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| PHOTOGRAPHY INTERNATIONAL | | 13 — 20 November 2024 | |
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| | Aino Kannisto
Untitled (Hand Mirror), from the series Hotel Bogota, 2013
© Aino Kannisto, Courtesy Galerie m, Bochum | | | | | | | Hotel Bogota | | | | | | | | 15 November 2024 – 16 February 2025 | | | | Opening: 14 November 2024 at 6 pm | | | | | | | | | | | | | Schlüterstrasse 45 in Berlin-Charlottenburg. The legendary Berlin photographer Yva had her photo studio there 100 years ago, Helmut Newton was her apprentice there between 1936 and 1938; it later became the Hotel Bogota. This almost mythical place also became a place of longing and photography for later photographers. These include Aino Kannisto and Karen Stuke, who created two very individual self-portrait series there shortly before the hotel closed in 2012 and 2013. The connection between this presentation in the Helmut Newton Foundation’s project room and the main exhibition Berlin, Berlin on the first floor closes a circle in several ways: the vintage prints and Newton’s self-portraits, which were also created in the hotel, are displayed here. This almost mythical location – Yva’s former studio, later the Hotel Bogota – became a place of fascination and a sought-after setting for photographers, including Aino Kannisto and Karen Stuke. In 2012 and 2013, shortly before the hotel closed, each created distinctive self-portrait series there, capturing themselves in various rooms throughout the hotel.
Kannisto transforms herself in each image, taking on new roles and wearing different outfits. Some scenes carry an air of mystery, like film stills, with her figure contemplative or melancholic. Through this staging and role-play, Kannisto emerges as a fictional narrator with striking visual presence, serving as both protagonist and director. In this way, her images of staged everyday moments move beyond traditional self-portraiture.
In contrast, Karen Stuke remains nearly invisible in her self-portraits. Using a self-constructed camera obscura – several simple pinhole cameras, in fact – she photographed herself while sleeping, with exposures lasting for hours. The duration of her sleep set the exposure time for each negative, sometimes as short as two hours, often seven. Only after waking, usually without an alarm, would she cover the camera’s pinhole, allowing the entire span of her sleep to be inscribed onto the photograph as overlapping layers of time. | | |
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| | | | | | | | Nadja Rentzsch: Aus der Serie "Lieber Löwenzahn" |
| | | | | | | | | | | | Fri 15 Nov 19:00
16 Nov – 6 Dec 2024 | | | | | |
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| | | 2023 © Benita Suchodrev | 2024 © Benita Suchodrev |
| | | | | | | | ... until 26 January 2025 | | | | | | | | | | | | | "There’s a certain madness and magic to it all: the neurotic flicker of neon lights, the dissolution of the self in a trance to a sinister beat or acting out bliss with a stranger on a shabby couch in a smoke-filled room. Beneath the party facade, these moments speak to a deeper part of the human condition: the endless longing to feel physically and spiritually free." – Benita Suchodrev
In the labyrinth of Berlin club culture, labels and limitations disappear. For over 30 years, Berlin has been a space of possibility in which quite a few people have invented a new life, a new identity. Berlin's nightlife, with its ever-evolving club culture, mirrors the city’s constant transformation. In the extensive series "Le bal infernal", which spans over 16 years, photographer Benita Suchodrev combines her aesthetic roots in portrait and social documentary photography and uses her unmistakable visual language to present people and moments that represent an essential part of Berlin's past, present and future.
Like a dreamlike dance, this hellish ball takes place in a universe all of its own. The high-contrast, impressive shots are reminiscent of film classics of excess such as Federico Fellini's La Dolce Vita from 1960 and thus combine beauty in the dark, freedom, collectivity and solitude. A wind of scandal, wickedness and vice blows around the characters who, far from other realities in daylight, allow and embrace debauchery. As in Dante's Divine Comedy, as witnesses to the spectacle captured by Suchodrev's camera, we encounter elements of an inferno, always associated with sinfulness, as well as a state of heavenly paradise.
"My life in Berlin is inseparable from this body of work. I discovered the city in the pr… | | |
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| | | | | | | Dawoud Bey, A Young Man Resting on an Exercise Bike, Amityville, NY, #
from the series Street Portraits, 1988.
