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| PHOTOGRAPHY INTERNATIONAL | | 19 — 26 June 2024 | |
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| | Albany, Georgia, 2021
Pigmented inkjet print
Courtesy of the artist | | | | | | | | 21 June – 1 December 2024 | | | | | | | | | | | | | Tyler Mitchell is an American photographer and filmmaker renowned for his tender and innovative portrayals that center Black self-determination and empowerment through scenes of love, leisure, and camaraderie. Mitchell rose to global prominence in 2018 when he photographed Beyoncé for the September issue of Vogue as the first Black artist to shoot the cover in the magazine’s then 126-year history. He explores style, beauty, and identity through playfully theatrical, expressive photographs that seamlessly blend his fashion and conceptual work.
Drawing inspiration from the landscapes, homes, and communities of suburban Atlanta where he was raised, this homecoming exhibition features work made from 2017 to 2024 and considers Mitchell’s exploration of themes such as family lineage, play, companionship, the natural world, and domestic spaces. His lens captures the essence of relationships, weaving an intimate narrative of shared experiences. | | |
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| | Alfred Ehrhardt
Training sailing ship of the navy "Horst Wessel", Hamburg, 1930s/40s
Silver gelatin paper
24,0 x 15,8 cm
© Alfred Ehrhardt Stiftung | Rolf Tietgens
Altona fish market on Sunday morning
from: "Der Hafen", Rolf Tietgens, Heinrich Ellermann Verlag
Hamburg, 1939
© Rolf Tietgens |
| | | | | | | | | | | ... until 7 July 2024 | | | | | | | | | | | | | Rolf Tietgens (1911–84) is regarded one of the most important photographers of the 1930s, but only a handful of people in Germany are familiar with his oeuvre. His work fell into obscurity after he emigrated to New York at the end of 1938, threatened with persecution as a homosexual artist in Germany. Since he never returned to his homeland, his body of work remained forgotten for quite some time. Today his book Der Hafen (The Port), published by the renowned Heinrich Ellermann Verlag in 1939 to mark the 750th anniversary celebrations of the port of Hamburg, has to be considered one of the preeminent photo books of the 1930s. It can be regarded as the most sophisticated elaboration of this subject matter in the history of German photography.
Tietgens confidently employs the vocabulary of Neues Sehen to lend his images a symbolic dimension with a personal touch. The port appears as a multifaceted, archaic setting where humans have impacted and defined the transition from water to land. Shipping traffic and the associated technical processes are only one part of a complex organism encompassing the spheres of architecture and work as well as those of commerce and nighttime entertainment. In an unpublished promotional text, Rolf Tietgens described his aesthetic concept as follows:
"We sought to capture aspects of the port’s fluctuating appearance, whose overall impression nevertheless remains the same, and to link these with other captured moments. The result is a book of images that can perhaps convey what PORT means; moreover, it seeks to depict the life and unique spirit of the port of Hamburg." | | |
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| | Satijn Panyigay
Nightcall II-11. 2024
Pigment print on cotton rag paper
107 x 160 cm, edition of 3 + 1 AP
70 x 105 cm, edition of 2 + 1 AP | | | | | | | | 22 June – 24 August 2024 | | | Opening Reception: Friday, 21 June, 6—8 pm
in the presence of Satijn Panyigay
Discussion and Book Signing: Saturday, 22 June, 3 pm
How to Publish a Photography Book
Angelika & Markus Hartmann (Hartmann Books) in conversation with Satijn Panyigay | | | | | | | | | | | | | Having primarily photographed vacant interior spaces—museums, depots, and newly constructed residential buildings—in the past, Satijn Panyigay now shifts her attention to urban exteriors with her new series “Nightcall“. Embarking on solitary nocturnal strolls through her hometown of Utrecht and Frankfurt am Main, she seeks unintentional compositions within urban structures.
Utilizing the minimal light of the moon and street lamps in her analogue photographs, Panyigay blurs the distinction between them. Thus, amidst the bleak, monotonous, and utilitarian industrial landscape, captivating contrasts emerge.
