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| PHOTOGRAPHY INTERNATIONAL | | 18 — 25 October 2017 | |
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| | | | | NUCLEUS | Imagining science
From 22 October - 26 November 2017, the 24th edition of the Noorderlicht International Photography Festival will take place. During ‘NUCLEUS, imagining science’ work of 74 photographers from 26 countries can be seen at seven locations in Groningen, Eelde and Assen.
Tribute to human ingenuity
NUCLEUS is about science and the representation of it by independent photographers and artists. In response to social developments, more and more artists use science in their research and as a source of inspiration. Science and art form a fertile combination after all. Both disciplines work from an investigative urge, with curiosity, originality, creativity and an open mind as fundamental principles. In NUCLEUS, the photographers tell their stories about science and the representation of it in around 700 images.
www.noorderlicht.com |
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| | | | | 136 venues | 147 exhibitions | 614 artists | 23 cities From October to December, under the coordination of the Centro de la Imagen, FOTOMÉXICO 2017 is a forum open to the diverse and multiple works of our photographic creators. |
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| | | L'idole © TOUMS (Thomas Gosset) | | | TOUMS » Primitive Acids | | | | 20 October – 12 November, 2017 | | | | Opening: Friday, 20 October, 7-11pm | | | | | | | | | | | | | Urban Spree Gallery is proud to present "Primitive Acids", the first German solo gallery show of the French experimental analog photographer Thomas Gosset a.k.a. Toums. Wandering between his native Bordeaux and Berlin, Toums redefines the medium of analog artistic photography by attacking his negatives with acids, ink, paint and other physical alterations and combining his skillsets with a dark contemporary mythology. Working in darkroom and strictly excluding all forms of modern technique, his practice lurks in the footsteps of the late 19th century pioneers and early 20th century surrealist avant-gardes. Portraits are his preferred genre. Toums destructures them until they achieve the transmutated vision that the artist has assigned to them. Like a deus ex machina, the photographer creates the portrait with his camera and subsequently creates the final image through his manipulations ex-post. Utterly disrespectful of the medium, desacralizing it in order to provide a new meaning, Toums is a rare breed of an iconoclast photographer, with filiation looking towards Joel-Peter Witkin, Pierre Molinier, and Roger Ballen. His direct and deadly intervention on the film, the materia prima of his work, procures a highly unstable result. Soon to be destroyed by acids, slowly corroding the matter, the films are revealed in the darkroom process and printed on silver gelatin. As the film returns to dust, the portraits become fugitives, trying to escape their own fate, living in a printed dimension and refusing mortality. It is no accident that most Toums compositions are building a new mythology with some elements borrowed from the Greek corpus of myths. | | |
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| | | | | | Absolventen des Instituts für kreative Fotografie in Opava/CZ | | | | | | Thu 19 Oct 19:00
20 Oct – 23 Nov 2017 | | | | | |
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| | | | | | | | © Photograph by W. Eugene Smith & Aileen M. Smith, Japan, 1971-73 |
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20 Oct 2017 – 21 Jan 2018 | | | | | |
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| | | | | | | Jessica Sheffer, Fracán, Argentinien, 2014
© Pablo E. Piovano |
| | | | | | | | | | | Thu 19 Oct 19:30
20 Oct 2017 – 21 Jan 2018 | | | | | |
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| | | | | | | | Oasis, San Francisco 2016, c-print auf Aluminium, 50 x 50 cm © Anna Lehmann-Brauns |
| | | | | | | | | | | Thu 19 Oct 19:00
20 Oct – 10 Dec 2017 | | | | | |
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| | | | | | Abschlussausstellung #22 (Teil 1) | | | | | | Fri 20 Oct 19:00
21 Oct – 26 Nov 2017 | | | | | |
