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| PHOTOGRAPHY INTERNATIONAL | | 17 – 24 May 2017 | |
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| | | | | | | | Still Lifes, Videostill, 2016 © Erik Levine |
| | | | | | | | | | | Thu 18 May 19:00
18 May – 24 Sep 2017 | | | | | |
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| | | Kabangu 2016 (detail) © Osborne Macharia | | | | | | | | | | | | | 19 May – 27 August 2017 | | | | Opening reception: Thursday 18 May 17:30 | | | | | | | | | | | | | Foam welcomes the African Artists’ Foundation for a collaborative presentation of young African talent at Foam 3h. The African Artists’ Foundation (AAF) is a non-profit organisation based in Nigeria, dedicated to the promotion and development of contemporary African art. Together, Foam and the AAF present the work of three young photographers from Kenya and Nigeria: Mũchiri Njenga (1985), Osborne Macharia (1986) and Kadara Enyeasi (1994). Their works present fantastical worlds in which past, present, future, fact and fiction converge. Their stylized versions of reality render ambiguous what it is we are looking at: utopia, dystopia or real life? Foam will be screening Kichwateli (2011) (Swahili for TV-head), a short film by Mũchiri Njenga set in a post-apocalyptic African slum. A young boy with a television for a head wanders the streets of an anonymous city, simultaneously broadcasting and recording information as he goes. The film comments on an inter-generational exchange of cultural traditions and a transhumanist belief in (bio)technological advancement and robotics. Osborne Macharia creates monumental portraits of members from invented Kenyan tribes. Through highly stylised Afro-futuristic imagery, Macharia reformulates real events in the history of Kenya, such as British colonial rule and the Mau Mau rebellion. Originally trained as an architect, Kadara Enyeasi is interested in the relation between space and (human) form. His collages constitute a playful variation on the principles of Western Modernists such as Le Corbusier, while also referencing the graphics of African textile design. | | |
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| | | Ayman (34), 2007 © foam | | | New Perspectives | | | | 19 May – 7 June 2017 | | | | Opening reception: Thursday 18 May 17:30 | | | | | | | | | | | | | | The exhibition New Perspectives presents the results from the educational project of the same name, which ran from January until May 2017. New Perspectives is a project initiated by Foam that helps newcomers and people granted temporary residence participate in society through a range of workshops, tours, masterclasses and exchanges linked to photography. The objective is to use photography to stimulate creative encounters and language development amongst Amsterdam residents. The exhibition presents some of the best work created as a result of these encounters. | | |
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| | | © Alex Williams | | | as to be inaudible | | | | Hartford MFA Photography Group Show | | | | | | | | 18 – 19 May 2017 | | | Opening Reception: Thursday, 18 May, 18-21h
Friday, 19 May 2017, 10-18h
For more information please visit www.hartfordphotomfa.org or www.facebook.com/HartfordArtSchoolMfaPhoto | | | | | | | | | | | | | Hosted by C/O Berlin, the International Limited-Residency MFA in Photography program at Hartford Art School/University of Hartford (US) presents "as to be inaudible", an exhibition opening on 18 May 2017. The exhibition was curated by Jörg Colberg and contains photographs by first-year students in the program. Curated by Jörg Colberg, the exhibition explores the breadth of contemporary photography, featuring vaguely dystopian landscapes, portraits (staged and candid), quiet observations from anonymous cityscapes, and more. "as to be inaudible" hints at a larger sense of unease the respective artists‘ societies appear to be finding themselves in at this inauspicious moment in time. Hartford Art School/University of Hartford are proud to deliver the first International Limited Residency Master of Fine Arts program in photography. The program is designed for both mature individuals with established experience in the field and for recent graduates who wish to further their own practice and acquire an MFA degree in order to facilitate their professional credentials as artists and educators. For more information please visit www.hartfordphotomfa.org or www.facebook.com/HartfordArtSchoolMfaPhoto | | |
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| | | | | | | | © Wolf Suschitzky, Charing Cross Road #2, London, 1937 |
| | | | | | | | | | Fri 19 May 19:00
20 May – 31 Aug 2017 | | | | | |
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| | | Jens Liebchen: TSUKUBA-NARITA 2011/03/13 - Motiv #1, Archival Ink Jet Print, 30 x 45 cm © Jens Liebchen | | | | | | | | 23 May – 29 July 2017 | | | | Opening reception: Saturday 20 May 15:00 | | | | | | | | | | | | | For the first time, Galerie Springer Berlin is presenting the artist and photographer Jens Liebchen (*1970) and his "System" series. His photo book, published under the same title by Peperoni Books/White Press in 2014, was highly acclaimed by critics and sold out within only a short time. The gallery is therefore all the more fortunate to now be able to exhibit his large-sized works. Jens Liebchen studied Social Anthropology at Freie Universität Berlin before turning his attention entirely to photography. In his works, he deals with political and social issues. His time spent living in Tokyo, from 2010 until 2013, provided him with a reflective insight into Japanese society and culture.
