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| PHOTOGRAPHY INTERNATIONAL | | 14 - 21 November 2018 | |
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| | Between 15 and 18 of November 2018, Milan will host the third edition of Photo VOGUE Festival 2018», in its first two years, has established itself as a key event for the promotion of photography culture and as a platform for discussion of critical topics. This year will focus on continuing the conversation about the role played by (fashion) photography, in representing and analysing our contemporary society: a study that is very much part of the DNA of Vogue Italia since it was established. |
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| | | | Also Thursday November 15th PhotoBrussels Festival 03» is starting with the THEME "City". Westlicht Photo Auction» started this week the preview for the 18th edition with more than 200 auction lots. PAN Amsterdam», is a fair of today for art, antiques and design. Every year 45,000 art lovers are inspired and tempted by the many thousands of works of art. In this year more than a dozen galleries are showing hundreds of photographs by more than 50 Dutch and international artists. LOOP Barcelona» is a platform of the moving image, a FESTIVAL (12-22 Nov 2018) with exhibitions, screenings and live performances around the city. The FAIR (20-22 Nov 2018) is a selection of contemporary artists films and videos presented by international galleries in a unique viewing experience. |
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| | | Untitled 1972 from the series Family © Masahisa Fukase Archives | | | | | | | | until 12 December 2018 | | | | | | | | | | | | | Fukase's self-portraits as selfies avant la lettre From the moment Masahisa Fukase starts his photographic career, the Japanese artist incorporates his personal life, struggles and the people around him into his work. Towards the end of this working life, the photographer increasingly turns the camera on himself, when he starts taking 'selfies' avant la lettre. In the retrospective Private Scenes, four series form an unusual diary of the last years of the eccentric photographer, years he spent in isolation. The wildly painted, coloured prints from the series Hibi – a Japanese homonym which means both ‘cracks’ and ‘days’ – are typically dated with the digital stamp Fukase starts adding in the final years of his working life. The artist studies and captures cracks in the Tokyo pavement, comparing them with his own aging skin. By leaving his initials and fingerprints to the print, the photographer forms an abstract self-portrait in vivid colours. For Private Scenes, Fukase shows his hands, feet, face, and every other body part he is able to capture in the frame while strolling the streets of Tokyo. Fukase captures his nocturnal adventures in the Japanese capital in the series Berobero, for which he jokingly touched tongues with his friends. For Fukase this was a performative way to test people’s personal boundaries. In one of his last series Bukubuku, Fukase performs in his bathtub with a waterproof camera, resulting in a collection of playful, yet also disturbing self-portraits. | | |
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| | | | | | | | | | | | | 14 Nov – 14 Dec 2018 | | | Elizabeth Hepworth
Detail from
"Ich sehe dich nicht / du siehst mich nicht"
(I do not see you / you do not see me)
Serie, 2017
Salzdrucke auf Aquarellpapier
8 x 10 x 15 cm | | |
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| | | | | | | | | | | | | Wed 14 Nov 19:00
14 – 22 Nov 2018 | | | Se king - director's shot No 24
Polaroid Positiv
103 x 56 cm, 2017
© Thorsten Brinkmann | | |
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| | | | | | | Bonn 23 December 1978
© J.H. Darchinger/Friedrich-Ebert-Stiftung |
| | | | | | | | Hanseatic citizen – cosmopolitan – statesman | | Thu 15 Nov 18:30
16 Nov 2018 – 6 Jan 2019 | | | | | |
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| | Taipei Diary p.72, 2014
90 x 120 cm, Archival Pigment Print
