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| PHOTOGRAPHY INTERNATIONAL | | 19 - 26 June 2019 | |
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| | The Collection of historical and contemporary photography from Michèle Chomette is at auction at Pestel-Debord Paris. VERITAS Lisbon offers contemporary highlights. The top lot of the auction at Koller Zurich is the Magnum Portfolio (lot 1700) with 15 original photographs. |
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| | | Dana Lixenberg, Shamilla and Quintina, 1993 © Dana Lixenberg | | | Changing Views | | | | 20 Years of Art Collection Deutsche Börse | | | | Chapter 3: Traces of Disorder (until 23 June) | | | | | | | Chapter 4: Youth Culture (25 June – 7 July) | | | | | | ARTIST TALK TUESDAY 25 JUNE 2019» Foam presents an evening around this corporate collection. Anne-Marie Beckmann, director of the Deutsche Börse Photography Foundation, will introduce participants to the extensive collection and will then go into conversation with three of the photographers presented in the collection: Dana Lixenberg » Julian Röder » Tobias Zielony »
Book a visit: 19.00 - 20.30» | | | | | | | | | | | | | In light of the 20-year anniversary of the prestigious Art Collection Deutsche Börse, Foam presents Changing Views – 20 Years of Art Collection Deutsche Börse, an extensive range of works from one of the most important corporate collections of contemporary photography. The Art Collection Deutsche Börse comprises approximately 1,800 works from over 120 international photographers, including iconic names such as Diane Arbus, Walker Evans, Bernd & Hilla Becher, Rineke Dijkstra, Dana Lixenberg, younger photographers like Tobias Zielony and Mike Brodie, and hidden gems like Gerd Danigel or Gabriele and Helmut Nothhelfer. The exhibition period consists of four back-to-back presentations that record positions on some key themes of the collection, with works from different photographers. This concept celebrates the variety and comprehensive quality of the Art Collection Deutsche Börse.
Chapter 1: Germany (3 – 19 May) | Chapter 2: Icons (21 May – 9 June)
For the third chapter, Traces of Disorder, a selection has been made from photographs that show traces of political conflicts and disturbed or changing social orders. It shows work by classic photojournalists such as Philip Jones Griffiths and Anja Niedringhaus, as well as photographers who make groundbreaking work in critical documentaries, such as Simon Norfolk and Julian Röder. Richard Mosses’ impressive works draw attention to the most pressing political conflicts in an aesthetically unusual way, such as using military film material.
The fourth and last chapter, Youth Culture presents a selection of works by photographers who are attentive to the lives and attitudes of the youthful. The portraits of Joseph Szabo from the seventies and eighties sometimes reveal the sadness that teenagers can carry, but also the unbridled zest for life. One of the most influential series of Susan Meiselas is The Prince Street Girls in which she portrays a group of adolescent girls on their way to adulthood. Mike Brodie photographed his friends searching for freedom and an alternative way of life by train-hopping. The photos of Tobias Zielony show young people in the public space. Whether the photos were taken in Wales, Marseille or Los Angeles, the subject remains the same; hanging around on the street and on chosen ‘stages’ such as parking lots or gas stations. | | |
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| | | | | | | | © Martin Parr | Magnum Photos |
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| | | Installation view of David Spero: from "SETTLEMENTS" | | | | | | | | until 27 March, 2020 | | | | | | | | | | | | | David Spero's "Settlements" draw the portrait of a few communities in Britain that have chosen to partially separate and live in parallel from so-called mainstream society out of ecological considerations. Spero uses documentary-style imagery to illustrate the creative potential and pioneering spirit displayed by these groups on their quest for new, alternative modes of existence. His work shows homemade houses and their inhabitants, as well as the gardens that allow them to support themselves and ensure their autonomy. This rejection of the current, globalized social trends is not an act of defiance or based on an anarchist stance towards society. Rather, these new settlements want to challenge our responsibility towards nature. Perhaps we should not hand all of it over to political systems. In his work, David Spero shows subsistence models carried by personal initiative and collective consciousness. He tells the story of a few small groups who have made it their mission to prioritize the low-impact management, optimal restoration and long-term protection of the natural resources at our disposal. David Spero was born in 1963, studied photography at the Royal College of Art, London and has since worked on a number of interconnected photographic projects. His work is in numerous collections, including the Victoria & Albert Museum and British Council. | | |