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| | | | | | | Martin Liebscher: Bitburg, 2017, Lambdaprint / AluDibond, 140 x 300 cm, Auflage 5
courtesy Martin Asbæk Gallery |
| | | | | | | | | | | Sun 22 Oct 11:30
22 Oct 2017 – 7 Jan 2018 | | | | | |
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| | | | | | | | John Akomfrah, Vertigo Sea (film still), 2015. © Smoking Dogs Films. Courtesy Lisson Gallery. |
| | | | | | | | | | | Fri 20 Oct 19:00
21 Oct 2017 – 27 Jan 2018 | | | | | |
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| | | | | | | Jean-Christophe Ammann, o. T. (Balthasar Burkhard), USA 1972
© Estate Balthasar Burkhard, 2017 |
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20 Oct 2017 – 14 Jan 2018 | | | | | |
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| | | Duane Michals: Dr. Heisenberg’s Magic Mirror of Uncertainty, 1998 © Duane Michals, Courtesy Galerie Clara Maria Sels, 2017 | | | Duane Michals » Cultural Award of the
Deutsche Gesellschaft für Photographie | | | | 21 October – 5 November 2017 | | | | Opening reception: Saturday 21 October 19:00 | | | | | | | | | | | | | The artist (*1932 in McKeesport, Pennsylvania), who is still highly active, has been working with the medium of photography since the 1950s. After studying graphic design in Denver and New York, he produced his first photographs during a trip to Russia, and photography would be an important means of artistic expression for him from then on. Duane Michals selects different forms of photographic presentation, whereby the element of the serial-narrative is assigned particular importance. It became apparent early on that the term “photograph“ alone does not do justice to his complex approach with the imaginatively staged production of images. Because he is time and again concerned with the staging and heightening of impressions of reality that go beyond what is concretely documentary. Thus the sequences that Michals creates constitute an independent form of visual narrative, of photographic “stage play.“ He has also been including texts in his visual works since the 1970s, mostly written by hand on the white edges of the images; simple lyrical lines that prove to be just as profound as his photographs. Duane Michals's themes are interpersonal relationships, magic and illusion, time and memory, religion, love, and sexuality. The exhibition will be presenting the following series from different creative phases of the artist: The Fallen Angel (1968), Dr. Heisenberg's Magic Mirror of Uncertainty (1998), The Theatre of Real Life (2004), as well as recent photographs of still-life motifs from the 2000s. The lenders are the Galerie Clara Maria Sels, Düsseldorf; KOLUMBA, Cologne; as well as the Lehmbruck Museum Duisburg and the City of Duisburg. | | |
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| | | Bruno Bernard, M. Monroe, 1946, Schokoladenreklame Valentinstag | Elliott Erwitt, Havanna Cuba, Che Guevara 1964 | | | | | | | Seeing and Being Seen | | | | | | | until 29 October 2017 | | | | | | | | | | | | | The human face is surprisingly full of expression and we tend to “scan” it in order to differentiate between the smallest changes in mimics of others. The recognition of human faces and mimics is so important that an entire area in our brains is devoted solely to this task. So it is not too surprising that the portrayal of the human face also takes up a great role in art. Since ancient times, artists have been producing portraits not only of rulers, but also of prominent figures of public life. These portraits have mostly been used in the absence of said person and gave that person a sort of symbolic presence, in which they continued living through their representations. They did not only reflect the prominence of said persons, which is mostly connected to an illusion of success and luck, but also with intelligence, beauty and talent. Through this tradition a cult of celebrities evolved, which has undergone rapid changes in the course of the last centuries. The changes and developments in technology play a great role in this process. One of the most important inventions in said field was of course the invention and development of photography. This medium, which has been a quite new invention back then, was to supersede painting, especially in regards to portraiture, in the course of the 19th century. With the the exhibition "famous faces", the visitor may appropriate to portraiture in photography in a way that has never been done in the in focus Galerie. One can see the most important faces of the 20th century, portrayed by the best photographers of that time. Those masters behind the camera are photographers like Elliott Erwitt, Jeanloup Sieff and Arnold Newman, who most likely belong to be best-known photographers of the 20th… | | |
