a material force that affirms its presence through an excess of light. In this tête-à-tête with the invisible, what has disappeared reappears. For the artist, it is a means of bringing together philosophy, literature, cinema, science and psychoanalysis into a body of work that shines a spotlight on the invisible.
The exhibition was produced in collaboration with Les Filles du Calvaire Gallery in Paris. Joël Vacheron’s interview with SMITH appears in Could you talk about…, a triannual series published by MBAL. | | |
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| | | CHARCOAL BURNING WITH GIRAFFE & WORKER, 2018 © Nick Brandt Courtesy ATLAS Gallery London | | | | | | | until March 7th 2019 | | | | | | | | | | | | | Atlas Gallery is delighted to announce the launch of Nick Brandt's much anticipated new body of work THIS EMPTY WORLD. Please join Atlas Gallery this February for the release of the prints, the new exhibition and the publication of Brandt’s new book.
The series addresses the escalating destruction of the natural world at the hands of humans, showing a world overwhelmed by runaway development, where there is no longer space for animals to survive.
Photographed on unprotected, inhabited community land in Kenya, the project is shot mostly at night with constructed sets and an enormous cast. Each image is a combination of two moments in time cap- tured weeks apart, almost all from the exact same locked-off camera position. For the very first time, Brandt's new work is in colour and digital medium format. | | |
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| | | Erik Johansson, Cumulus & Thunder 2017 | | | | | | | | February 14 – May 12, 2019 | | | | | | | | | | | | | The Lumiere Brothers Center for Photography is presenting to the Russian public, for the first time, the work of the young Swedish photographer Erik Johansson, known for his staged surreal landscapes. Each of his works consists of fragments of many images, carefully processed and cleverly combined in a graphics editor. Johansson boldly invades images with manipulation, constructing fantasy scenes and expanding the boundaries of human perception.
From an early age, he drew constantly, inspired by the works of great surrealist artists: Rene Magritte, Salvador Dali and the graphics of Maurits Escher, until he acquired a camera and mastered the art of graphic processing of images. It was just a fascinating experiment at first, but very soon Johansson devoted himself entirely to photography, however not in the classical sense.
Erik does not capture a moment, but realizes his fantasies, using the camera and fully constructing places and situations. Combining real-life objects in the frame, he seeks to maximize the realism of the image, so that his fantasy worlds seem genuine. "No one can say that it doesn't look realistic if I really captured it all on camera," he comments, defining his style as "photorealistic surrealism".
The whole process of creating the work is divided into three stages. The first is drawing. Johansson works through a lot of ideas on paper. Once he has selected the best, he looks for places, architectural structures and objects that could be part of the final image. This stage can last for months or even years. He then takes pictures of the objects and works on the footage on a computer, connecting the elements and processing the frame. All stages of the process are equally important for the final image. | | |
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| | | | | | | | Zanele Muholi, ZaVa, Amsterdam, 2014. National Gallery of Canada. Courtesy of the artist, Yancey Richardson, New York, and Stevenson Cape Town / Johannesburg. |
| | | | Photographs from the National Gallery of Canada | | | | | | | 15 Feb – 26 May 2019 | | | | | |
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| | Elizabeth Price » | | | | | | | | | | | | FELT TIP two immersive video installations and a series of large-scale pinhole photographs | | 16 Feb – 6 May 2019 | | | | | | | |
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| | | | | | | | Dieter Seitz "Das Kasachstan Projekt", Astana 2015 |
| | | | | | | | | | | | Wed 13 Feb 19:00
14 Feb – 5 May 2019 | | | | | |
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| | | | | | | | | | | | | | Mon 18 Feb
18 Feb – 4 Mar 2019 | | | | | |
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| | | | | | | | | | | | | | Thu 14 Feb
15 Feb – 17 Feb 2019 | | | | | |
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| | | | | | | | | | | | | | Wed 13 Feb 18:00
14 – 17 Feb 2019 | | | | | |
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| | | | | | | | | | | | | | Wed 20 Feb 14:00
21 Feb – 24 Feb 2019 | | | | | |
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| | Lot 171
SÉEBERGER Frères (2e génération)
Paris pendant la guerre [Pont Alexandre III et la Seine], c. 1943
Tirage argentique c. 1970, 17 x 17 cm | | | | | | | over 200 photographs of Paris from 1909 to 1999 | | | | | | | | Online auction: 8-26 February 2019 | | | Online bidding: www.artprecium.com
Registration, bidding and auction tracking on www.artprecium.com
Only firm offers will be accepted.