Pigment print.
Courtesy the artist and Stephen Daiter Gallery, Chicago.
© Dawoud Bey |
| | | | | | | | | | | | Tue 19 Nov 18:00
17 Nov 2024 – 11 May 2025 | | | | | |
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| | | Helmut Newton, Courrèges, French Vogue 1970 © Helmut Newton Foundation, Berlin | | | GROW IT, SHOW IT! | | | | A look at hair from Diane Arbus to TikTok | | | | | | | ... until 12 January 2025 | | | | | | | | | | | | | Museum Folkwang is presenting the exhibition "Grow It, Show It! A look at hair from Diane Arbus to TikTok". The show highlights the role of hairstyles in society, politics and everyday life through a wide selection of historical and contemporary photographs, videos and film clips from art, fashion and social media. From iconic works such as J.D. 'Okhai Ojeikere's documentation of Nigerian hairstyles to the work of artist and fashion photographer Suffo Moncloa for Gucci, the overview exhibition shows that hair is far more than just a fashion accessory. It is an expression of our identity, a means of communication and a social statement.
From photographers such as Helmut Newton or Chaumont-Zaerpour, who stage hairstyles not just as fashion accessories but as a central design element, to artists such as Hoda Afshar, Thandiwe Muriu or Maria Tomanova, who depict hair as a means of resistance and emancipation: Grow It, Show It! shows that hair images are not only the subject of the cosmetics industry, but also of queer-feminist, body-political and postcolonial discourses. At the same time, the comprehensive themed exhibition explores how images of hair have consolidated and defined trends over time and the central role played by the history of photography and current social media formats such as tutorials and ASMR videos.
Firmly anchored in the photographic canon is the large-scale series of works by J.D. 'Okhai Ojeikere, who systematically documented the sculptural forms of Nigerian women's hairstyles in over a thousand photographs from the 1960s onwards. To this day, his work continues to influence a young generation of artists, as can be seen in the NFTs of the Yatreda Art Collective. They combine the new, such as blockchain technology, with the old by pr… | | |
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| | | Andrea Orejarena & Caleb Stein, Sunset Angel (Found Image) © Orejarena & Stein. Courtesy Palo Gallery, NY. | Andrea Orejarena & Caleb Stein, Herndon Climb, 2023 © Orejarena & Stein. Courtesy Palo Gallery, NY. |
| | | | | | | | ... until 26 January 2025 | | | | | | | | | | | | | The exhibition Tactics and Mythologies: Andrea Orejarena & Caleb Stein, opening the new series "Viral Hallucinations" at the Temporary House of Photography Hamburg, presents the first institutional solo show of the New York duo Andrea Orejarena & Caleb Stein.
Andrea Orejarena & Caleb Stein’s (1994, Colombia, UK, respectively) conceptual, documentary work uses the intersection of technology, memory, and desire to explore American mythologies and narratives. Orejarena & Stein’s multi-media work often involves extensive research into how their images relate to collective image making and the networked volume of images surrounding us. These bodies of work are set against a subtle backdrop of social tensions or the lingering echoes of past conflicts—present as underlying currents but never dominating the narrative. Central to their practice is the elevation of collective processes and collaboration, which serve as key strategies.
Tactics and Mythologies delves into visual disinformation tactics and the impact of fictional narratives and viral mythologies on individual perception. The dialogue between the projects a.o. Long Time No See (2015–20), War Words (2019–24) and American Glitch (2020–24) explores the synergies between the mediabased disinformation, constructions of truth, and new propaganda techniques developed during the Vietnam-US-War and the new mythologies of simulation and conspiracy narratives that now shape collective imaginaries online.
