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| PHOTOGRAPHY INTERNATIONAL | | 21 - 28 October 2020 | |
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| | Inside of my Drawer, from the series Temporarily Censored Home, 2019
© Guanyu Xu/courtesy of the artist and Yancey Richardson Gallery and Goatai Gallery | | | | | | | | | | | | | 22 October – 1 November 2020 | | | Opening: Wednesday 21 October at Kühlhaus Berlin.
On the occasion of the European Month of Photography, Foam presents the exhibition Foam Talent 2020, with works from a new generation of visual artists, at KühlhausBerlin, in collaboration with the Deutsche Börse Photography Foundation and C/O Berlin. | | | | | | | | | | | | | Each year, Foam invites photographers to submit their portfolios via the Talent Call, an international search for exceptionally talented photographers under the age of 35.
These young talents were selected out of 1.619 received submissions from 69 countries. Their portfolios were published in the internationally distributed Foam Magazine #55: Talent. Subsequently, Foam is now presenting their work in a group exhibition. It is the first time Foam brings the Foam Talent exhibition to Berlin.
Although Foam Talent symbolises a rich range of genres and uses of photography, the edition of Foam Talent 2020 is characterised by (sometimes lengthy) research, in which the role of the portrait is a recurring theme. Where Alba Zari tries to construct a portrait of her unknown biological father through old family photos and computer technology, Luther Konadu's work is a reflection of the photographic portrait itself: through cutting and pasting he investigates the construction of identity. Adji Dieye responds to economically determined stereotypes and traditional roles by reinventing an African tradition of studio portrait photography. Karla Hiraldo Voleau distorts fact and fiction and undermines the male gaze through selfies and intimate portraits of her Latin lovers. The diverse series and artworks in Foam Talent 2020 show individuals and communities that have long remained invisible or in the margins, exploring who we are and how we see ourselves in a constantly changing reality: between the analogue and the digital, between myths and belief systems, between the private and public and between fact and fiction.
Read more here: foam.org/about/press-office/foam-talent-2020-berlin
PLEASE NOTE
Due to COVID-19 restrictions, RSVP for the opening is necessary. Please register your name and contact details
RSVP here > | | |
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| | | Lotte Jacobi | Die Schauspielerin Valerie Boothby, Berlin um 1930 | Frieda Riess, Emil Jannings, Berlin 1923 |
| | | | | | | Rendezvous with Women Photographers, 1900-1935 | | | | | | | | 22 October 2020 – 31 January 2021 | | | | Part of the EMOP Berlin—European Month of Photography 2020 | | | | | | | | | | | | | With the exhibition "Elective Affinities", DAS VERBORGENE MUSEUM is devoting itself to portrait photographs of the generation of photographers born around 1900. From 22 October 2020 to 31 January 2021, impressive portraits by Lotte Jacobi, Yva, Eva Besnyü, Frieda Riess and others will be presented. It is to be seen, who strongly influenced the photography in the 20th century with their characteristic photographs.
Elective relationships are fostered by an affinity of mind and soul, an unspoken magnetism between individuals who do not know each other well, and they occur again and again when portraits are taken. The friction sparked when the unfamiliar comes close, when detachment fuses with attraction, profoundly affects the interaction between the photographer and her sitter, and ultimately the expressive power of the portrait.
With an approach to portrait photography much influenced by Expressionist painting, Frieda G. Riess leads a generation of women photographers born around 1900 represented in the exhibition by, among others, Eva Besnyü, Steffi Brandl, Marianne Breslauer, Suse Byk, Florence Henri, Aura Hertwig, Lotte Jacobi, Jeanne Mandello, Lucia Moholy, Thea Sternheim and Yva.