Paradoxically, the absence of people in Satijn Panyigay's photographs evokes a sense of presence. Drawn to the ethereal realm of the night and its enigmatic ambiance, the artist invites us into encounters with a parallel world, reflecting our own, albeit with an eerie distance.
Satijn Panyigay (b. 1988 in Nijmegen, Netherlands) studied photography at the Utrecht School of Art, where she continues to live and work. Her work has been featured in exhibitions at Centre D’art Contemporain de Meymac, France, and in the Netherlands at Museum Escher in the Palace; Depot Boijmans Van Beuningen; Fotomuseum Den Haag; Museum Tot Zover; Verwey Museum Haarlem, Villa Mondriaan. Her works are in the collections of Museum Boijmans Van Beuningen, Museum Tot Zover, Museum Van Bommel Van Dam, Museum W., DZ Bank, KPMG, among others, as well as in numerous private collections. Panyigay’s artist book VOID was published by Hartmann Books (Germany) in 2023. | | |
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| | Sabine Weiss, "Autoportrait", Paris, 1953
© Sabine Weiss/
Collection Photo Elysée, Lausanne | Nathalie Boutté, Sabine Weiss, 2024
© Nathalie Boutté, ADAGP 2024,
Courtesy Galerie MAGNIN-A Paris |
| | | | | | | 22 June 2024 – 12 January 2025 | | | | Opening: Saturday 22 June 18:00 - 1:00 | | | | | | | | | | | | | "What I don't understand is how I was able do so many things in the same period. That's amazing! And completely different things! It was a very beautiful life. I don't want to start over because it's not advisable. But I regret nothing."
- Sabine Weiss
To mark the centenary of Sabine Weiss's birth (1924-2021), Photo Elysée is presenting an exhibition that pays tribute to the photographer and has invited the visual artist Nathalie Boutté (France, 1967) to engage in dialogue with her work.
A major figure in French humanist photography, Sabine Weiss was not only a street, fashion, and advertising photographer but also a photojournalist for numerous international magazines. Over the course of sixty years, she explored all aspects of her profession.
In contrast to Sabine Weiss, who built her body of work by photographing on the street or undertaking studio commissions, Nathalie Boutté creates paper works, inspired by images produced by important photographers. Her process is meticulous: she cuts hundreds of strips of paper bearing texts related to the chosen image—here, quotes from Sabine Weiss—before assembling them to reconstruct the original photograph. The grayscale tones of the paper strips create gradients, similar to pixels on a digital screen. Up close, the text on the paper strips is revealed, but it is by stepping back that the image is revealed. By opening the photographer's archives to Nathalie Boutté's gaze, Photo Elysée unveils an unknown aspect of Sabine Weiss's work, notably her studio work.
The exhibition presents a selection of iconic works by the photographer and reveals some treasures among the numerous negatives, prints, and contact sheets that make up her archives. In 2017, aware of the importance of preserving her work, Sabine Weiss chose Photo Elysée to house her archive, which arrived in the museum's collections at Plateforme 10 at the beginning of 2024. | | |
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| | | NYPL Picture Collection Folder Halloween | | | | | | | | 22 June – 29 September 2024 | | | | | | | | | | | | | Set and setting presents the first institutional solo show of Swiss artist Tamara Janes. Janes is fascinated by how we see, question, and change the post-modern conditions of the image. She addresses these issues by utilising a unique blend of high-culture and popular culture sources that captivate audiences and humorously expose both profound and mundane aspects of contemporary visual culture. A large part of the exhibition shows bodies of work she made after researching the New York Public Library Picture Collection in 2018. It acts as a source of images for her, which she later organizes, adjusts, recontextualizes and modifies based on her artistic preferences. Tamara Janes was awarded the Swiss Design Prize in 2023 for the Copyright Swap series.
On the occasion of this exhibition, Biennale Images Vevey presents at L'Appartement – Espace Images Vevey, the series Funny Snow Face, created by Tamara Janes and Natalia Funariu.
Biennale Images Vevey, from September 7 to 29, 2024 | | |
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| | "Sans titre" (Ronce UV II + I), 2024
© Olga Cafiero | | | | | | | | 22 June – 29 September 2024 | | | | | | | | | | | | | Olga Cafiero has been given carte blanche to explore the Naturéum's collections. Through her photographic series, she captures the perpetual accumulation of time. She plays with colors and materials to create and represent each object. By bringing zoological, botanical and geological specimens to life, she opens up new perspectives on the natural sciences.