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| | | Malte Sänger: Untitled. from CHARISMA, 2019, 50 x 35 cm, Inkjet Pigment Print, Ed. 4 + 1 AP | Malte Sänger: Untitled. from CHARISMA, 2019, 40 x 30 cm, Inkjet Pigment Print, Ed. 4 + 1 AP |
| | | | | | | | 21 June — 17 August, 2019 | | | Opening reception: Wednesday, 19 June, 6—8 pm
Introduction: Anne-Marie Beckmann, Deutsche Börse Photography Foundation | | | | | | | | | | | | | Malte Sänger is interested in the traces people leave behind in their lives. His latest photographic work, "CHARISMA", is based on the discovery of a can of tinned fish. In addition to the standardized code of origin, he also found the name of the fishing vessel CHARISMA on it. It turned out that the batch from which the can came was the last one the ship brought ashore before any trace of the vessel's whereabouts disappeared in the vast North Sea. Suddenly, the mass product of an exploitative consumption became the relic of the last signs of human life.
In his work "Partition", which will be shown in its entirety for the first time in this exhibition, Malte Sänger shows photographs of 19 hard drives that he bought at commodity prices. Restored, the hard drives turned into a treasure trove for the private, for worries, hardships, e-mails, sexual fantasies, medical findings — information of an immense quality that fundamentally opposes the trivial materiality of the data carrier.
Malte Sänger (born 1987) studied photography at the Hochschule für Gestaltung in Offenbach with Martin Liebscher and philosophy and aesthetics with Juliane Rebentisch (Diploma 2018). He is a 2018/19 prize winner for "Gute Aussichten - New German Photography". In 2015 he received the Deutsche Börse Photography Foundation and HfG Award. For his book "Shifting Baselines" he was awarded the German Photo Book Prize 2018/19 in silver.
Malte Sänger’s works can already be found in various collections, including the Art Collection of the Deutsche Börse Photography Foundation and the Klingspor Museum Offenbach. He has also been awarded various scholarships and residenc… | | |
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| | © ANNIE SPRINKLE & BETH STEPHENS (Detail)
loveartlab.org, sexecology.org | | | | | | | Eros & Cosmos | 50JPG (50 Jours pour la photographie à Genève) | | | | | | | | 19 June – 25 August 2019 | | | | THE 50JPG 2019 - Parallel Programme: 50jpg.ch/en/calendar | | | | | | | | | | | | | The sixth edition of the 50JPG of the Centre de la photographie Genève will be held between 19 June and 25 August 2019. The main exhibition will aim to bring together Eros & Cosmos. Under the title OSMOSCOSMOS, it will highlight the link between these two universes, a connection that has been very little studied in our western cultures, probably too much influenced by monotheistic religions and the feelings of guilt developed in association with Eros, with the purpose of making the individual more subject to the ascendancy of the churches.
Jean-Pierre Vernant, a specialist in Greek antiquity, emphasizes that the sexualisation of the god Eros occurred at the moment when Uranus was castrated and withdrew from Gaia in pain to become the starry sky above our heads. And for the philosopher Michel Onfray, referring to the Kama Sutra, sex is defined as follows: “...natural, attuned to the cosmos, never separated from the world, always there as a reminder of the bond between the parts of a greater whole”. | | |
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| | | | | | | | Beat Presser: Fruits de mer, Madagaskar, 1992 |
| | | | | | | | Dritte Reise | | | Fri 21 Jun 19:00
22 Jun – 3 Aug 2019 | | | | | |
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| | Elfriede Stegemeyer
Selbstportrait, c. 1933
Gelatinesilberabzug
17,8 x 23,8 cm
© Elfriede Stegemeyer, courtesy of Galerie Julian Sander | | | | | | | | 22 June – 10 August, 2019 | | | | Opening: Friday, 21 June, 6-9pm | | | | | | | | | | | | | On the occasion of the 100th anniversary of BAUHAUS, Gallery Julian Sander presents a selection of photographs by the artist Elfriede Stegemeyer. Under the title "Schule des Sehens" ("School of Seeing"), Stegemeyer's photographs will be accompanied by works of some of her companions, who will give insight into her life and work. Elfriede Stegemeyer's interest in everyday objects, their formative and creative potential, as well as material structures and connections, form the core of her photographic oeuvre. She explored new ways of seeing by, for example, playing with different perspectives or close-up views. During her six-year involvement with the medium of photography Elfriede Stegemeyer developed a remarkable intellectual continuity and artistic expression.