It was a unique opportunity for Riess when, in 1925, a show at Alfred Flechtheim’s gallery in Berlin introduced her portraits of Lil Dagover, Asta Nielsen, Marc Chagall, Klaus Mann, Renée Sintenis and many others to a commanding clientele. Thea Sternheim for one, as an amateur photographer more of an outsider to the trade, called her the best portrait photographer in Berlin, and in return Riess dubbed her an "oracle in matters of photography". Sternheim’s portraits include such candid shots as the one of the Fra… | | |
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| | | | | | | | Georg Schreiber: Frühlingsopfer, 1988 © Georg Schreiber |
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| | | | | | | | Samuel Fosso, »Self-Portrait, from the series African Spirits«, 2008, © Samuel Fosso, courtesy JM Patras / Paris |
| | | | Zwischen Maskerade, Körperinszenierung und Rollenspiel | | | | | | | Fri 23 Oct 17:00
24 Oct 2020 – 28 Feb 2021 | | | | | |
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| | | Jitka Hanzlová: Untitled, 2017 (Detail), from WATER, 2013—2019, C-Print | | | | | | | | October 24 — December 12, 2020 | | | | | | | | | | | | | In her latest body of work, which, after its debut at the National Gallery Prague, curated by Adam Budak, is being shown in Germany for the first time with this exhibition, Jitka Hanzlová deals with the element of water in its various appearances, states of aggregation and fields of meaning.
"Jitka Hanzlová goes beyond the constraints of representation, narrating the clouds and the water as well as the states in between as transparent layers of surfaces.(…) Perceived in the context of her entire oeuvre to date, WATER is a climax and a (symbolic) closure of a journey towards the understanding of the essence of nature, human and non-human: a cloud as part of the visible world, an ambiguous, elusive and ephemeral anti-matter (…), a mixture and ceaseless permutation of the elements that — perhaps silently, as a recapitulation — makes us comprehend why this, no other, world is our habitat and stream of life." Adam Budak
Jitka Hanzlová, b. 1958 in Náchod (CSSR), came to Germany in 1982. From 1987 to 1994 she studied visual communication with a focus on photography at the University of Essen. In 1993 she received the Otto Steinert Prize, in 1995 the scholarship of the DG BANK Frankfurt, in 2003 the Grand Prix Award, Arles, in 2007 the Paris Photo Prize for Contemporary Photography. From 2005 to 2007 the artist taught at the Academy of Arts in Hamburg and from 2012 to 2016 at the Zurich University of the Arts. She has presented her work in numerous international solo exhibitions, most recently in a retrospective at the National Gallery in Prague, previously at the National Gallery of Scotland (2013), Fundación MAPFRE, Madrid (2012), Museum Folkwang Essen (2006), Fo… | | |
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| | Jerry Berndt: Seabrook, 1976
© The Jerry Berndt Estate 2020 | | | | | | | | ... until 3 January 2021 | | | | | | | | | | | | | The American photographer Jerry Berndt (1943–2013) documented the period between the 1960s and 1980s in America like no other photographer. By combining photojournalism with documentary and street photography, he succeeded in presenting a unique view of American society over a span of thirty years. Precisely because Berndt was part of the American protest movement, he not only persuasively visualizes central issues of recent American history such as the civil rights movement, the rights of African-Americans, patriotism, homelessness, as well as the vehement protests against the Vietnam War, racism, and nuclear power. Against a dull, dreary American cityscape, he presents the social and cultural living conditions of people who are overshadowed by a deep melancholy.
Until the 1980s, Berndt consistently followed political conflict and systematically portrayed the spectrum of American people and urban landscapes, from the middle and working classes to the residents of America’s often ignored ghettos. With series on the anti-Vietnam movement in the late 1960s, which he personally participated in, and on homelessness in America in the early 1980s, he dealt with issues that examine a country’s unresolved conflicts. Unpretentious and precise, he photographed scenes of everyday life in America that subtly reflect conflicts: shopping centers, diners, parking lots, and cars as well as beauty pageants and parades.
His works from this period show how Americans presented themselves culturally and socially, and at the same time reveal the foundation of America’s changing urban infrastructure. He visualizes an important, uncomfortable transition phase in American history and highlights the literal and ironically broken beauty of the United S… | | |
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| | Matt Black: Downtown, Fulton, Kentucky, USA, 2017
© Matt Black / Magnum Photos | | | | | | | | ... until 3 January 2021 | | | | | | | | | | | | | The American Magnum photographer Matt Black (*1970) has continually documented the connection between migration, poverty, agriculture, and the environment in his native California and in southern Mexico. For his project "AMERICAN GEOGRAPHY", he traveled over 100,000 miles through 46 states, including California, Oregon, Louisiana, Tennessee, and New York. During his road trip, Black visited communities with a poverty rate of over 20 percent, forming geographic areas that can be connected on a map. Black thus succeeded in portraying poverty as a collective element in the United States which links people whose lives take place beyond the American dream. "The most important key to understanding this work and why I’m doing it is where I come from," Black says about the project. "My region, and many across the country, are not represented by the great American myth, the basic idea of America."