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| | Antoine d'Agata: Libro Mala Noche 1991-1997
© Antoine d'Agata / Magnum Photos | | | | | | | | 24 October – 2 December 2017 | | | | Opening reception: Tuesday 24 October 18:00 | | | | | | | | | | | | | | Over the past 30 years, French photographer Antoine d'Agata (born 1961) has undertaken various journeys in Mexico. As a photographer, d'Agata tends to focus on societal taboos like addiction and prostitution, and embroil himself directly in these darker parts of human nature. "It's not how photographers look at the world that is important," d'Agata has remarked. "It's their intimate relationship with it." | | |
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| | | Tiro al Piccione, 2017 © Paolo Ventura. Courtesy of the artist and Edwynn Houk Gallery, New York | | | | | | | | until 11 November 2017 | | | | | | | | | | | | | Paolo Ventura, born in Milan in 1968, grew up with storytellers. His father was a popular author of children’s books, while his grandmother told memorable tales of living in the Italian countryside during World War II. Ventura has developed his own inventive approach to narrative, blending two forms of storytelling—one inspired by historical events and the other entirely fictive—with a creative technical approach that has earned him widespread recognition. Each of Ventura’s photographs involves multiple steps. The process includes building and painting simple sets, dressing and directing actors, and combining photographs of the two in a unique topographic reality. Lovers, soldiers, and jesters are some of the recurring characters, often played by family members, including his twin brother, son, wife, and himself. In this present exhibition, Ventura collages and hand-paints over every image. The resulting tableaus engage each other in dialogue, but each exists as its own imaginative world. Ventura’s work is characterized by a delicate and complex balance. His images are photographic yet appear painterly; familiar yet dream-like; historical yet modern. Even his artistic inspirations, which are as varied as surrealist painting and Neorealist cinema, find equilibrium in his work. Most importantly, Ventura’s sense of genuine curiosity is contagious. When Ventura hears a story, he is known to exclaim with excitement, “No way! Really?”, as curator Bill Hunt wrote in an essay on Ventura’s work for Aperture Magazine. His photographs invite viewers to share in this spirit of discovery. Seen collectively, the series of images loosely tells a story, as if the artist is drifting from dream to dream, enveloped in the theatrical sets of his own imagination. Ventura’s work has been exhibited in museums and private galleries worldwide, including at the Italian Pavilion of the 2011 Venice Biennale. Solo exhibitions include Galleria Nazionale d’Arte Moderna, Rome; The Hague Museum of Photography; Halsey Institute of Contemporary Art, Charleston, SC; and MACRO Museum of Contemporary Art, Rome. His work is included in notable public collections including the Boston Museum of Fine Arts; the Lowe Art Museum, Miami; and the Museum Het Valkhof, Nijmegen, The Netherlands. | | |