Alongside Orejarena & Stein’s works, the exhibition features two self-study labs documenting the research process on images that serve as viral carriers of imaginary worlds and fictional narratives as part of the Viral Ha… | | |
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| | | | | | | | Sandra Bartocha: "Rhythm of Nature" |
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| | Karl Blossfeldt
Campion, before 1932
Courtesy Karl Blossfeldt Collection in the Archives of the University of the Arts Berlin
& Die Photographische Sammlung/SK Stiftung Kultur, Cologne | | | | | | | | ... until 2 February 2025 | | | Coming exhibition by Die Photographische Sammlung/SK Stiftung Kultur, Cologne
in cooperation with the Universität der Künste, Berlin | | | | | | | | | | | | | For the first time in two decades, Karl Blossfeldt's (1865–1932) oeuvre is being presented in this scope, featuring 271 original prints. This impressive exhibition unfolds a photographic body of work that was developed in the context of art education and only discovered as an independent artistic approach a few years before Blossfeldt's death. Today, his work is considered a classic in the history of photography, often mentioned alongside August Sander and Albert Renger-Patzsch. Blossfeldt's photographs are primarily regarded as prototypical for the New Objectivity and New Vision movements.
Karl Blossfeldt: Columbine (Aquilegia chrysantha), flower, n.d. Courtesy Karl Blossfeldt Collection in the Archives of the University of the Arts Berlin & Die Photographische Sammlung/SK Stiftung Kultur, Cologne The exhibition is based on the collection of the Berlin University of the Arts, where Blossfeldt was trained as a sculptor at its predecessor school, and where he taught "Modeling from Plants" for three decades starting in 1899. It was there that he developed his plant photographs, which he used as teaching materials to showcase the diversity and intricate details of the botanical world to his students. The close observation and artistic representation of plant forms were intended as inspiration for designs in the fields of applied arts and architecture. Additionally, Blossfeldt created a smaller number of bronze casts of plant forms, which he also used in his teaching. Exemplary pieces, along with handwritten letters offering insights into the school's operations and discussing the relationship between natural and artistic forms, are included in the presentation. | | |
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| | Johanna Langenhoff
jetzt anders, 2024
from the series "Me or So"
© Johanna Langenhoff | | | | | | | | August Sander Award 2024 | | | | ... until 2 February 2025 | | | Coming exhibition by Die Photographische Sammlung/SK Stiftung Kultur, Cologne
in cooperation with the Universität der Künste, Berlin | | | | | | | | | | | | | | | The series selected and awarded by the jury is entitled "Me or so" and was created in 2023-2024. Johanna Langenhoff (*2000) has been studying at HAW Hamburg since 2021 and developed the series against the backdrop of existential questions of identity and gender affiliation.
"Many feelings that are difficult to put into words are easier for me to depict visually. [...] At the same time, the photographs open up a space for conversation in which I can talk about myself - my process, my feelings of not belonging, the moments of understanding, the uncertainty, the feeling of having to define myself or the lack of finality of this definition 'non-binary'," says Johanna Langenhoff about the intention of the color photographic series. For Johanna Langenhoff, longing, memory and present perception are central moments of a processual self-questioning, characterized by the search for individual localization and individual expression. The motifs she captures alternate appropriately between (self-)portraits and depictions of the body, between landscape and spatial details, between concrete and abstract studies of form. Light and shadow are also frequently used as elements of pictorial design and atmosphere. The series "Me or so" is comparable to a kaleidoscope of different emotional states and experiences. It leaves room for associations and thoughts that apply to the pictures, the artist and, fundamentally, human development.
The August Sander Prize has been awarded every two years since 2018, sponsored by Ulla Bartenbach and Prof. Dr. Kurt Bartenbach. The response to the fourth call for entries was also pleasingly high, with more than 120 submissions from Germany and abroad.
The jury included Dr. Anja Bartenbach, donor family, Gabriele Conrath-Scholl, … | | |
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| | | | | | | Sonam by Steph Wilson from the series Ideal Mother, 2023
© Steph Wilson |
| | | | | | | | | | | | 14 Nov 2024 – 16 Feb 2025 | | | | | |
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| | | Grada Kilomba, Opera to a Black Venus, 2024. Courtesy of the artist | | | | | | | | 20 November 2024 – 31 March 2025 | | | | | | | | | | | | | The solo exhibition Opera to a Black Venus , devoted to the Berlin based Portuguese artist Grada Kilomba (Lisbon, 1968), assembles a selection of artworks, denoting the most complete presentation of her works to date in Spain.