78 photographs and objects from these trips form the focus of the exhibition "AMERICAN GEOGRAPHY", curated by Ingo Taubhorn along with the photographer, which will be presented as a worldwide premiere. "With the exhibition 'AMERICAN GEOGRAPHY' by Matt Black in the House of Photography, following Lauren Greenfield and Paolo Pellegrin, we are continuing the series of committed documentary photographers who focus on sociopolitical and social conditions of life. With his large-format, square, black-and-white pictures and overwhelming landscape panoramas, Black shows us a country far from unlimited possibilities and an American society that is largely characterized by poverty, lack of opportunity, and political resignation," says Ingo Taubhorn, curator of the House of Photography. | | |
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| | | © Ken Schles | | | #PROTESTSGOVIRAL- Images of Activism on Instagram | | | | ... until 3 January 2021 | | | | | | | | | | | | | Since their emergence on Twitter in 2007 and their use on Instagram starting in 2010, hashtags have become the universal tagging tool in image-based social media. For the first time, they made it easy to filter and thus find posts. Since they can be used by anyone regardless of hierarchy, hashtags enable a broad audience to make public statements and to have direct access to information. Apart from restrictions related to income, gender, and ethnicities, they offer a way for interests to gain visibility and feedback. The desire to form collectives and easily launch campaigns has recently turned hashtags into effective slogans and has catapulted them from the purely digital realm onto the streets.
The exhibition format #ProtestsGoViral developed by the House of Photography ties in with the Jerry Berndt and Matt Black exhibitions by addressing social problems and encourages visitors to reflect on the importance of hashtags in current photography focused on activism. It recognizes the posted images as documents of their time and sees the use of hashtags as a phenomenon that is already part of the current history of photography. This media revolution is democratizing documentary photography and making it one of the most important means of communication.
#ProtestsGoViral is based on a selection of viral hashtags on Instagram, the most popular image-based online platform in the United States. The posts shown are updated by the minute, in keeping with the fast pace of social media posts. This compilation thus offers direct insight into various pressing areas of political activism in the United States. | | |
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| | | Peter Weller: Marienhütte close to Eiserfeld/Sieg, 1909–1914 (detail), stock of Die Photographische Sammlung/SK Stiftung Kultur, Cologne; permanent loan of Siegerländer Heimat- und Geschichtsverein, Siegen; modern print 2002 in cooperation with Bernd & Hilla Becher | | | | | | | photographic industrial landscapes, architectures and portraits | | | | ... until November 8, 2020 | | | | | | | | | | | | | After the exhibition "Analogies" at the Kunstarchiv Kaiserswerth in Düsseldorf was successfully shown until September 20, 2020, but could not reach all interested parties due to the situation around Covid 19, we decided to present the series of works in Cologne as well. Due to the different layout of the rooms, the presentation will be expanded for a few more exhibits.
Noteworthy pictures and sources of inspiration for Bernd and Hilla Becher are in the focus of the presentation and at the same time enter into a dialogue with selected works by the photographer couple. The photographs by Peter Weller and August Sander, whose works selected for this exhibition date back to the first three decades of the 20th century, fascinated the Bechers since the beginning of their work in the early 1960s. They had discovered Weller's negative archive, owned by the Siegerländer Heimat- und Geschichtsverein in Bernd Becher's hometown of Siegen, and Sander's first publication "Antlitz der Zeit" (1929) had long been a photographic 'must-read' for them. While Peter Weller, who voluntarily worked mainly for the documentation of mines and blast furnaces plants in the Siegerland and Westerwald, is comparatively less well known, August Sander is one of the big names in photography history, a personality who is directly associated with his portrait work "People of the 20th Century".