Phone bidding is not available for this sale.
Online catalog: www.artprecium.com | PDF (23 MB)
Public exhibitions:
17 rue de la Grange Batelière – 75009 Paris, France
Monday, February 25th 2019, from 11am until 6pm
Tuesday, February 26th 2019, from 11am until noon
Expert: Christophe Gœury
Tel + 33 (0)6 16 02 64 91
chgoeury@gmail.com
Contact and inquiries: Natalia Raciborski
MILLON Photography Department
16 rue de la Grange Batelière - 75009 Paris
Tel + 33 (0)7 88 09 91 86
photographie@millon.com | |
| | | | | | | | | | | | | This online specialized photography auction presents over 200 photographs of Paris as seen by the French photographers Marcel Louchet, the Séeberger brothers (both generations), Henriette Moulier and Claude Dityvon from 1909 to 1999. Through these four collections, we uncover another style of Humanist photography. These four photographers focus on portraying Paris with a graphic, picturesque visual vocabulary without focusing on a photojournalistic account of the post-war era in France. Rather than constructing politically and socially engaged scenes that recount both the hardships and the pleasures of daily life, we find a more snapshot-like narrative of life around this dynamic city. The artworks in this auction of Paris, its streets, its monuments and its daily life are more about the personal and original photographic styles of each photographer. With very attractive prices starting at 70€ these works will complete any private or public collection. With this central subject of the city of Paris, each photographer’s unique gaze and photographic style is perfectly expressed:
Marcel Louchet creates photographic instances of his daily environment. As a “promeneur” photographer he plays with light and dark, changing outdoor atmospheres and varying angles, photographing the same setting several times in different conditions. The outcome is a refreshing walk across the city from dawn to dusk as if we were by his side. It is a treat to discover the work of this little-known photographer.
The few photographs we are presenting in this sale made by Henriette Moulier showcase a sensitive photographer that develops a personal style. A painterly haziness transforms each scene: an artist in Bagatelle, a woman selling flowers or a young man sleeping on a street corner. Moulier uses the city to develop her particular photographic style, framing the realism of life on the streets of Paris to tenderly tell each subject’s story.
The Séeberger brothers, Louis, Henri and Jules in the first generation use the city of Paris as a backdrop to document several historical events taking place during their lifetime, while Albert and Jean in the second generation change the course of fashion photography by breaking free from the studio. Through both generations’ photographs we share in the Séeberger’s personal experiences of life in Paris during the 20th century. Each generation carefully frames each scene and dramatically contrasts light and dark to create sharp images that regardless of their subject matter retain all of their emotion, sensuality and elegance.
MILLON finishes the auction with several photographs of Paris from 1966 to 1999 by Claude Dityvon. This visual poet-photographer masterfully composes his artworks to create surreal dream like scenes from common situations. With stark contrasts and a wide angle Dityvon transforms the Place de la Bastille so that the statue seems to take flight into the sun-setting sky. He enhances the blurred and “bougé” effect to animate and render abstract a silent night scene on an unnamed dock of the river Seine. Dityvon continues to construct his personal visual language by dramatizing encounters in the less glamorous Parisian neighborhoods, rendering the scenes cinematic. | | |
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| Awards / Call for entries |
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| | | | | | Festival for Video and Time-Based Arts | | | | | | | Wed 20 Feb 20:00
21 – 24 Feb 2019 | | | | | |
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| | | | | | | | Overexposed Memory Space installation 1100x600x310 cm / Single channel video installation, 5 mins / 2015 © Joyce Ho, courtesy TKG+, Taipei |
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| | | | | | | | 2016 video, 12:48 © Guan Xiao |
| | | | As We May Think: Feedforward | | | | | | – 10 Mar 2019 | | | | | |
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| | | | | | | | 'Dissent and Desire' photographic installation and gathering place initiated by Sunil Gupta and Charan Singh |
| | | | Possibilities for a Non-Alienated Life | | | | | | – 29 Mar 2019 | | | | | |
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| | | | | | | | Leigh Bowery & Trojan, 1983 © Jonny Rosza |
| | | | | | | | The Revolt Against Innocent | | | | | | | 14 exhibitions, concerts, screenings | | | – 3 Mar 2019 | | | | | |
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© 12 Feb 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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