While in Tokyo and at the heart of the metropolis, he produced his "System" series. In the outer part of the Imperial Palace Garden, Liebchen photographed pine trees during a blizzard. In Photonews Blogbuch, Michael Klein and Peter Lindhorst described the series as seeming similarly contemplative to the art of black-and-white oriental ink painting, which is practised in Japan to perfection”. What on first glance appears to be an arrangement of nature in an untouched environment is actually a setting right in the middle of the megacity Tokyo. Whereas in the background there is the suggestion of cars and parts of the city’s silhouette through the heavy blizzard, the lighting conditions clearly highlight the shapes and structures of the trees, making the colour photographs look almost as if they were black-and-white. The trees appear like protagonists on a stage: partly representing individual characters, partly seeming to be acting in groups. In November 2014, Hannes Wanderer wrote: "Nature only delivered the material for the trees. P… | | |
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| | | Kuwait, 1991, gelatin silver print, 180.4 x 246.4 cm © Sebastião Salgado/Amazonas Images | | | | | | | | 25 May – 16 September 2017 | | | | Opening reception: Wednesday 24 May 2017 | | | | | | | | | | | | | La Photographie Gallerie presents a stunning series of images by acclaimed photographer Sebastião Salgado depicting the burning Kuwaiti oil fields of the 1991 Gulf War. Sebastião Salgado was born on 8 February 1944 in Aimorés in the Brazilian state of Minas Gerais, and currently lives in Paris with his wife and greatest accomplice, Leila Wanick Salgado. Having trained as an economist, he went on to a career as a photographer. He began working as a photographer in Paris from 1973 onwards, through the Sygma, Gamma and Magnum Photos agencies. In 1994, he and his wife Leila set up their own press agency, Amazonas Images, created exclusively for his photographic work. He has travelled more than a hundred countries for his photographic projects which, in addition to their numerous appearances in the press, have been published in books such as Other Americas (1986), Sahel: The End of the Road (1986), Workers (1993), Terra (1997), Migrations and Portraits (2000), Africa (2007), Genesis (2013) and Kuwait (2016). Touring exhibitions of these works have been, and continue to be, organised across the globe. Sebastião Salgado has been awarded numerous photographic prizes. He is also a UNICEF Goodwill Ambassador and an honorary member of the Academy of Arts and Sciences in the United States. In 2016 Salgado became a member of the Académie des Beaux-Arts of the Institut de France, appointed to the seat previously occupied by Lucien Clergue. The same year he was made a Knight of the Legion of Honour, France. | | |
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| | | | | | | | Andreas Mühe: Jagdhaus Honecker, 2016 aus der Serie: Jagd © VG Bildkunst Bonn 2017 |
| | | | | | | | | | | Thu 18 May 19:00
19 May – 20 Aug 2017 | | | | | |
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| | | | | | Ausstellung & Symposium | | | | | | Wed 17 May 19:30
18 May – 18 Jun 2017 | | | | | |
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| | | | | | | Jiaxi Yang: The Horizontal Mode of a Waking Life (Eggs), 2016,
Tintenstrahldruck mit Pigmenttinte auf Fine Art Papier, 50 x 40 cm |
| | | | Contemporary Photography from China and Germany | | | | | | Fri 19 May 19:00
20 May – 2 Jul 2017 | | | | | |
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| | | | | | | | Donata Wenders: Muse, 2013 |
| | | | | | | | | | | Wed 17 May 19:00
18 May – 29 Jul 2017 | | | | | |
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| | | | | | | | | | | | | Sat 20 May 16:00
20 May – 9 Jul 2017 | | | | | |