The exhibition shows content and methodological correspondences in the creation of the three photographic positions. The documentary description of industrial landscapes in the Westerwald and Siegerland can be found both in the systematic work of Weller and the Bechers, even motivic … | | |
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| | Martin Rosswog: Kitchen of Maria del Carmen Garcia de Figueiredo, Barrancos, Portugal, 2009
© Martin Rosswog, VG Bild-Kunst, Bonn 2020 | | | | | | | | ... until November 8, 2020 | | | | | | | | | | | | | The photographer and filmmaker Martin Rosswog (b. 1950) has been working on his longterm project, which is dedicated to living spaces in rural areas, since the 1980s. With great personal engagement, Rosswog has traveled to numerous regions in Europe, has been to small, sometimes remote villages and settlements in order to track down the most authentic, traditional agricultural or artisanal way of life–without ignoring the influences of modern globalization.
The current exhibition shows a selection from several photographic series developed in Portugal. Two were created in Barrancos, a small town in the southern Alentejo region, right on the Spanish border. The history of the Alentejo district, in Portuguese "across the (river) Tejo", is characterized by wealthy landowners, in whose service farm workers and day laborers often worked under precarious conditions. The climate is very dry and hot, especially in the south, so the cultivation of the soil is correspondingly laborious and the harvest correspondingly meager. In view of Rosswog's photographs, one might think of "Raised from the Ground", the novel by the Nobel Prize winner for literature José Saramago, which uses the example of a family to describe the living conditions of this impoverished class. Today the situation has improved significantly, tourism and investors from abroad have arrived.
Martin Rosswog photographed an apartment on a property belonging to former large landowners, which is occupied by Maria del Carmen Garcia de Figueiredo and her former domestic worker Maria Teresa Neves Carualho. Rosswog has comprehensively documented a total of four different properties owned by large landowners in Barrancos and the surrounding area. In contrast to these r… | | |
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| | | © Stanley Kubrick for Look magazine. Naked City. 1947. Museum of the City of New York. The LOOK Collection. Gift of Cowles Magazines, Inc., 1956. Used with permission of SK Film Archives and Museum of the City of New York. Tous droits réservés. | | | | | | | | 24 October 2020 – 31 January 2021 | | | | Opening reception: Friday 23 October 6:30pm | | | | | | | | | | | | | | Before becoming a world-famous filmmaker and directing 2001: A Space Odyssey and A Clockwork Orange, Stanley Kubrick, camera in hand, roamed the streets of New York for American magazine Look. Between the age of 17 and 22, through still photography, Kubrick learnt the art of framing, composition and lighting, the main subject being his hometown. His first photograph was published in 1945 by Look, which he joined five years before making his first short film. Curated by the Museum of the City of New York, the exhibition portrays the famous film director in a new light. MBAL is delighted to be the first European stopover of this major exhibition. | | |
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| | | © Annelies Strba, WOZ 2002, C-Print | | | | | | | | 24 October 2020 – 31 January 2021 | | | | Opening reception: Friday 23 October 6:30pm | | | | | | | | | | | | | | The New York skyline with its iconic skyscrapers is an extraordinary sight. In 1999, feeling somewhat threatened, Annelies Strba made a film of it. After the events of September 11th, 2001, the artist created New York 2001 from the images she captured two years earlier. The twin towers of the World Trade Center are still standing but appear like dark messengers of their own destiny, like soot-blackened skeletons. | | |
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| | | © Beat Streuli, Manhattan 17, 2020. Tous droits réservés. | | | | | | | | 24 October 2020 – 31 January 2021 | | | | Opening reception: Friday 23 October 6:30pm | | | | | | | | | | | | | | The vast cities of our globalized world are swarming with people and public spaces are where the anonymous meet. Installed on the facade of the museum, Beat Streuli’s monumental work, created specifically for MBAL, captures the eye through an intriguing game of scale where the human being is placed at the centre of the image. | | |
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| | | © Corey Sipkin, 2020. Tous droits réservés. | | | Ruba Abu-Nimah » Where Did Everybody Go? And What The Fuck Did You Do During Covid-19? | | | | 24 October 2020 – 31 January 2021 | | | | Opening reception: Friday 23 October 6:30pm | | | | | | | | | | | | | | New York has changed dramatically after being seriously impacted by the pandemic. After seeing its streets emptied, its inhabitants have regained possession of public spaces, but everything is now very different. Living in the centre of Manhattan, Ruba Abu-Nimah, graphic designer and creative director working with some of the best-known fashion photographers, decided to document the city with her phone camera. From the calm to the hustle and bustle of the streets, first with shock then with fascination, she recorded the transformation of her city. Ruba Abu-Nimah accepted the invitation of MBAL and created an installation that follows the story of this unprecedented year, mixing her images with those of New York teenagers who explored the streets of the city with her. | | |