Her preference for the Bauhaus came from the admiration for the work of Herbert Bayer, who taught master-classes at the Bauhaus until 1928. Due to the escalation of the political situation and the associated hostility against the Bauhaus Dessau, she studied Photography at the Staatliche Kunstschule Berlin from c. 1930. In 1932 she followed Otto Coenen to Cologne and began studying at the Kölner Werkschulen. The close contact, but also the intellectual and artistic exchange with the Kölner Progressiven (Cologne Progressives), as well as the study of the magazine a bis z (a to z) had a strong influence on her live and work, unfolded her constructivist image concepts and also aroused her joy of experimentation. | | |
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| | | | | | | Esther Vörösmarty & Elena Kristofor
Cadavre Exquis IV, 2017
Jacke: Teresa Grandits, Flora Kocher/Stellamodels
Foto: Esther Vörösmarty |
| | | | | | | | Focus on women photographers | | | | | | | Tue 18 Jun 19:00
19 Jun – 15 Sep 2019 | | | | | |
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| | | The Matterhorn, Alps, Switzerland, 1990 © Martin Parr / Magnum Photos | | | | | | | | | | | | | 22 June – 13 October 2019 | | | | Opening: Friday, February 21 at 6.30 pm | | | | | | | | | | | | | | Mountains have long fascinated photographers from all over the world. The archives of Magnum Photos – the biggest name in photojournalism since its creation in 1947– contain images of some of the world’s highest peaks. Magnum Photos is not known for landscape photography, but the theme runs through the agency’s 80-year history. Many of its members have become important figures in the history of photography: Werner Bischof, René Burri, Robert Capa, Henri Cartier-Bresson, Raymond Depardon, Elliott Erwitt, Martine Franck, Susan Meiselas, Martin Parr and Alec Soth, to mention only a few. But the agency as a whole has also had a major impact, through its dedication to politically engaged photography. These photographs are not only a testament to a very human fascination with mountains all over the world, but also to the veneration and fear that they can inspire. Up until the 20th century, mountains seemed to be indestructible, but today, we see mountain habitats overused and endangered. Part of the exhibition is devoted to renowned Swiss photographer Werner Bischof, and presented in partnership with the Werner Bischof Archives in Zurich. During the Second World War, Bischof was unable to leave the country but took long regular trips to the Alps, often alone. His love for the mountains never faded. He later roamed the world and never stopped seeking high altitudes. In 1954, two years after an expedition to the Himalayas, he traveled to the Andes, where he died in a road accident. At the age of 38, Bischof was the first Magnum photographer to pass away. The mountains –which fascinated him so much – had the last word. | | |
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| | | Noémie Goudal, Telluris I, série Telluris, 2017 © Courtesy de l'artiste et galerie Les Filles du Calvaire | | | | | | | | 22 June – 13 October 2019 | | | | Opening: Friday, February 21 at 6.30 pm | | | | | | | | | | | | | | It can be difficult to admit the idea of landscape as fictional artifice, as if it were a contradiction of our own internal experience. But the fascinating work of French artist Noémie Goudal (b. 1984) subtly compels such a realization through infinitely complex structures and her evolving theoretical approach. Her labyrinthine installation on the museum’s ground floor invites the public to stroll among a selection of her recent photographs. Goudal was born in France but studied art in London, where she still lives, and her work draws much of its inspiration from the history of science. After exploring our ever-changing relationship to the sky, her three past series have focused on our equally inconstant comprehension of the Earth’s origins, or what was not called “geology” yet, at a time when humans believed