Olga Cafiero takes over Plateforme 10's Le Signal L space at the suggestion of Photo Elysée and Naturéum.
Located in the extension of the Arcadia restaurant, Plateforme 10's venue Signal L gives artists the chance to showcase our corner of the country, the Canton of Vaud, each in their own way and style.
Several times a year, an artist is invited to come and take a cross-sectional look at an institution or event in French-speaking Switzerland to broaden and vary the scope of Plateforme 10's artistic action, extending beyond fine arts, design and photography. | | |
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| | Untitled 648, 2023 © Cindy Sherman Untitled 659, 2023 © Cindy Sherman
Courtesy the artist and Hauser Wirth | | | | | | | | ... until 4 August 2024 | | | | | | | | | | | | | Cindy Sherman is considered to be one of the most important American artists of her generation. Her ground-breaking photographs have interrogated themes around representation and identity in contemporary media for over four decades.
In this new body of work, the artist collages parts of her own face to construct the identities of various characters, using digital manipulation to accent the layered aspects and plasticity of the self. Sherman has removed any scenic backdrops or mise-en-scène–the focus of this series is the face. She combines a digital collaging technique using black and white and color photographs with other traditional modes of transformation, such as make-up, wigs and costumes, to create a series of unsettling characters who laugh, twist, squint and grimace in front of the camera. To create the fractured characters, Sherman has photographed isolated parts of her body–her eyes, nose, lips, skin, hair, ears–which she cuts, pastes and stretches onto a foundational image, ultimately constructing, deconstructing and then reconstructing a new face.
The exhibition is accompanied by a catalogue by Hauser & Wirth Publishers. | | |
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| | Khashayar Javanmardi, Installation view, Man Ray. Liberating photography, 2024
© Khashayar Javanmardi/ Photo Elysée/ Plateforme 10 Lausanne | | | Man Ray » LIBERATING PHOTOGRAPHY | | | | ... until 4 August 2024 | | | | | | | | | | | | | "To be totally liberated from painting and its aesthetic implications" was the first avowed aim of Man Ray (United States, 1890-1976), who began his career as a painter. Photography was one of the major breakthroughs of modern art and led to a rethinking of notions of representation. In the 1920s and 30s, the photographic medium came to the forefront of the avant-garde movement, and Man Ray soon made a name for himself with his virtuosity. As a studio portraitist and fashion photographer, but also as an experimental artist who explored the potential of photography with the people around him, Man Ray was a multi-faceted figure. Considered one of the 20th century’s major artists, close to Dada and then Surrealism, he photographed Paris’ artistic milieu between the wars.
EXHIBITION
Curated from a private collection, the exhibition explores the artist’s extensive social contacts while presenting some of his most iconic works. In addition to providing a dazzling who’s who of the Parisian avant-garde, the works also highlight the innovations in photography made by Man Ray in Paris in the 1920s and 30s.
ARTIST
He took his first photographs in New York in the 1910s, but it was in Paris that his career took off. Even before opening his studio in Montparnasse in 1922, Man Ray worked for a year in his hotel room. The photographer's reputation grew, and before long, the artist's studio was flourishing. Fashion photographs alternated with portraits of the artistic figures of the day who had made Paris’ no… | | |
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| | | | | | | Jérôme Sessini
Fashion shoot for Crash Magazine, Barbes, Paris, France, 2019
© Jerome Sessini / Magnum Photos |
| | | | | | | | Fashion Photography | | | | | | | Sun 23 Jun 12:00
23 Jun – 15 Sep 2024 | | | | | |
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| | | | | | | | | | | | | | Thu 20 Jun 18:00
20 Jun – 31 Jul 2024 | | | | | |
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| | Jean-Claude Gautrand
Le Galet (#1), 1968-1969
Gelatin silver print, vintage. Printed by the artist.
© Estate Jean-Claude Gautrand
Courtesy Les Douches la Galerie, Paris | Jean-Claude Gautrand
Recherches, Cosmonaute, 1961
Gelatin silver print, vintage. Printed by the artist.