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| | | | | | | SAM SHAW: Mrs. Banks, Farmpächterin, Missouri 1943
© Sam Shaw Inc. - www.shawfamilyarchives.com |
| | | | | | | | | | | Sat 20 May 19:00
21 May – 17 Sep 2017 | | | | | |
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© Pat Brassington |
© Trent Parke |
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| | | | | | | | final exhibition | | | | | | | | 24 May – 30 June 2017 | | | | Opening reception: Saturday 27 May 15:00 | | | | | | | | | | | | | In 1991 Bob Hawke was Prime Minister of Australia, The Simpsons debuted on Channel 10, Boris Becker beat Ivan Lendl in the Australian Open Tennis Championship, Tim Berners-Lee introduced the web browser, Nirvana released Nevermind, and Stills Gallery opened its doors at 16 Elizabeth Street, Paddington. At the time Founder and Co-Director, Kathy Freedman announced “There’s a lot of very important and exciting work being done at present using photographic images. Stills will be providing the opportunity for people to see a wide range of current work.” From these small beginnings - a roomsheet created on a typewriter and black & white prints selling for around $200 - Stills Gallery has shifted and evolved to keep up with changes in the way we produce, enjoy and understand photography. These changes have included the move to a large converted warehouse space in 1997, to accommodate the larger works being produced by artists, and the handing over of the baton from Co-Director Sandy Edwards to current Co-Director, Bronwyn Rennex along the way. We are really proud of the artists we have worked with and the exhibitions we have mounted over the years. It has been a privilege to work with such a diverse range of talented artists. And we've enjoyed sharing their works with the world - whether in Paddington or Paris... William St or Waterloo. We've also enjoyed the artworks themselves - looking at them (in the flesh), thinking about them, writing and talking about them... and of course selling them. We have relished their power to challenge and move us. In our final exhibition Curtain Call, we are taking the opportunity to look back over the history of the gallery and will present the mother of all salon hangs featuring over 70 artists from over the 26 years of exhibitions including. We’ll also be featuring ‘a work a day’ on our Facebook and Instagram feeds – where we ask friends, colleagues, collectors and artists to nominate a work or artist that has spoken to them over the history of the gallery. Please join us for this final celebration of all the fantastic artists Stills has worked with over the years. | | |
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| | David Favrod
Pixel camouflage, 2013 from the series Hikari | | | Aller-Retour | | | | Swiss photography in the interplay between wanderlust and homeland | | | | | | | 20 May – 13 August 2017 | | | | Opening Reception: Friday, 19 May 6:30 p.m. | | | | | | | | | | | | | The Kunstmuseum Thun dedicates its summer exhibition to six Swiss photographers, who deal with the theme of leaving and returning home. In their individual narrative for-mats the works by Reto Camenisch, David Favrod, Martin Glaus, Yann Gross, Daniela Keiser and Ella Maillart provide views at the world, from daily life in Switzerland to impressions from foreign countries. The six positions, which range over a period of 80 years, are connected by their curiosity and open-mindedness. They drive the photogra-phers abroad where they also live for a long time. But the look at the homeland is also formative; here they go searching for the ordinary and the strange in their own land. The repertoire of the exhibited works ranges from landscapes to portraits of artists, as well as unknown contemporaries and everyday scenes.