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| | | © Barbara Hammer | | | | | | | | 22 October – 26 November 2017 | | | | Opening reception: Sunday 22 October 2017, 6pm | | | | | | | | | | | | | Throughout the 1970s, filmmaker Barbara Hammer toured the United States, Africa, and Europe, making film after film about women and the lesbian experience, neither of which had seldom been seen by a woman, for women on screen before. She made a slew of now-legendary experimental films, including Sisters! (1973), Dyketactics (1974), Multiple Orgasm (1976), Sappho (1978), and Double Strength (1978), more or less inventing lesbian cinema at a time when such material had largely been relegated to the pornographic imagination of male artists and filmmakers. During this prolific period, Hammer photographed her travels, her lovers, moments of community and kinship between her collaborators on set, private and public performances, friends, strangers. In these photographs, most of which have never been exhibited before, Hammer’s work explodes traditional notions of female sexuality by showing it for what it is: complex, messy, abstract, human. As a filmmaker, Hammer fused the non-linearity of Gertrude Stein and the poetic realism of Djuna Barnes to the early to mid-century American filmmaking experiments of Deren, Stan Brakhage, and Jonas Mekas. Her kaleidoscopic vision continuously upended representational expectations about the female body and the expression of sexual and romantic desire as well as the formation of the self on screen. Many of the photographs included in Truant relate directly to Hammer’s better-known work as a filmmaker; others are considerably more spontaneous and personal, even diaristic. There are private moments of sex and nudity—two crucial subjects that she has investigated in film, photography, sculpture, and performance throughout her career. Bodies cavort beside a river,… | | |
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| | Rita, 17, Chabahil, northern district of Kathmandu, april 2017
© Lizzie Sadin for the Fondation Carmignac | | | Lizzie Sadin » The Trap — Trafficking of Women in Nepal | | | | 8th Laureate of the Carmignac Photojournalism Award | | | | 20 October – 12 November, 2017 | | | | | | Hôtel de l’Industrie 4 place Saint-Germain-des-Prés . 75006 Paris
Fondation Carmignac24 place Vendôme, 75001 Paris
www.fondation-carmignac.com | |
| | | | | | Fondation Carmignac has announced the 8th edition of the Carmignac Photojournalism Award has been awarded to French photojournalist Lizzie Sadin. After three months of reporting in Nepal, between February and May 2017, the photojournalist Lizzie Sadin has brought back, for the Carmignac Photojournalism Award, a deeply moving testimony on gender based human trafficking, which is deeply rooted it is in Nepalese society. From 20 October 2017, an exhibition at the Hôtel de l’Industrie in Paris will showcase her works. It will be accompanied by the publication of a monograph. Lizzie Sadin
The Trap — Trafficking of Women in Nepal Following a call for applications in July 2016, the jury, presided by Monique Villa, CEO of the Thomson Reuters Foundation, has chosen to give a voice to Nepalese women by selecting Lizzie Sadin’s project. In 2015, an earthquake of 7.8 on the Richter scale shook Nepal, killing 9,000 and causing 6,500 people to be displaced. Nepal’s political instability, the extreme precariousness of its population – one quarter of whom lives below the poverty line – and the failings of its education system mean that the country is struggling to recover from this disaster and must now confront a emerging new phenomenon: human trafficking. This trafficking principally affects women. The influence of cultural traditions which maintain women’s status as inferior beings, or even as possessions, is still strong. 20,000 young girls are exploited in the sex industry of Kathmandu and more than 300,000 of them emigrate in order to take up “employment” as domestic workers. Lizzie Sadin has released a poignant account of the … | | |
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| | Gregor Beltzig, Les Gorges de Vorotan, Tatev, Arménie, 2013
© Gregor Beltzig, Courtesy Galerie Esther Woerdehoff | | | | | | | | | | 24 October – 25 November 2017 | | | | Opening reception: Tuesday 24 October 18:00 | | | | | | | | | | | | | This autumn, the BnF (the French national Library) will hold a major exhibition, Paysage francais, une aventure photographique, 1984-2017, where two photographers of the gallery will show their works. Xavier Dauny, with his series Pylônes, methodically explores our environment and the traces left by human on the natural landscape. Guillaume Martial, who won the HSBC Prize in 2015, exposes Parade, a series realized within the mission France(s) Territoire liquide, where the photographer animates the urban environment with an applied humor.