© Estate Jean-Claude Gautrand
Courtesy Les Douches la Galerie, Paris |
| | | | | | | | ... until 13 July 2024 | | | | | | | | | | | | | Ahead of the retrospective Libres expressions, dedicated to Jean-Claude Gautrand by the Musée Réattu in Arles this summer (June 29-October 6), Les Douches la Galerie is pleased to present, for the first time, a solo show dedicated to French photographer Jean-Claude Gautrand (1932-2019). You are invited to discover his early experiments from the 1960s, with a selection of vintages from his iconic series. The book Recompositions by Jean-Claude Gautrand, published last April by Contrejour editions, accompanies these two exhibitions.
"To photograph is to engage in a race against erasure, disappearance, nothingness. It is a fight against time, a challenge to oblivion. The camera, a magical instrument capable of immortalizing the fleeting, but also the irremediable."1
It is certainly this "irremediable" quality that demands the most attention in the work of Jean-Claude Gautrand, who photographs the disappearance of things, constructions, or places to inscribe them into eternity. Photography witnesses a battle where destructive forces ally with time to erase what was thought to be eternal. The various post-war photographic clubs he frequented hardly inspired him. "Apart from the world of reporting, the photographic field was then reduced to either illustrative or documentary photography of distressing conformity".2 He discovers in volumes I and II (catalogs of the exhibitions Subjektive Fotographie I and II, from 1952 and 1955) organized by German photographer Dr. Otto Steinert, a different photography that struck him as "an atomic bomb in the mire of photography." | | |
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| | Justin Jin: Nai Nai, a 23-year-old live-streamer with her friend, the famous live-streamer Jiang Bo, Wuhan, 2021
© Justin Jin / Panos Pictures | | | | | | | | | | | | | ... until 6 October 2024 | | | | | | | | | | | | | Couples are omnipresent in photography – in historical photo albums just as much as on Instagram. More fascinating than the countless idealised self-portraits though, are those shots in which couples do not pose, but seem to be genuinely themselves, and strangely detached: playing and courting, enamoured and intoxicated, desperate and clinging. Or lonely and lost. The current exhibition at Fotostiftung Schweiz is dedicated to the diversity of couple dynamics in photography and presents pictures in which something happens between two people.
Photographs of non-posing couples are little revelations that go far beyond documentary snapshots. Rarely do people display their feelings and state of mind as openly as in these scenes of togetherness, even when it becomes loneliness. Glances, facial expressions, arms, hands, gestures and postures suggest that hidden things are going on, to which others have no access. The photographers’ motivation to take such pictures presumably stems from the same impulse, the same fascination with which we as observers encounter these images: with a mixture of voyeurism and empathic curiosity.
However, more than with other photographs, we tend to superimpose our own projections, memories, hopes, disappointments and desires onto the real events captured in couple photographs. It is precisely for this reason that the Paare / Couples project refrains from putting the collected photographs in their respective historical contexts or explaining their stories. The symbolic and emotional power of this image category can manifest itself even more effectively if nothing is known about their respective backgrounds and if the (possibly prominent) names of the people depicted do not distract from the subtle signals of a wordl… | | |
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| | | | | | Collection Brigitte et Roland Broca | | | | | | | Thu 20 Jun 14:30
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| | | | | | open air festival - Australie & Autres Regards | | | | | | | 21 Jun – 3 Nov 2024 | | | | | |
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| | | GHOSTS OF MEMORY © NAZLI ABBASPOUR | | | Festival La Gacilly-Baden Photo 2024 | | | | WORLD.NATURE.HERITAGE | | | | | | Baden near Vienna:
The largest outdoor photography festival in Europe will take place
from 13 June until 13 October 2024.
festival-lagacilly-baden.photo | |
| | | | | | | | | | | | | WORLD.NATURE.HERITAGE – "Humanity has opened the gates to hell", warned Secretary- General António Guterres in an impassioned speech on the margins of the UN General Assembly in September 2023. UN General Assembly in September 2023 to politicians, entrepreneurs and activists, he warned of the terrible consequences of increasingly extreme weather events. "Our concern is that all climate action will be dwarfed by the scale of the challenge”, as humanity is heading for a temperature rise of 2.8°C.