© Peter Bialobrzeski; Robert Morat Galerie | | | | | | | | 16 November 2018 – 12 January 2019 | | | | | | | | | | | | | Photographer Peter Bialobrzeski is known for his investigations of urban space. He became famous for exhibition projects and book publications such as “Neon Tigers” (2004), “Lost in Transition” (2007) or “The Raw and the Cooked” (2011). In recent years, Bialobrzeski worked on a long term project of photographic “City Diaries”. Seven books have already been published. The eighth publication, on Wuhan, will be published on occasion of this exhibition. In these diaries, Peter Bialobrzeski examines the question of whether the image of a city, what is fed by prejudice, what has been found and what has been conveyed by the media, can be transformed into a specific picture. A seemingly objectifying aesthetic, paired with the coincidence of the flaneur, lead to photographs that subjectively map the urban space. Robert Morat Galerie is showing photographs from all eight series as prints and as a book installation for the first time. The publishing house The Velvet Cell (Taipei, Osaka, Berlin) has so far released:
Cairo Diary | Athens Diary | Taipei Diary | Wolfsburg Diary | Kochi Diary | Beirut Diary | Zurich Diary. In preparation are:
Osaka | Mumbai | Yangon | Bangkok | Hagen | Belfast | Budapest | Minsk | Georgetown. Peter Bialobrzeski, born 1961 in Wolfsburg, holds a teaching position at the University of Arts in Bremen. He lives and works in Hamburg. His work has been widely exhibited and published and is found in major collections both private and public. In 2012 Peter Bialobrzeski was the recipient of the prestigious Dr.-Erich-Salomon-Award by the German Society of Photography (Deutsche Gesellschaft für Photographie). | | |
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| | | | | | | | | | | | | Fri 16 Nov 19:00
17 Nov 2018 – 20 Jan 2019 | | | | | |
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| | | Exhibition view: Charles Fréger, Yokainoshima | | | Charles Fréger » Yokainoshima - Island Of Monsters | | | PHOTOGRAPHY IN OPEN SPACE:
SEASON 2018/2019 – Portrait, hors cadre Part I | | | | 25 October 2018 – 24 October 2019 | | | | | | | | | | | | | Ogres, spirits, ghosts or demons.
In Japan, myths and folklore have survived since ancient times and into the present. Every fantastic or supernatural creature is attributed to a class called “yōkai". Owing to the geological nature of the archipelago, the Japanese people are particularly exposed to the creative and destructive forces of the natural elements. The population is particularly attuned to Nature’s rhythm and has maintained specific ties to the primary forces. The belief in mythical and irrational phenomena has had its place in the culture of mankind for millennia.
Some events elude human understanding; the gap is filled by emotions and imagination. This opens a door to parallel worlds, helping to explain inexplicable things, to overcome life’s trials and tribulations, or to seek supernatural protection for the future. These beings, called upon for protection and support, manifest themselves in changing and masked forms, their character and nature ambiguous. Some apparitions are frightening, others inspire respect, others still are adored and solicited for their mercy and their empathy. Celebrated in the rites and traditions of rural folklore, the Yōkai have become popular during festivals and seasonal ceremonies. The French photographer Charles Fréger has taken an interest in their effigy. To take their portrait, he places them in an original environment drawn from his imagination: a landscape chosen specially to support an expressive posture and choreographed gestures. He focuses on the visual potential of his motifs: "I am not an anthropologist," he says. “[…] It would be much too easy to say we are all the same."
Neither the same, nor accompanied or haunted by one and the same Yōkai. (Text : AM, Clervaux – cité de l’image / English translation by Nadia Linden) Charles Fréger was born in 1975 in Bourges (F) and is based in Rouen. The French photographer focuses exclusively on portrait photography, exploring its creative potential based on the study of uniforms and costumes, always within their professional, traditional or cultural context. Fréger questions the status of the individual at the heart of a community and within society. Between autonomous individual and anonymous element integrated in a group, his portraits take on the most diverse forms.