Upon invitation by the BnF, we wish to extend this subject of landscape with a collective exhibition of our artists at the gallery. Rather than a documentary vision of the landscape, their works offer an imaginary geography, born in the real world but metamorphosed by the camera, the printing or post-processing: a reality reinvented by photography. Gregor Beltzig traveled to Armenia, his notebook pages where handwriting mingle with photographs and his souvenirs of the Silk Road in Fresson prints reveal a poetic vision of the world. Following the approach of his fascinating Darkened Cities, Thierry Cohen presents his new series in exclusivity and plunges the forest under the stars. Xavier Dauny, exhibited at the BnF, shows his series Domaines skiables at the gallery. Sabine Guédamour follows the Doubs river from its source to the Saône; more than the river, she describes the nature that surrounds it, the passing of seasons and the tenuous relationship between humans and water. Aiming towards new dimensions, Iris Hutegger presents her latest works, these photographs of mountain landscapes embroidered with colors and emotions. Jens Knigge, a master of the ancient process of platinum-palladium, captures the rough landscapes of Iceland in miniature views and sublime shades of gray. Olivier Mériel amazed at the landscapes of his native Normandy, photographs the city, the coast and elds with a large-format camera and handprint them in the dark room. With contrast and sharpness, his photographs praise time, shadows, and light. Jacques Pugin, in echo to the date of the first DATAR mission, exhibits his Graffiti rouges, a series of landscapes realized in 1984 by this precursor of light painting and printed with the Fresson process. Last but not least, Nikolas Tantsoukes, inspired by Dada, creates unique collages. Collecting images from old magazines, he composes surrealistic landscapes where a modern city is placed under the nave of a church or an alpine landscape in the ballroom of a Bavarian palace. | | |
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| | | | | | | | Xavier Dauny Col du Lautaret, Hautes Alpes, 20 novembre 2011 2011 25 x 17 cm. Gelatin silver print. Edition of 8 |
| | | | Paysages français. Une aventure photographique, 1984 - 2017 | | | | | | 24 Oct 2017 – 4 Feb 2018 | | | | | |
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| | | Errand-girl in the Oerlikon Machine Factory, 1934. © Jakob Tuggener-Stiftung | | | | | | | | 21 October 2017 – 28 January 2018 | | | | Opening reception: Friday 20 October 18:00 | | | | | | | | | | | | | Jakob Tuggener (1904–1988) is one of the exceptional figures in Swiss photog-raphy. His personal and highly expressive photographs of boisterous parties given by the upper social classes are legendary. His book Fabrik published in 1943 is regarded as a milestone in the history of the photobook. The exhibition "Machine Age" focuses mainly on his photographs and films of the world of labour and industry. These reflect not only the swift technical development from the textile industry in the Zurich highlands, or Oberland, up to and including the construction of power stations in the Alps. They also bear witness to Tuggener’s life-long fascination with all kinds of machines: from weaving looms to furnaces and turbines to locomotives, steamships and racing cars. He loved their noise, their dynamic movements and their bondless power, which he captured in images that oscillate between silent poetry and great expressiveness. At the same time he observed the men and women whose labours kept the engine of progress running – while also hinting that one day machines could dominate man. Jakob Tuggener was more familiar with the world of factories than scarcely any other photo-grapher in his day. He had completed training in mechanical drawing at Maag Zahnräder, a gearwheel company in Zurich, and worked there afterwards in their construction department. The company’s photographer Gustav Maag introduced him to the technique of photography. Due to the economic crisis in the late 1920s, Tuggener lost his job, whereupon he then fulfilled a dream he had harboured since childhood of becoming an artist, by studying at the Reimann School in Berlin. For about one year he engaged intensively with poster design, typography and film and, through t… | | |
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| | | Hasan Elahi, Prism v2.0.5, 2017, Courtesy of C. Grimaldis Gallery © Hasan Elahi | | | | | | | | | | | | | until 26 November 2017 | | | | | | | | | | | | | Both the history and the present of visual culture are informed by advanced media that draw the viewer into their own visual worlds in different ways. Photographs, films and virtual realities can absorb our perceptions and at the same time curtail our awareness of the real environment. This latest cluster is devoted not only to the immersive expansion of photographic media and practices, but also to the state of the immersive as a core form of our mediatised perception of the world around us. Today, we have digital infrastructures, networks and multi-layered, interwoven visual worlds through which we constantly navigate with our smartphones and touchscreens. We live in data clouds. Our identities are morphing into profiles made up of preferences, searches and links, which are increasingly eluding our control. With works by MSHR, Aram Bartholl, Alan Bogana, Hasan Elahi, Adrian Flury, Noémie Goudal, Kamilia Kard, Ed Ruscha and a workshop by Karim Ben Khelifa in cooperation with Hochschule Luzern. In 2002, American media artist Hasan Elahi was detained and interrogated by the FBI on his return flight to the USA. The reason? Suspected of terrorism. For more than six months, he was repeatedly called in by the authorities. Any foreign travel had to be notified in advance. This sparked the idea of undertaking a self-surveillance project, which he named Tracking Transience (2003–) and in which he has been documenting his life online over the past 14 years. Years before the flood of images via smartphone, flickr and instagram began to inundate the web, Elahi set about consistently photographing all the places he visited. He uploads his pictures to his website, where his current location can always be pinpointed via GPS. In Elahi’s wall-spanning photomontage Prism v2.0.5 (2017) a variety of immersive systems clash. Huge black and white aerial images show the NSA headquarters – one of the world’s hubs of international surveillance. These are contrasted by a small-scale mosaic of photographs featuring Elahi’s own self-surveillance.