An appeal to the world that has long been inscribed at the heart of our festival. It is our duty to preserve the poetry of creation for our children. On the fundamental issues of urbanisation, biodiversity, natural resources, environmental pollution and global warming, we will try to use images to provide, if not solutions, then at least food for thought. Therefore, in our seventh festival year, we will be showing the work of the great masters of environmental photography: Nazli Abbaspour, Evgenia Arbugaeva, Yasuhoshi Chiba, Joana Choumali, David Doubilet and Jennifer Hayes, Nadia Ferroukhi, Sacha Goldberger, Richard Ladkani, Lucas Lenci, Luca Locatelli, Pascal Maitre, Beth Moon, Maxime Riché, Sebastião Salgado, Alain Schroeder, Vee Speers, Brent Stirton, Lorraine Turci, David Turnley, Peter Turnley and Cássio Vasconcellos.
"We all need Eden as a horizon," writes Cyril Drouhet in his essay in the festival catalogue. "There was a time when we had a rainbow in our heads: We believed in the future, in progress, our dreams were full of utopias. In the third millennium, this colour has turned grey. But life needs radiant colours like in photography to enchant the world again. That is the cha… | | |
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| | | | düsseldorf photo+ | | | | Biennale for Visual and Sonic Media: On Reality | | | | | | | ... until 14 July 2024 | | | | 50 participating institutions, galleries and off-spaces | | | | | | | | | | | | | | | The third edition of the Biennial for Visual and Sonic Media düsseldorf photo+ from 17 May to 14 July 2024 is themed "On Reality". In exhibitions and concerts, talks, panels and other events, current and updated photography as well as media-based art in its most diverse facets can be experienced throughout Düsseldorf. The artists will reflect in a wide variety of ways on how media significantly shapes our understanding of reality today and in the past. Computer-generated worlds of images and sounds surround us everywhere, and the Biennale integrates these into the art trail and links analogue-generated audiovisual realities. In total, the Biennale offers over 50 exhibitions and events in museums, collections, galleries, independent exhibition spaces and universities. This year's düsseldorf photo+ is being organised under the artistic direction of Pola Sieverding and Rupert Pfab. Ljiljana Radlovic oversees the project management.
Highlights from our varied exhibition programme:
In photographs, now seen as historic, Allan Sekula critically illuminates social structures operating within the industrial workforce of the USA at Galerie Konrad Fischer. The group exhibition at the gallery boa basedonart, another retrospective show, focuses on social stereotypes in relation to self-portraits. Sumi Anjuman offers a contemporary insight into gender inequality at the private Philara Collection.
Toby Binder also takes a sociological standpoint with a look at crisis-ridden milieux at the gallery Clara Maria Sels. The exhibition at Julia Ritterskamp further investigates this stance in a show of t… | | |
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| | | | RAY 2024 ECHOES | | | | 5th International Triennial of Photography | | | | | | | ... until 1 September 2024 | | | | | | | | | | | | | The international Triennial of Photography RAY is celebrating the diversity of photography in Frankfurt and the Rhine-Main region for the fifth time with a focus on "ECHOES". Eleven institutions and exhibition venues in Frankfurt and the Rhine-Main region will be showing works on the theme of "ECHOES" by contemporary photographers and artists. With exhibitions, numerous events, and a three-day festival on the triennial theme of "ECHOES", RAY offers a multifaceted exploration of photography.
How do images contribute to the understanding of our identity, our memories, our emotions, and the ability to grasp and process current social, communal, and political challenges? RAY Echoes offers no answers to these questions, but rather – like a laboratory – it offers many perspectives and opportunities for individual exploration.
The artists of the RAY 2024 – Triennial of Photography use photography and related media to explore and reflect on the challenges and tensions of self-perception and human interaction. Their works span the past, present, and future, from the intimate and personal to the collective. By capturing these diverse moments and phenomena, they generate an echo that draws the public’s attention to their themes. Similar to a sound experience, they create reverberation that is perceived as an independent event beyond what is depicted. On this basis, RAY Echoes concentrates on three focal points: identity, memory, and emotion.