Kilomba is best known for her unique practice of storytelling, in which she gives body, voice, form and movement to her own writings, using: performance, staged reading, dance, video, sculpture, installation and sound landscapes. With a subversive and poetic imagery, her work draws on memory, trauma, gender and postcolonialism, interrogating concepts of violence and repetition. “What stories are told? Where are they told? How are they told? And told by whom?” are constant questions in Kilomba’s body of work.
Her work has been described as a new postcolonial minimalism, in which multiple and complex languages blur the boundaries between disciplines. With a robust substructure in psychoanalysis and philosophy, in addition to her extensive work as a researcher, she analyses the dominant systems of knowledge production, putting forward a process of unlearning current hegemonic narratives.
Opera to a Black Venus (2024) adopts the title of an ambitious new project, which the artist has developed over the last two years as a result of a collaboration between the Museo Reina Sofía and the Staatliche Kunsthalle Baden-Baden in Germany. Kilomba … | | |
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| | | | | | | | | | | | | | Fri 15 Nov 18:00
15 Nov – 21 Dec 2024 | | | | | |
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| | © Letizia LE FUR,
Le Beau Jeu, 2024
courtesy of the artist, Photo Days & Paris je t’aime | | | | | | | | 13 – 24 November 2024 | | | | Opening: Thursday 14 November 18:30 | | | | | | | | | | | | | | In resonance with the Paris 2024 Olympic Games, Letizia Le Fur celebrates the "small games" of everyday life — those fleeting moments that reveal the vibrant energy of the city. Inspired by philosopher Mathieu Triclot, who asserts that "to play is to become human," she explores how these moments shape our connection to urban space. After spending six months in Paris and its suburbs, she notes: "Adults play less than I thought, but I discovered some die-hard players." For her project, she chooses a square format, evoking those games that have survived the digital age: board games, hopscotch, Scrabble tiles... Paris, usually a city-museum, recedes to become the humble setting for our intimate and playful connection to the territory. | | |
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| | | | | | | | The 14th African Biennale of Photography - Bamako Encounters | | | | | | | | 16 November 2024 – 31 January 2025 | | | | | | | | | | | | | Founded in 1994, the Bamako Encounters – African Biennial of Photography is organized by the Ministry of Culture of Mali with the support of the Institut Français.
The Biennale is the first and principal event dedicated to contemporary photography and new imagery in Africa.
Internationally renowned, the Bamako Encounters is a platform for discoveries, exchanges, and visibility. It is an essential venue for the revelation of African photographers and those of the Diaspora, a time of exchange with the Malian public and the professionals from around the world. | | |
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| | | | | | | | | | | | | | Wed 13 Nov 19:00
13 – 23 Nov 2024 | | | | | |
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| | | | | | | | | | | | | | Mon 18 Nov 18:00
19 Nov – 25 Nov 2024 | | | | | |
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| | | | | | L'album de Famille des Aixois 2ième Edition | | | | | | | – 30 Nov 2024 | | | This exhibition crosses two photographic sources: those from the archives of the Aix family album collected by Fontaine Obscure and those from the archives of Lebanese families collected in Tyre (Lebanon) by the artist Chaza CHARAFEDDINE (Athar Collection).
The chosen subject is that of portraits of women from the 50s and 70s, just before the civil war in Lebanon. | | |
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| | | | | | Nurture Gaia | | | | | | | – 25 Feb 2025 | | | | | |
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| | | | | | the European Nomadic Biennial | | | | | | | – 24 Nov 2024 | | | | | |
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| | | | | | PANSORI: A Soundscape of the 21st Century | | | | | | | – 1 Dec 2024 | | | | | |
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| | | | | | Mega Family — Imagining Home | | | | | | | – 8 Dec 2024 | | | | | |
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| | | | | | triennial of contemporary art | | | | | | | – 2 Feb 2025 | | | | | |
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| | | | | | Featuring over 110 exhibitions, 700 artists, and a variety of talks and events. | | | | | | | – 1 Dec 2024 | | | | | |
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| | | | | | Precarious Joys | | | | | | | – 1 Dec 2024 | | | | | |
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| | | | | | Futuri imperfetti | | | | | | | – 30 Nov 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 | | | | | | | | – 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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© 13 November 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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