mountains to be eternally static. Her Soulèvements [Uprisings] and Démantèlements [Dismantlings] series remind us, however, that the craggy face of the Earth is always changing. The Telluris series is an expression of humanity’s obsession with understanding our surroundings, as if taming the land with equations could make our existence less fragile. Goudal seeks to make the viewer an active participant, not only through the immersive settings she devises to display her work, but also through her unique style: her photographs are most often shot in large format and lack any spatiotemporal markers, with a layering effect. On first glance, they seem to evoke American landscape photography. But the artist has left a careful trail of clues that quickly make it apparent that their purpose is not documentary. | | |
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| | | Henrik Spohler, Sans titre 1, de la série Vue sur le Jura, 2018 © Courtesy de l'artiste | | | | | | | | 22 June – 13 October 2019 | | | | Opening: Friday, February 21 at 6.30 pm | | | | | | | | | | | | | | With the aim of inspiring reflection on contemporary landscape, the MBAL partnered with Parc du Doubs (a regional nature park of national importance created in 2012) to organize an artist residency. The photographer Henrik Spohler, born in Germany in 1965, was chosen for the unique approach he applies to today’s landscape during his travels around the world. Spohler’s work always evokes the way humans see nature, at a given time and in a given society. His photographs reveal fascinations, paradoxes, nature, culture, myths, construction, aspirations. In his examination of the park, he explores what we mean by “nature” in the 21st century. We gave Spohler carte blanche during his residency at Parc du Doubs; the only stipulation was that he create a portrait of the park, which covers 300 km2 south of the Doubs River along the border between Switzerland and France. The park stretches from Les Brenets, near Le Locle, up to Saint-Ursanne, passing through Jura’s Franches-Montagnes district. From autumn 2018 to spring 2019, Spohler made his way through the park’s riverbanks and pastures on long, solitary treks. He was particularly interested in the way human activity has fashioned the land despite its protected status. He bore witness to the inherent tensions of the countryside, where nature meets development and rural meets urban. His remarkably controlled photographs are a response to the atmosphere in this hybrid landscape. | | |
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| | | | | | | Ruben Natal-San Miguel
"Jennifer" ( Unlock The Vixen ) Orange 2019 Arthur Avenue , Bronx, NYC.
Kodak Endura Metallic Chromogenic Photograph
Edition 1/3
16 x 20 inches |
| | | | | | | | | | | | Thu 20 Jun 18:00
20 Jun – 2 Aug 2019 | | | | | |
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| | | Exposure #87, Barbara Probst, N.Y.C., 401 Broadway, 03.15.11, 4:22 p.m., 2011 © Adagp, Paris, 2019 | | | | | | | | until 25 August 2019 | | | | Thu 20 June 19:00 | Talk with Barbara Probst, Stephanie Kiwitt, Florian Ebner (Centre Pompidou) | DÜSSELDORF : FAIRE ÉCOLE ? | Goethe-Institut Paris - 17, avenue d'Iéna, 75116 Paris | | | | | | | | | | | | | | |
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| | Renato D’Agostin
"Harmony of Chaos" | | | | | | | | until 31 August, 2019 | | | | | | | | | | | | | With this new series entitled "Harmony of Chaos", Renato D’Agostin, questioning the human condition, carries us along a deep and dense atmosphere. These compelling photographs flirting with abstraction undoubtedly make up his most accomplished body of works to date.
Renowned for his unique style, exhibited throughout the world, featured in prestigious private and public collections and subject of numerous successful publications, Renato D'Agostin's work has held over the years a very special place in the world of photography. With his new series, Harmony of Chaos, the artist sets the bar even higher, uncovering new grounds.