More by Hasan Elahi: http://elahi.org/ | | |
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| | | | | | | | | | | | | Rebel Video Die Videobewegung der 70er- und 80er-Jahre | | 18 Oct – 15 Oct 2017 | | | | | | | |
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| | | | | | | | | | | | | Wed 18 Oct
19 – 22 Oct 2017 | | | | | |
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| | | | | | | | | | | | | Thu 19 Oct 11:00
19 Oct – 22 Oct 2017 | | | | | |
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| | Lot 82
William EGGLESTON
Untitled (Yellow car) – 1976 | | | EYE FEEL - Photography | | | | | | Auction: Tuesday, 24th October, 8pm
Public exhibitions:
Thursday 19th October, 11am-6pm
Friday 20th October, 11am-6pm
Saturday 21st October, 11am-6pm
Sunday 22nd October, 2pm-6pm
Monday 23rd October, 11am-7pm
Online catalogue:
www.artcurial.com
Contact: Capucine Tamboise
ctamboise@arturial.com
+33 (0)1 42 99 16 21 | |
| | | | | | | | | | | | | | During the FIAC as well as major fall photography exhibitions in Paris (Irving Penn, Andres Serrano, Liu Bolin), prior to the Salon Paris Photo, Artcurial organizes on Tuesday 24th October an important auction of modern and contemporary photography. On this occasion, a collection from Belgium entitled La Forme et le territoire will be unveiled. | | |
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| | | | FOTOMÉXICO 2017 | | | | LATITUDES - International Photography Festival | | | | 136 venues | 147 exhibitions | 614 artists | 23 cities | | | | | | | October ‐ November 2017 | | | Grand opening: Tuesday 24 October 2017, 7:30 pm | | | | | | | | | | | | | FOTOMÉXICO 2017, the International Photography Festival is a space for creativity, a reference in the reflection and dialogue about national and international photographic production, a diverse expression of the vitality, relevance, and strength of this medium and its creators. From October to December, under the coordination of the Centro de la Imagen, FOTOMÉXICO 2017 is a forum open to the diverse and multiple works of our photographic creators. It is a meeting place for the photography community with venues in museums, galleries, and exhibition spaces that also join the Foto México Network’s initiatives. Dedicated to theme of "Latitudes", this second edition of the festival offers plural, geographic, anthropological, and multidisciplinary perspectives, with exhibitions by renowned artists from Mexico, Brasil, Chile, France, Brasil, United States, Argentina, Peru, Spain, France, Germany, Scandinavia, India, Japan, South Africa, Mali and Nigeria, among others. A broad program of parallel activities complements the festival, which for the first time organizes a call for entries to participate in portfolio review that brings together outstanding photographers, visual artists, and curators, to generate a dynamic of feedback with all those who have submitted their work. The Museo Amparo in Puebla once again opens its doors to host the International Photography Meeting 2017, an event not to be missed in this edition of the festival. FOTOMÉXICO 2017 is an opportunity for the public to experience in this artistic expression that captures the moment to eternalize it through the multiple eyes of the photographic c… | | |
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| | | Michael Najjar: "liquid gravity", 2013, 202 x 132 cm | 102 x 67 cm, edition of 6 | | | | | | | Noorderlicht Photofestival 2017 | | | | | | | | 22 October – 26 November 2017 | | | | Opening reception: Saturday 21 October 2017, 16:00 | | | | | | | | | | | | | NUCLEUS | Imagining science
From 22 October - 26 November 2017, the 24th edition of the Noorderlicht International Photography Festival will take place. During ‘NUCLEUS, imagining science’ work of 74 photographers from 26 countries can be seen at seven locations in Groningen, Eelde and Assen.