Charles Fréger is the founder of the international artist network POC (Piece of Cake). | | |
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| | | Laurent Chéhère: The Great Illusion, 2012, 120 x 120 cm | | | | | | | | 15 November 2018 – 19 January 2019 | | | | | | | | | | | | | The "Flying Houses" are a surrealistic and poetic vision of old Paris, inspired by Jules Verne, Albert Robida, Moebius, Hayao Miyazaki, William Klein, Wim Wenders, Federico Fellini, Serge Gainsbourg, Martin Scorsese, Marcel Carné, Jean Cocteau and more. These buildings are also inspired by poor and cosmopolitan neighborhood of the French capital where lives Laurent Chéhère. The author isolates these buildings of their urban context and releases them from the anonymity of the street to tell the life, the dreams and the hopes of these inhabitants. The images are photomontage of hundred of elements like roof, windows, gutter, fireplace, characters, antennas, graffiti and sky, captured and assembled afterward like a puzzle. In gallery, the images are shown in large format and let the curious observer to discover details and hiden references of these accurate reconstructions by proposing a double reading, one by far and one closely. The artist uses this distance to propose a different point of view and alert against preconceived ideas and prejudices. All the ingredients are there, the comedy, the drama, the poetry, the darkness, the onirism, the laughter and the tears... everything becomes entangled. The author gives some keys, but these flying houses remain open to the interpretation, it’s finally the people who will make his own way. | | |
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| | | | | | | | | | | | | Fri 16 Nov 19:00
17 Nov 2018 – 3 Mar 2019 | | | Michael Wolf
single image of the installation
The Real Toy Story, China, 2004
Digital C-print mounted on forex
Approx. 125 x 100 cm
© Michael Wolf 2018 | | |
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| | | | | | | London, 2004
© Matt Stuart / Magnum Photos |
| | | | | | | | | | | Fri 16 Nov 19:30
16 Nov 2018 – 10 Feb 2019 | | | | | |
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| | | | | | | | | | work by 16 to 19 year-old London photographers, responding to the shifting political and cultural climate they live in | | 14 – 20 Nov 2018 | | | | | |
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| | VLADISLAV MIKOSHA
Morning exercise, 1937, printed in 50-60s (after the war print)
Signature by Mikosha, stamp of Borodulin Collection, and annotated by Lev Borodulin on verso
23.8 x 37.8 cm | | | | | | | | | | | | | until 27 November 2018 | | | | | | | | | | | | | Atlas Gallery is pleased to present Masterpieces of Soviet Photography, a selection of photographs from the collection of celebrated sports photographer Lev Borodulin, known for his artistic images of athletes, skaters and swimmers. Masterpieces of Soviet Photography reflects Borodulin’s long-lasting quest to collect and preserve images from a time when art was restricted to serve a Soviet socialist agenda. The photographs Borodulin collected over decades now constitute one of the largest collections of Soviet photography in the world and include prints by the greatest masters working in the medium such as Arkady Shaikhet, Yakov Khalip, Aleksandr Rodchenko, Boris Ignatovich and many others. Borodulin began collecting during the early days following the end of the Second World War when he was asked to create a photo chronicle of battles fought by his former regiment. What started as a hobby became a lifelong passion. The collection grew as Borodulin continued to make friends with and acquire the work of famous military photojournalists such as Max Alpert and Dmitry Baltermants whom he shared a small darkroom with at Ogonyok, the Russian version of Life magazine in the 1950s. Borodulin emigrated from Russia to Israel in 1972 to live in Tel Aviv but frequently returned to his homeland to rescue prints offered to him by insolvent picture archives and by photographers’ families no longer able to care for such artistically and historically important work. The collection was added to by his son, Aleksander Borodulin, also a prominent photographer, and has been exhibited worldwide including the Israel Museum, Jerusalem; the Multimedia Art Museum, Moscow and the Belarusian State Museum of the Great Patriotic War. | | |
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| | | I Bianchi © Clara Vannucci | | | | | | | Photo VOGUE Festival 2018 | | | | | | | | 15 – 18 November 2018 | | | | Opening: Thursday 15 November 2018, 17:00 | | | | | | | | | | | | | We are now all too familiar with the power of representation and visibility, and fashion photography is one of the most influential and ubiquitous media there is. Fashion and politics are getting more and more intertwined and the push for diversity has finally started to bear mainstream results. Moreover, fashion is famously an identity playground, where different roles are played out and tweaked. The exhibition for the 3rd edition of the Photo Vogue Festival titled “All That Man Is – Fashion and Masculinity Now” seeks to explore and expand on the concept of masculinity by showing how contemporary fashion and art photographers are addressing the subject. The aim is to present a broad spectrum of how manhood is portrayed and, hopefully, to spark a conversation about it.