In "Harmony of Chaos", Renato D'Agostin depicts the vibration and claustrophobia he felt in the streets of Shanghai. Far from drawing a simple portrait of the city, he makes from this sensorial experience a series that highlights the DNA of post-modern cities at large. The photographs emphasize on the anonymity generated by urban structures in a mastered vocabulary that endlessly plays with scales. The series gives us a sense of the fast-paced changes that occurred in these cities and questions the place of Man in these new megalopolis. | | |
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| | | | | | | | Seung-Woo Yang "The Best Days" #1, 1999-2006 © Seung-Woo Yang |
| | | | | | | | Celebrating the new edition of "The Best Days" | | | Fri 28 Jun 18:00
21 Jun – 13 Jul 2019 | | | | | |
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| | LOT 48
Edgar Martins (b. 1977)
UNTITLED
From the "Approaches" series, 2006
Chromogenic proof
Ed. 3/5 plus 1 P.A.
98 x 127 cm
5.000 - 8.000 € | | | Modern & Contemporary Art | | | | | | Auction 88:
Tuesday | 25 June 2019 | 9pm
Viewing: 19 June + 21 to 24 June | 10am to 9pm
Catalogue: | |
| | | | | | | | | | | | | Photography Highlights:
33 Vasco Araújo, "About being different", 2007, 8.000 - 12.000 €
34 João Penalva, "Reeds IV", 3.000 - 5.000 €
35 Vasco Araújo, "A morte de Margot #4", 4.000 - 6.000 €
36 Daniel Malhão, "Box Office", 2.500 - 3.000 €
37 Oleg Kulik, "Girl in the Swamp", 5.000 - 8.000 €
38 Gérard Rancinan, "Décadence", 2011, 3.000 - 5.000 €
39 João Pedro Vale, Untitled, 600 - 1.000 €
40 Robert Doisneau, Untitled, 600 - 1.000 €
41 Michael Najjar, Untitled, 2.500 - 3.500 €
42 Daniel Canogar, "Enredos 9", 2008, 2.500 - 3.500 €
43 Sam Taylor-Wood, "Escape Artist (Green and Red)", 2008, 1.500 - 2.000 €
44 Karine Laval, Untitled #16 (Annecy, France, 2002), 2.000 - 3.000 €
45 Karine Laval, Untitled #14 (Annecy, France, 2002), 2.000 - 3.000 €
46 Axel Hütte, "Lombo do Mouro", 2003, 8.000 - 12.000 €
47 Jeffrey Milstein, "QANTAS BOEING 747-400", 2005-2009, 2.500 - 3.500 €
48 Edgar Martins, Untitled, 5.000 - 8.000 €
205 Julião Sarmento, "AIC", 5.000 - 8.000 €
206 Julião Sarmento, "NCB", 5.000 - 8.000 € | | |
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| | 56.
Tony Ray Jones. 1941-1972.
BOURNEMOUTH, 1969
Photographic Collections Limited, London, 1975.
15 gelatin silver prints | | | Photographs
Collection of Galerie Michèle Chomette | | | | | | | | | | Pestel-Debord Commissaire Priseur Judiciaire | |
| | | | | | Life and death of an art gallery dedicated to historical and contemporary photography.
On April 1st, 1985 : a pioneer in Europe, Michèle Chomette opened her gallery at 24 rue Beaubourg.
December 27th, 2018 : Michèle Chomette is forced to close the gallery.
June 21st, 2019 : an auction disperses its collection.
Specialist for photography :
Antoine ROMAND - Assisted by François CAM-DROUHIN and Agathe OUALLET
antoine@antoineromand.fr | francois@antoineromand.fr | agathe@antoineromand.fr
www.antoineromand.fr | + 33 (0)6 07 14 40 49
Viewing : Salle 16 Drouot-Richelieu, 9, rue Drouot, 75009 Paris
June 20th from 11a.m. to 9 p.m | June 21st from 11a.m. to 12 a.m
Phone during the exhibition and the sale : + 33 (0)1 48 00 20 16
Online catalogue : www.pestel-debord.com
Live bidding : www.drouotonline.com | | |
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| | Lot 1700: MAGNUM PHOTOS "Selection Esther Woerdehoff", 1947-2007. Portfolio with 15 original photographs.