In the exhibition RAY Echoes Identity at the Fotografie Forum Frankfurt (3 May – 1 September, 2024, opening on 2 May), the artists explore the making and breaking away from identities. Echoes are present in the form of reflections on personal experience… | | |
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| | | | 6. Fotofestival Lenzburg | | | | Synthesis | | | | | | | Festival until 23 June 2023 | | | | | | | | | | | | | A synthesis of numerous topics
The exhibitions this year focus on the theme of 'Synthesis' and encourage us to consider the rapid advancements in technology and the overwhelming amount of information that we encounter. In the midst of this diversity, individuals can feel lost, but can also find ways to rediscover themselves and strive for balance. The theme of synthesis is also reflected in the art on display, which explores the permanence and transformation of images.
The exhibited artists address various urgent themes, such as light pollution, the intersection of bacteria and art, the love of food, the art of play, and the complexity of human relationships. Through their photographic projects, these artists evoke emotions and inspire reflection on these pressing issues in our society.
With over 300 images, 13 locations and 20 indoor and open-air exhibitions, this year's edition of Fotofestival Lenzburg is the most extensive to date. | | |
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| | | | | | Festival de photographie international et gratuit | | | | | | | – 14 Jul 2024 | | | | | |
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| | | | | | Triennial Exhibition | | | | | | | – 28 Jul 2024 | | | | | |
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| | From the series Keepers of the Ocean (2019) © Inuuteq Storch
The Danish Pavilion: Rise of the Sunken Sun by the artist Inuuteq Storch | | | | | | | Stranieri Ovunque - Foreigners Everywhere | | | | | | | | 20 April – 24 November 2024 | | | | | | | | | | | | | The 60th International Art Exhibition , titled Stranieri Ovunque – Foreigners Everywhere , will open to the public from Saturday April 20 to Sunday November 24, 2024 , at the Giardini and the Arsenale; it will be curated by Adriano Pedrosa and organised by La Biennale di Venezia . The pre-opening will take place on April 17, 18 and 19 ; the awards ceremony and inauguration will be held on 20 April 2024 .
Since 2021, La Biennale di Venezia launched a plan to reconsider all of its activities in light of recognized and consolidated principles of environmental sustainability. For the year 2024, the goal is to extend the achievement of “carbon neutrality” certification , which was obtained in 2023 for La Biennale’s scheduled activities: the 80th Venice International Film Festival, the Theatre, Music and Dance Festivals and, in particular, the 18th International Architecture Exhibition which was the first major Exhibition in this discipline to test in the field a tangible process for achieving carbon neutrality – while furthermore itself reflecting upon the themes of decolonisation and decarbonisation.
The Exhibition will take place in the Central Pavilion (Giardini) and in the Arsenale, and it will present two sections: the Nucleo Contemporaneo and the Nucleo Storico.
As a guiding principle, the Biennale Arte 2024 has favored artists who have never participated in the International Exhibition—though a number of them may have been featured in a National Pavilion, a Collateral Event, or in a past edition of the International Exhibition. Special attention is being given to outdoor projects, both in the Arsenale and in the Giardini, where a performance program is being planned with events during the pre-opening and closing weekend of the 60th Exhibition.
Stranieri Ovunque - Foreigners Everywhere, the title of the 60th International Art Exhibition of La Biennale di Venezia, is drawn from a series of works started in 2004 by the Paris-born and Palermo-based Claire Fontaine collective. The works consist of neon sculptures in different colours that render in a growing number of languages the words “Foreigners Everywhere”. The phrase comes, in turn, from the name of a Turin collective who fought racism and xenophobia in Italy in the early 2000s.
«The expression Stranieri Ovunque - explains Adriano Pedrosa - has several meanings. First of all, that wherever you go and wherever you are you will always encounter foreigners— they/we are everywhere. Secondly, that no matter where you find yourself, you are always truly, and deep down inside, a foreigner.» | | |
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© 19 June 2024 photography now UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editors: Claudia Stein & Michael Steinke
contact@photography-now.com . T +49.30.24 34 27 80 |
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