Tribute to human ingenuity
NUCLEUS is about science and the representation of it by independent photographers and artists. In response to social developments, more and more artists use science in their research and as a source of inspiration. Science and art form a fertile combination after all. Both disciplines work from an investigative urge, with curiosity, originality, creativity and an open mind as fundamental principles. In NUCLEUS, the photographers tell their stories about science and the representation of it in around 700 images. It is the first time a collaboration from Noorderlicht will occur with KINK in Assen and Museum De Buitenplaats in Eelde.
www.noorderlicht.com | | |
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| | | | | | Borderlines Città divise/Città plurali | | | | | | – 10 Dec 2017 | | | | | |
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| | | | | | man-made landscapes | | | | | | – 21 Oct 2017 | | | | | |
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| | | Pétrel I Roumagnac (duo), Reset/Résidus #3, 2015, Direktdruck auf Plexiglas (Installationsansicht, Galerie Escougnou-Cetraro, Paris) © Pétrel I Roumagnac (duo), courtesy die Künstler und Galerie Escougnou-Cetraro | | | | | | | Farewell Photography | | | | | | | – 5 November, 2017 | | | | In 2017 the internationally renowned Fotofestival Mannheim-Ludwigshafen-Heidelberg will be renamed as the Biennale für aktuelle Fotografie | | | | | | | | | | | | | | The first Biennale für aktuelle Fotografie, which will be on show from 9 September 2017 in Mannheim, Ludwigshafen and Heidelberg, takes its leave from photography as it has been known hitherto. Under the title “Farewell Photography”, a six-member curator team will shed light on radical ways of handling images in the digital age and present an alternative look at photography’s history. The Biennale will be showing works by more than 60 international photographers and artists in seven chapters in seven museums of the region. | | |
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| | | | | | | Mannheim-Ludwigshafen-Heidelberg DE | OFF//FOTO | |
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| | liquid time (2017) © Michael Najjar
Format 1: 132 x 202 cm / 52 x 79.5 in, edition of 6 + 2 AP
Format 2: 67 x 102 cm / 26.3 in x 40.2, edition of 6 + 2 AP
Hybrid photography, archival pigment print, aludibond, diasec, custom-made aluminium frame | | | Clouds ⇄ Forests | | | | 7th Moscow International Biennale of Contemporary Art | | | | | | | – 18 January 2018 | | | | | | | | | | | | | The 7th Moscow International Biennale of Contemporary Art takes place in the New Tretyakov Gallery (The State Tretyakov Gallery, 10, Krymsky Val, Moscow) from 19 September 2017 to 18 January 2018. The Main Project Clouds⇄Forests is curated by Yuko Hasegawa - one of the leading curators in the international art world - and includes 52 artists from 25 countries. The concept of Clouds⇄Forests focuses on a new eco-system formed through the circulation of "Cloud Tribes" born on the Internet cloud space, and "Forest Tribes" born in an analogue world. Works of the artists in the Main Project are displayed in dialogue with works from the permanent exhibition of The State Tretyakov Gallery. Michael Najjar » has been invited to participate in the Biennale with several large-scale artworks from his celebrated "outer space" series. On view for the first time will be his "liquid time" triptych, created especially for the Biennale. This work highlights the fragility of our ecological balance and the significance of the change of state from ice to water because glaciers are storehouses of time - layer on layer they capture the air, water and oxygen of countless thousands of years. The picture was taken in early 2017 in an ice cave under the Breiðamerkurjökull glacier in Iceland.
Also on view, in the All-Russian State Library, will be Michael Najjar´s striking new video artwork "terraforming". The work focuses on transformation of a natural environment through energy input and combines footage taken on various locations in Iceland in early 2017 with Martian landscapes shot by NASA´s Curiosity Mars rover. | | |
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| | Hell from the series Passage 2017: type C photograph on gloss paper 105.5 x 156cm
© Tracey Moffatt; Courtesy of Artist and Roslyn Oxley9 Gallery, Sydney & Tyler Rollins Fine Art, New York | | | | | | | | | | | | – 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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© 18 October 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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