RENÉ BURRI (1933-2014). Rio de Janeiro, Brézil 1960. | PINKHASSOV GUERGUI (1952). The new metro, Japan, Tokyo, 1996 | | | Photography | | | | | | Auction:
Thursday 27 June 2019, 4:30pm
Preview: Thu 20 June: 10am–9pm Fri 21, Sat 22, Sun 23, Mon 24, Tue 25 June: 10am–6pm Hardturmstrasse 102, 8031 Zurich
Online catalogue:
www.kollerauctions.com | |
| | | | | | | | | | | | | Koller’s summer auction of Photography will feature an early and rare daguerreotype by an anonymous photographer depicting a Corpus Christi outdoor procession (lot 1609). Another exciting historical photograph, a group portrait of the "De Lessert children" (lot 1610), is attributed to Jean-Gabriel Eynard (1775-1863) on the basis of comparable works in the Bibliothèque de Genève and the J. Paul Getty Museum. The famous icon by Edward Sheriff Curtis "The Vanishing Race - Navajo" (lot 1622) is a noteworthy lot in the section on travel photography. The Swiss views feature beautiful vedutas of the Grisons by Albert Steiner (lots 1625, 1632, 1634, 1636). Other Swiss photographers such as Hans Finsler (lot 1646), Robert Frank (lots 1679-1681, 1696 and 1699), René Groebli (lots 1654, 1669 and 1683), Balthasar Burkhard (lot 1653) and René Mächler (lots 1651 and 1668) are also represented. In the field of nude photography, prints by Daido Moriyama (lot 1662), Edward Weston (lot 1663) and Imogen Cunningham (lot 1664) are noteworthy. American photography is strongly represented with works by Robert Adams (lot 1687), Leon Levinstein (lots 1692-1693), Dorothea Lange (lot 1691), and Elliott Erwitt (lot 1695). A highlight of the auction is Ansel Adams's "Aspens, New Mexico" (lot 1675). The large depth of field photograph profits from the photographer's mastery and, at the same time, conveys a mythical experience. A further highlight of the auction is a rare photograph of the Eiffel Tower surrounded by fireworks by Brassaï (lot 1686), which has so far only rarely been offered at auction. In the area of portrait photography, Thomas Hoepker's photographs of Muhammad Ali's left and right fist (lots 1710-1711) will be offered. Once again we will present some intimate photos of Marilyn Monroe, by Milton H. Greene (lot 1712) and Bert Stern (lots 1713-1716). Contemporary photography is represented by major artists such as Thomas Ruff (lots 1737, 1740), Candida Höfer and Thomas Struth (lot 1739), Wolfgang Tillmans (lot 1725) and Vik Muniz (lot 1722), among others. The absolute top lot of the auction is the Magnum Portfolio (lot 1700) with 15 original photographs by famous press photographers such as Steve McCurry, René Burri, Marc Riboud, Elliott Erwitt, Werner Bischof, Dennis Stock, and many others. This is a personal selection by the well-known and internationally known gallery owner Esther Woerdehoff, and has been published in a small edition of only 7 copies. | | |
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| | | Mark Power, Crowds watch the funeral of Pope John Paul II, broadcast live from the Vatican on large video screens. Warsaw, Poland. 2005. © Mark Power | Magnum Photos | | | | | | A week-long series of free and interactive talks, symposium, events,
Magnum books, images and short films | | | | | | | | Mon 24 – Sun 30 June 2019 | | | | | | | | | | | | | Technology and its impact on our world is arguably the most critical story of the 21st Century. Societal changes led by technological developments, are affecting almost every aspect of our lives. Photography is uniquely placed to mediate the dialogue about man and technology as both medium and message. This year, Magnum Photos is embarking on a new content programme to document this relationship and as part of our ongoing partnership with the Barbican, we will populate the pavilion with a programme that looks at individual projects and photographic approaches that address the topic. During the week long takeover, Magnum will invite the audience to engage creatively around the concept of “Life Rewired” – the Barbican’s theme for 2019 – through informal presentations of work, creative experiments and conversations. The Hub will be populated by Magnum books, and images and short films will be shown. This series of events is part of a wider programme organised in conjunction with Magnum’s annual meeting, which includes a one-day symposium at the Barbican on 26 June.