We decided to start by asking the photographers on display the same question we asked ourselves in the first issue of the new L’Uomo Vogue magazine: “In the Trump and #MeToo movement era set against a new sense of awareness with regard to self-representation and gender fluidity, masculinity is a concept that is being redefined. At present, men have more options in terms of masculine role models than ever before, yet much still needs to be done to free them from stereotyped representations of race, manliness and identity. So what does it mean to be a man today? | | |
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| | | From the series Friendship, and the pink triangle © Shuwei Liu | | | | | | | Photo VOGUE Festival 2018 | | | | | | | | 15 – 18 November 2018 | | | | Opening: Thursday 15 November 2018, 17:00 | | | | | | | | | | | | | We live in an increasingly interconnected world where, owing especially to social media, there is a growing awareness surrounding the fact that ‘global’ cannot and should not translate – culturally speaking – into a levelling of specificities and individualities in favour of Western-centred representational and aesthetic models. In order to contrast the visual homogenisation and the levelling out of thought, we should reclaim diversity and the search for the wealth that can only emerge through plurality. We hope that Embracing Diversity, the exhibition result of a scouting initiative carried out on PhotoVogue and of the assessment of an internationally acclaimed jury and dedicated to the promotion and appreciation of diversity in all its forms (be it physical, gender-related, geographical or cultural), can contribute to inspire a desire for welcoming and curiosity towards different cultures in favour of a deeper and better understanding of our contemporary society. | | |
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| | | | | | | | | | Photo VOGUE Festival 2018 | | 15 Nov – 9 Dec 2018 | | | Tess Hellfeuer © Solve Sundsbo / 2013
Beauty Story: Vogue Italia September 2013
by Sølve Sundsbø | | |
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| | Vadim Gushchin
Books in the Box #2
2017 | | | | | | | | 14 November 2018 – 10 March 2019 | | | | | | | | | | | | | The Lumiere Brothers Center for Photography presents an exhibition of the famous Russian photographer Vadim Gushchin. Working with subject abstraction, the author creates a "poetic catalog" of the world of things around us. Each series he shot is devoted to one of the objects of everyday life — it is interesting to the artist as an idea, a sign. Sustained minimalism, apparent repeatability and compositional simplicity are recognizable features of the photographic language of Gushchin. The exhibition includes works created by the artist over the past three years. Photos of this period are a new stage in the work of Gushchin and at the same time a continuation of the cycle of minimalist still lifes. His focus is centered on the book — an object that has managed to preserve its enduring cultural significance in an era of technological revolutions and the dominance of digital information. The Lumiere Brothers Center for Photography will present the series Paintings (2016), Still Life with Books (2017), Transparent Case (2017), Books in a Box (2017), Books (2018), Still Life (2018). Each of them is based on special compositional principles and laws of the compatibility of shapes and colors. All of them are connected by a single spatial model: the strict geometry and purity of abstract forms refer us to the ideal world of Suprematist objects. By removing the function of the subject, Gushchin strips its uniform, combining everyday objects in abstract minimalist compositions. "In his aesthetics, he simultaneously revives the two-dimensional world of Malevich and creates a photographic illusion of three-dimensionality," writes art historian Mikhail Sidlin in the introduction to Gushchin's album Everyday Objects / Cultural Treasures (2013). Gushchin manages to balance on a fine line between abstract and concrete, pure form and substance, symbolic and transient. His chosen principle of catalog is more than a mere enumeration of similar objects—it is a reflection on time, memory and man. The From the Private Library exhibition will include tours led by the photographer himself. | | |
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| | | Runway from the Photo series Midnight 2016 - 2018 © Reine Paradis | | | | | | | | until 19 December 2018 | | | | | | | | | | | | | Reine Paradis constructs narrative photographs staging herself as the central figure in a surreal landscape.
Shot in many locations throughout America, her photo series takes us on an introspective journey across a symbolic and chromatic world, projected above the limit of reality and imagination.
All the scenes are imagined and conceptualized before shooting in real locations. Once the scene is visualized in it’s entirety, Paradis makes sketches and paints the scene to use as a blue print when photographing the final scene. All the costumes, accessories and origamis are meticulously designed and prepared by Reine according to the initial vision of the scene.
Each scene is an adventure and a story in and of itself. | | |
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| | Inomata House #2, 1967
Photographic Fine Art Print
2018
© Inês d’Orey | | | | | | | | 10 November 2018 – 12 January 2019 | | | | | | | | | | | | | Tokyo is a gigantic creature that sheds its skin as it stretches and grows. Most buildings in the city are demolished as soon as they are outdated or no longer needed, and new buildings spring up in their place, at a very fast pace. The residents of this mega metropolis believe that any house over 30 years is obsolete. The creature doesn’t only shed its skin. It changes its flesh. And also its bones.
Inês d'Orey's work in the last years has been dealing mainly with the reinterpretation of interior urban space, exploring the transformation of the identity of the historical heritage in the contemporary city. This new series, Do Not Sit Down, focuses on the Japanese relationship with the country's architectural legacy, specifically on Tokyo's 1930’s to 70’s interior space of preserved buildings. If Western tradition aspires to permanence, Japanese architecture focuses on flexibility, altering or destroying most of its buildings. The unstable environment created by special circumstances throughout Japan’s history (earthquakes, tsunamis, bombings, nuclear attacks and a rapidly updating technology), led to a culture that accepts cycles of destruction and renewal as a natural part of life.