The photographer David Favrod, born in Japan in 1982, mirrors the discrepancy of his two identities as a Swiss and Japanese in his images in a sensitive way. By adding Japanese elements to his pictures created in Switzerland, he makes the contrast between his two home countries visible. In his work Favrod leaves nothing to chance. Through precise stagings and careful editing he creates intense and meaningful pictures. | | |
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| | Danny Lyon: Tesca, Cartagena, Colombia, 1966
© Danny Lyon / Magnum Photos. Courtesy Gavin Brown‘s Enterprise | | | | | | | | 20 May – 27 August 2017 | | | | Opening reception: Friday 19 May 18:00 | | | | | | | | | | | | | In Message to the Future, Fotomuseum Winterthur presents a comprehensive retrospective view of the work of American photographer and documentary filmmaker Danny Lyon (*1942). As a dedicated and sharp-eyed observer fascinated by outsiders and subcultures, Lyon has spent more than fifty years documenting sociopolitical issues, delving deep into the heart of the matter and always building a close rapport with the people in front of his camera. Determined to counter the one-sided preoccupations of the mainstream media by offering an alternative viewpoint, he has developed an increasingly subjective and participatory form of documentary photography in the tradition of Walker Evans and Robert Frank. In addition to his iconic images, this wide-ranging retrospective exhibition also includes, for the first time in Europe, some of his lesser-known films, collages and fascinating material from Lyon’s own archives. Lyon’s earliest photographs were created against the backdrop of the US Civil Rights Movement. In 1962, at the age of 20, he hitch-hiked to Illinois, where he photographed his first demonstration. Having been appointed official photographer for the Student Nonviolent Coordinating Committee – one of the foremost organisations in the Civil Rights Movement – he went on to produce iconic images documenting the violent clashes between demonstrators and police in the southern states. His photographs capturing the Occupy demonstrations in the autumn of 2011 in New York, Los Angeles, Oakland and Albuquerque, recall his pictures of the early days of his career. | | |
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| | | From EXTRA! EXTRA!, inkjet prints, 2017 © Cristina de Middel | | | | | | | | | | | | | 20 May – 17 September 2017 | | | | Opening reception: Friday 19 May 18:00 | | | | | | | | | | | SITUATION #80: Cristina de Middel, EXTRA! EXTRA!, 2017 Responding to an invitation by Fotomuseum, Cristina de Middel created an installation that recalls a time when the printed newspaper still enjoyed an ostensibly unwavering trust and was regarded as the medium for forming opinion; an installation that sets the critical status of physically distributed printed matter against the fluid yet no less problematic parameters of online news portals with their modification and postproduction of images and text. EXTRA! EXTRA! is the cry of the newspaper vendor trying to sell the once huge print runs on a busy high street. EXTRA! EXTRA! also resonates through the channels of digital media in the battle for likes, clicks, shares and comments. One is under the impression that, in the competition for reader attention, a global canon of keywords and key images has emerged in the last few years, one only too willingly followed by the newspaper-makers themselves...
SITUATION #81: Edmund Clark, Letters to Omar, 2010 Edmund Clark examines the strict monitoring and control mechanisms in the Guantanamo Bay detention camp. The work comprises postcards and letters received by the (unjustly convicted) British prisoner Omar Deghayes during his six-year term in the camp. Some are from family members, some are from his lawyer, others are from people around the world who had never met him...
SITUATION #82: Forensic Architecture, Bomb Cloud Atlas, 2016 Forensic Architecture is a research agency based at Goldsmiths, University of London, that is focused on advanced architectural and media research for political and legal use. Their works explore spaces of conflicts, analyzing battlefields as media environments that can be reconstructed and used as evidence by international prosecutors, human rights organizations and political justice groups... | | |
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| | | Demokratic Republic Kongo, 2012. © Dominic Nahr | | | | | | | | 20 May – 8 October 2017 | | | | Opening reception: Friday 19 May 18:00 | | | | | | | | | | | | | Dominic Nahr’s photographs are highly estimated in international newsrooms. They unfold their full force, however, in exhibitions. Released from the utility value of reporting on current affairs, their pictorial idiom and deliberate composition shift impressively to the fore. Then the hard facts of international hot spots are just the external scaffold from which to immerse oneself deeply in the life worlds of the people portrayed. Nahr’s images communicate mind-sets and moods which cannot be captured in words or statistics. They take us to four African nations that are constantly threatened by decline: South Sudan, Somalia, Mali and the Democratic Republic of Congo. The exhibition "Blind Spot"” also raises the question of the status of photography in the media system and in the depiction of