Mon 24 June 2 – 3.00pm: Sophie Wright, Global Cultural Director at Magnum Photos discusses Magnum’s history of taking photographs and some of the thinking behind this week’s programme. Tue 25 June 5 – 6.30pm: In Conversation: Stuart Franklin; book signing of Analogies Wed 26 June 5 – 6.30pm: In Conversation: Thomas Dworzak Thu 27 June 5.30 – 7.00pm: Mark Power in conversation with Stuart Smith of Gost books Fri 28 June 5 – 6.30pm: Book signing: Alec Soth Sat 29 June 5 – 6.30pm: Book signing: Sohrab Hura Sun 30 June 11am – 12pm: In conversation: Trent Parke on Skype, calling from Australia and discussing his project The Camera is God, on show at the Magnum Print Room.
Magnum Symposium: Documentary Now Wed 26 Jun 2019, 10:00am
All-day symposium showcasing four panel discussions with Magnum photographers and invited guests, and two keynote presentations by speakers from the worlds of journalism and the arts. Join the speakers as we explore ideas of contemporary agency through four strands:Trust and authenticity Humanism Imaging, technology, and the digital environment Authorship & creativity Speakers include: Moises Saman, Carolyn Drake, Alessandra Sanguinetti, Max Houghton (Course Leader for MA Photojournalism and Documentary Photography and a Senior Lecturer in photography at London College of Communication), Job Rabkin (Commissioning Editor at Channel 4 News), Alona Pardo (Curator, Barbican Centre), Olivia Arthur, Peter van Agtmael, Antoine d'Agata, Sohrab Hura, Yasufumi Nakamori (Senior Curator of International Art (photography) at Tate Modern), Alex Majoli, Cristina De Middel, Mikhael Subotzky. | | |
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| | | | | | The sound of screens imploding
Centre d'Art Contemporain, Genève | | | | | | | 21 Jun – 29 Sep 2019 | | | | | |
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| | | | | | | | © Cristina Galán Vargas (ES), Paul |
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| | | © Claudia Andujar | | | Festival La Gacilly-Baden Photo | | | | HYMN TO THE EARTH | | | | | | Baden near Vienna:
1 June ‐ 30 September 2019
Festival programm - 46 Events:
In addition to the impressive pictures in the parks, gardens and alleyways of Baden near Vienna, the photo festival also offers an exciting side program with guided tours, workshops and lectures.
festival-lagacilly-baden.photo | |
| | | | | | | | | | | | | | Europe’s largest photographic festival is coming to Baden near Vienna for the second time. Under the motto HYMN TO THE EARTH, esteemed international photographers will exhibit fascinating visual worlds in a gigantic open-air gallery: 39 exhibitions with 2,000 large-format images—each up to 280 square meters in size—will transform the gardens, lanes and squares of Baden for four months and across 7-kilometres, into a "picture-city". | | |
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| | | | | | Eyes East Bound | | | | | | | – 10 Aug 2019 | | | | | |
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| | | MAJIDA KHATTARI, LES PARISIENNES 1 (THE PARISIAN WOMEN 1), 2009, © MAJIDA KHATTARI | | | | | | | 50JPG - 50 Days for Photography in Geneva | | | | | | | | 19 June – 25 August 2019 | | | | | | | | | | | | | | | | The exhibition OSMOSCOSMOS attempts to bring together two universes that are too rarely associated in our monotheistic cultures where sexuality is marked by guilt: Eros and cosmos. We can describe them as dynamic, as not static, not stable, not fixed. Jean-Pierre Vernant (1), specialist in ancient Greece and its myths, describes the meeting of the two: Eros - always in motion, between men and gods - witnessed the birth of the universe, allowing Uranus and Gaia to procreate. Gaia, who is emancipating herself from Chaos, needs the energy of Eros to unite with Uranus. Lying on his back and mating with Gaia, Uranus refuses to withdraw, despite the Titans they have just spawned and who are waiting to be born. Gaia encourages her future children to revolt and places a sickle handle in young Cronus' fist. He grabs the object to use it as a weapon and cuts off his father's sexual parts. This immense pain forces Uranus to pull away from Gaia with vehemence and upwards, forming the vault of the sky, the starry firmament, the Cosmos – forever. | | |
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| | | | | | | | © Justyna Mielnikiewicz / MAPS |
| | | | open air festival | | | | | | | – 30 Sep 2019 | | | | | |
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| | | | | | | | © Maria Gawryluc - 30 Under 30 Women Photographers |