Informed by Junichiro Tanizaki's world of shadows, patina and minimalism (In Praise of Shadows, 1933), Inês d'Orey investigates improbable realms in Tokyo, different ways of envisioning and feeling space. Museum pieces that cannot be touched. Where nobody can sit. Do not sit down, please. | | |
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| | | | | | | | | | | | | Thu 15 Nov 16:00
16 – 18 Nov 2018 | | | | | |
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| | | | | | fair of today for art, antiques and design | | | | | | 18 – 25 Nov 2018 | | | | | |
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| | | | | | | | | | | | | Tue 20 Nov 19:30
20 – 22 Nov 2018 | | | | | |
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| | NAN GOLDIN (* 1953)
›Nan one month after being battered‹, 1984
Cibachrome
c. 40 × 59 cm
Signed on the reverse
Starting price: € 3.600 / estimate: € 6.000–8.000 | | | 18th Westlicht Photo Auction | | | | | | Friday, 23 November, 5 pm | |
| | | | | | | | | | | Bids can be placed: IN THE ROOM» ONLINE» BY PHONE» WRITTEN BID» LIVEAUCTIONEERS» | | | | | | | | For an estimated 10,000 to 12,000 Euros Henri Cartier-Bresson’s masterpiece from 1932, showing a man jumping across a puddle Behind the Gare Saint-Lazare, is on offer. Elliott Erwitt’s popular dog with a wool hat, taken in New York City 1974, is expected to fetch 6,000 to 7,000 Euros. Among the further highlights of the more than 200 auction lots are Marc Riboud’s Le Peintre de la tour Eiffel, Thomas Hoepker’s legendary portrait of Muhammad Ali and Moriz Nähr’s photo of Gustav Klimt at the Internationale Kunstschau in 1909 Vienna. Also on offer is Nan Goldin’s self-portrait from The Ballad of Sexual Dependancy – which at the same time provides an outlook on the upcoming WestLicht exhibition starting in December with works by Goldin, Lisette Model and Diane Arbus. | | | | |
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| | Photo by Micaiah Carter
Don Green & Sunni Colon 2017 | | | | | | | | | | | | | 15 – 18 November 2018 | | | | Opening: Thursday 15 November 2018, 17:00 Base, Milano | | | | | | | | | | | | | This year will focus on continuing the conversation about the role played by photography, and especially fashion photography, in representing and analysing our contemporary society: a study that is very much part of the DNA of Vogue Italia since it was established. Thanks to the visionary photographers it employed, the publication has succeeded in becoming a masterful mirroring tool of our times, the discerning interpreter of the society it portrays, documenting the changes, capturing the trends and anticipating desires and direction. Through its sophisticated, innovative, witty and, at times, controversial fashion shoots, Vogue Italia has distinguished itself as a publication capable of leaving an indelible mark in the visual memory of its readers, transcending the brief time of fashion itself. Today, the magazine continues its mission, using photography as an investigative tool of society and its cultural models on a global level, echoing the zeitgeist whilst raising questions and conveying innovative ideas through the fashion lens. Today, more than ever, fashion photography cannot be considered an ephemeral aesthetic expression: with the rise of the social media, it has transformed into one of the dominant visual languages of our time; a powerful language capable of shaping the vision of who we are and who we could be. On the basis of such considerations, for the third edition of the festival, we will direct the spotlight on the limits and the endless possibilities that we impose on our gaze when we interpret images and on the numerous meanings such images are able to convey. Chaired by Emanuele Farneti and directed by Senior Photo Editor, Alessia Glaviano, this year’s Photo Vogue Festival features a solo exhibition of Norwegian photographer, Sølve Sundsbø » – one of the most innovative voices in contemporary fashion photography andan established contributor to Vogue Italia. The exhibition will take place within the prestigious venue of Palazzo Reale. Housed inside the industrial space of a renovated former factory, Base Milano, two group exhibitions will take place: ‘Embracing Diversity’, dedicated to the promotion of diversity and inclusiveness for a deeper understanding of our contemporary society, which will feature those photographers scouted through the initiative launched via the PhotoVogue platform and ‘All That Man Is – Fashion and Masculinity Now’ which will explore and expand on the concept of masculinity by showing how contemporary fashion photographers are addressing the subject. From 15 to 18 of November 2018, the Festival will involve the entire city of Milan with talks, exhibitions and photography events made possible thanks to the contribution of cultural institutions, photography schools and, most of all, specialized galleries that will host exhibitions over the course of the