misery and terror: What can, what must a photograph show? What fora does it need so as to draw our attention? At the age of 33, Dominic Nahr has already been reporting for ten years from the world’s conflict zones. He was in Gaza and Somalia, in Fukushima and Congo. His photographs are published in magazines like Time, National Geographic and Stern, for which he documented the Arab Spring and the birth of the state of South Sudan. He has received numerous awards, was Swiss Photographer of the Year in 2015 and is the holder of a World Press Photo Award for General News. Nahr was born in Heiden, Appenzell, in 1983 and grew up in Hong Kong. He discovered his calling at the age of 22, having followed violent mass protests with his camera for days when working for a Hong Kong newspaper. Attracted by the intensity of the events and their historical significance, he became their eye witness and chronicler, photographing in places where … | | |
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| | | | | | | | | | | | | Wed 17 May 17:00
18 – 21 May 2017 | | |
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| | | | | | | | | | | | | Wed 24 May
25 – 26 May 2017 | | | | | |
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| | | | | | | | | | | | | Tue 23 May
24 – 27 May 2017 | | |
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| | William Klein
„Macy's + Christmas Shopping, NY“. 1954
Gelatin silver print, 1989. 22,3 × 35,5 cm (30,4 × 40,4 cm) (8 ¾ × 14 in. (12 × 15 ⅞ in.)) | | | Modern and Contemporary Photographs | | | | | | | Photography Auction: 31 May, 2017 in Berlin | | | | | | | | | | | | | | | | |
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| | | | | Call for entries | | | HAPPINESS ONTHEMOVE AWARD | | | | Cortona On The Move - International Photography Festival | | | | Deadline: Sunday, 21 May, 2017, 23:59 CET | | | | | | | | | | | | | The great Italian comic actor Antonio De Curtis, stage-name Totò, said that making people laugh is far more difficult than making them cry. Transferring this concept to photography one could say that the portrayal of drama, suffering or tragedy is easier than portraying happiness. On this premise, the Happiness ONTHEMOVE prize was introduced to the festival as the in-house competition in partnership with Consorzio Vino Chianti (Chianti wine producers' consortium) and with the media partnership of Pagina99. For this contest, all photographers are charged with the task of documenting happiness, the joy of life and the beauty that surrounds us while boldly challenging the old truism which claims "no news is good news". It's not by pure chance that we talk about extreme challenges. In this image-obsessed, social-media age we have created, happiness has been devalued to a mere platitude. A sort of contrived theatrical, or situational comedy depicting the subject of the 'selfie' during a snatched moment of false euphoria to be flashed before their 'friends' (and perfect strangers), thereby reducing the concept to a purely superficial dimension in an endlessly repeatable series of clichés. The challenge of Happiness ONTHEMOVE is to find stories that explore the deeper aspects of happiness. Everyday stories. Stories that at first glance seem quite ordinary, but which nevertheless make us smile and give us glimpses of the realistic happiness of life: not always easy, not always visible. Above all - never banal. The winning entry, selected by an international jury, will win 5.000 euros and will be exhibited at Cortona On The Move 2018. More information and application: http://www.cortonaonthemove.com/open-calls | | |
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| | | | | | | | aus "Copacabana Palace" © Peter Bauza |
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| | | Luay Fadhil, still from Cotton (2013). Courtesy of the artist. | | | | | | | | | | | | 13 May – 26 November 2017 | | | | | | | | | | | | | The 57th International Art Exhibition, titled VIVA ARTE VIVA and curated by Christine Macel, is organized by La Biennale di Venezia chaired by Paolo Baratta. The Exhibition will be open to the public from Saturday May 13th to Sunday November 26th 2017, at the Giardini and the Arsenale venues. The preview will take place on May 10th, 11th and 12th, the awards ceremony and inauguration will be held on Saturday May 13th 2017. The Exhibition will also include 85 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the historic city centre of Venice. Also for this edition, selected Collateral Events by non-profit national and international institutions, present exhibitions and initiatives. Detailed information can be found on www.labiennale.org/en/art/ | | |
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| | | © Ikuru Kuwajima | | | | | | | | | | – 18 June 2017 | | | | | | | | | | | | | From the 12th till 28th of May The Lumiere Brothers Center for Photography will run PHOTOBOOKFEST, a large-scaled international event, dedicated to the photobook industry and photographic art in Russia. The festival's programme will consist of exhibition and education blocks, as well as a Photobook dummy contest.
Detailed information about the festival can be found on www.photobookfest.com. | | |
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© 17 May 2017 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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