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| | | | | | | | © Johanna Heldebro, Night Watch II, from To Come Within Reach of You (Gunnar Heldebro, Hässelby Strandväg 55, 165 65 Hässelby, Sweden), 2009 |
| | | | | | | | | | | | Chapter One: 06 JUN - 25 SEP
Chapter Two: 17 OCT - 21 DEC | | | | | |
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| | | | | | | | Leila Alaoui. Esauira, 2012 © Leila Alaoui |
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| | | | | | | | Today © Eija-Liisa Ahtila |
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| | | | | | | Right Color, France 2019
© Hélène Bellenger |
| | | | European young photography festival | | | | | | | extended through 21 July 2019 | | | | | |
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| | | © Rica Castro Neves & Daniel Moreira | | | The Ci.CLO Bienal Fotografia do Porto 2019 | | | 11 curators // 53 artists // 16 venues // 8 workshops //
1 symposium // 1 publication // social events // | | | | | | | – 2 July 2019 | | | | | | | | | | | | | From 16 May to 2 July, the city of Porto will host the first edition of Ci.CLO Bienal Fotografia do Porto. The Bienal supports innovative approaches to visual representation that contribute to a greater critical awareness of the ecological and social vulnerabilities we face. Ci.CLO develops a continuous research and experimentation in collaboration with artists, questioning its own methodologies and proposing narratives, both utopian and dystopian, motivated by cultural and environmental changes.
ADAPTATION AND TRANSITION, the title of the first Ci.CLO Bienal Fotografia do Porto, suggests a dialogic relationship marked by social and environmental crisis. Each era can be characterised in how collective expectations and fears are managed. History tells us that attempts to react are based on scientific and technological development, together with an appeal for awareness, rational thinking and greater spirituality. Concerns related to environmental and ecological changes has emerged in the last 50 years. Narratives surrounding conflicts between culture and nature, which determine our survival and stability on the planet, have gained increasingly more space and consistency. This century is at a critical point. Survival is discussed in terms of imminent risk and emergency.
How can artistic mobilisations function in this time of great contradiction? There is a need to critique global governance that continues to promote ecologically unsustainable strategies. How can we diagnose this "crisis of our time" beyond the pessimism that has created a state of global passivity? What is the "response-ability" we want to encourage? | | |
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| | | Still from CASANOVA X, 4K video, 10'00'', from the film series for the installation 3x3x6 © Shu Lea Cheang. Courtesy of the artist and Taiwan in Venice 2019 | | | | | | | May You Live in Interesting Times | | | | | | | | 11 May – 24 Nov 2019 | | | | | | | | | | | | | | | The 58th International Art Exhibition, titled May You Live In Interesting Times, will take place from 11 May to 24 November 2019 (Pre-opening on 8, 9, 10 May). The title is a phrase of English invention that has long been mistakenly cited as an ancient Chinese curse that invokes periods of uncertainty, crisis and turmoil; "interesting times", exactly as the ones we live in today. The 58th Exhibition is curated by Ralph Rugoff, currently the director of the Hayward Gallery in London. Between 1985 and 2002 he wrote art and cultural criticism for numerous periodicals, publishing widely in art magazines as well as newspapers, and published a collection of essays, Circus Americanus (1995). During the same period he began working as an independent curator. The Exhibition will also include 90 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the historic city centre of Venice. Four countries will be participating for the first time at the Biennale Arte: Ghana, Madagascar, Malaysia and Pakistan. The Dominican Republic exhibits for the first time at the Biennale Arte with its own national pavilion. | | |
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| | | | | | | | from the series Sister Alice © Turkina Faso |
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| | | | | | | | from Home Made in Smethwick © Liz Hingley |
| | | | Festival of Photography, Talks and Walks | | | | | | | – 29 Jun 2019 | | | | | |
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© 12 June 2019 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photo-index.art . T +49.30.24 34 27 80 |
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