Photo Vogue Festival. Armani/Silos: Italian Panorama. Armani/Silos: From one season to another by Sarah Moon » c|e Contemporary: Rania Matar » . From Woman to Woman: Becoming. Fondazione Prada Osservatorio: The Black Image Corporation. Curated by Theaster Gates. Photos by Moneta Sleet Jr. and Isaac Sutton Fondazione Sozzani: Sarah Moon » : Time at work Forma Meravigli: Mario Giacomelli » : Da un caos all’altro. Curated by Alessandra Mauro Institut Français Milano: Déconstruction, Mathieu Pernot » ’s solo show La Triennale di Milano in collaboration with Mufoco: L’archivio Marubi. Il rituale fotografico. Curated by Zef Paci Leica Galerie Milano: Bruce Davidson » Marsèlleria: Brice Dellsperger » . Body Double. Curated by Selva Barni – Fantom mc2gallery: Patricio Reig » .Todas Las Mujeres Son La Misma. Curated by Claudio Composti Micamera – lens based arts: Ed Panar: In the Vicinity, Deadbeat Club pop-un store, Tim Carpenter Red Hook Labs @ BASE: Labs New Artists II. Exhibition in collaboration with @guccibeauty Studio Giangaleazzo Visconti: Juno Calypso » Twenty14contemporary: Living in a painting. Maya Rochat » and Pietro Russo | | |
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| | | | | | | | | | | | | | | | | Thu 15 Nov 18:30
16 Nov – 20 Dec 2018 | | | | | |
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| | | | | | | | Femmes Fontaines series, 2012-2018 © Marianne Maric |
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| | | © Gayatri Ganju (India) "Strictly Do Not Kiss Here", photography, installation, text, 2013 | | | | | | | Confusing Public and Private | | | | | | | | – 28 November 2018 | | | | | | | | | | | | | | | As a newly emerging technology, medium and application, photography has always been associated with topics of publicity and privacy since it was invented. In the early days, photographers took essentially private pictures and viewed them in public spaces, while nowadays everyone can afford a camera phone and with mobile network and social media there appeared the demarcation of image, and in the time of constantly evolving visualization of data in contemporary art, photography has increasingly become an important medium that extends to, participate in, intervene with and helps build people’s public and daily lives. Thus, the public and private characters of photography continue to conflict, confront, integrate and spread between real and virtual spaces, and this constantly changes people’s ways of expression, relationships, behavioral habits while filling up our public and private living spaces. Eventually, with the extensive involvement of photography, public and private spaces, the boundaries between the individual and the group, and the "others" and "I" are reconstructed and redefined. During the process of these changing relationships, photography interacts and resonates in new ways with a lot of important factors such as history, reality, religion, philosophy, civilization, war, science & technology, politics and human emotions. In such a spatial-temporal environment where the public and the private are mixed, the modes of organization and thinking are extremely complex, and the atmosphere is full of a sense of ritual and absurdity, how can we start an adventure of thought – what kind of world is it? How is it related to us? It may be a Utopia or Dystopia, or even a Heterotopia or Protopia [1], and in their ideological and visual field, the way we deal with the relationship and expression of the public and private by photography will become our common goal that built on a relatively broad, distant and higher point, which is also the main point that inspired us to plan this exhibition. Therefore, this exhibition will center on photography as an interdisciplinary research field as well as its complex coexistence of the social, public and private, and it aims to explore the role and significance of photography in the tensional relationship between the public and the private... | | |
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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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| | | | | | | Kishin Shinoyama, Image tirée du livre Fashion Eye Silk Road © Louis Vuitton Malletier / Kishin Shinoyama
Courtesy Jousse Entreprise |
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| | | | | | | | Vincent Debanne, Les Villages. Série coréalisée avec l'artiste Etienne François. Courtesy des artistes |
| | | | Lighthouse Exhibition: The Red Studio | | | | | | – 18 Nov 2018 | | | | | |
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| | | | | | Brave New World | | | | | | – 10 Feb 2019 | | | | | |
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| | | « Plein soleil » © Anaïs Boileau | | | | | | | 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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© 14 November 2018 photography-now.com
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