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| | | © Jeff Mermelstein, de la série Hardened, 2016. Tous droits réservés | | | | | | | | | | | 24 October 2020 – 31 January 2021 | | | | Opening reception: Friday 23 October 6:30pm | | | | | | | | | | | | | | Street photography is the perfect medium for capturing city life. Passers-by have long fascinated photographers who mingle among the crowds. At a time when social distancing is required and overcrowding seen as a health risk, especially for the elderly, the i series by Eamonn Doyle and #nyc by Jeff Mermelstein on the subject of city dwellers suddenly takes on a new meaning. | | |
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| | | Luo Yang, Mao Weiai, YOUTH, 2019 © Luo Yang | Luo Yang, Princess butterfly, YOUTH, 2019 © Luo Yang |
| | | | | | | | 21 October 2020 – 21 February 2021 | | | | | | Francisco Carolinum Museumstr. 14, 4010 Linz
Austria
www.ooelkg.at | |
| | | | | | The Chinese photographer Luo Yang (born 1984) is one of the most internationally recognised artists* of her generation. After completing her studies in graphic design at the renowned Lu Xun Academy of Fine Arts in Shenyang, she turned to photography. Numerous exhibitions in China in recent years, and latterly more frequently in Europe also, are proof of the international interest in her work. The presentation at FC-Francisco Carolinum of works from the series GIRLS and YOUTH is Luo Yang's first solo exhibition in Austria.
“I do think that every girl has her own beauty. It is also what I intend to present in my works. Girls who are real, confident and stay true to themselves are beautiful to me.”
Luo Yang
In the series GIRLS, a long-term project she started in 2007, Luo Yang portrays Chinese women of her generation. While still a student, she began taking photographs of young women from her immediate environment, friends and acquaintances, and eventually expanded the circle to include women she met and became interested in through social media. This resulted in a kaleidoscope of a generation of women who, between traditional role models and rapid economic change in modern China, are searching for an individual lifestyle - away from conformism and social normalisation.
“The 1990s and 2000s generations are facing so many possibilities that previous generations didn’t have. They are generally more self-centered and bold, trying to strike the balance between traditions and international cultures.”
Luo Yang
Freedom and the desire for self-expression and individuality also characterise the YOUTH series. After a very personal approach to the women of her generation, Luo Yang beg… | | |
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| | Aneta Grzeszykowska: Selfie #19, 2014
Pigment ink on paper, 27 x 36 cm
© Courtesy of the artist and the Raster Gallery, Warsaw | | | | | | | | 28 October 2020 – 28 February 2021 | | | | | | Francisco Carolinum Museumstr. 14, 4010 Linz
Austria
www.ooelkg.at | |
| | | | | | For more than 15 years, Polish artist Aneta Grzeszykowska (*1974) has been reflecting on fundamental questions of identity and self-understanding in her works. Her subject of focus is the human body, particularly that of women, in its role as a projection screen and construction. Family Skin addresses the wide range of methods, products, creams, gels, masks, massages and plastic surgery procedures for enhancing, perfecting and self-optimising the skin. The exhibition is set against the backdrop of this furious obsession with beauty and eternal youth.
By means of photography and sculpture, Aneta Grzeszykowska focuses on the construction of a physical aesthetic as an ideal image, also by opposing it with the signs of old age and disfiguration. She works with photographic and collage techniques, both digital and analogue.
These include, in particular, the rituals and mise-en-scène of beauty and self-expression that have become firmly established within social media as collective norms. Aneta Grzeszykowska deliberately experiments with these clichés in some of her series. Selfie (2014) and Face Book (2020) clearly allude to this with their titles. She provokes the question of what fragments of the self remain underneath the photographic surface, the shell and skin of the physical. To this end, she deploys her own body in performative transformations and stagings, which she documents in photo series, films and book objects. She takes on different roles. She works with clothing and masks, make-up, foundation and body paint.
The exhibition is presenting selected works of various series dating from 2006 until the present. Examples will be shown of Untitled Film Stills (2006), which refers to the group of work… | | |
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| | | © Jimmy Nelson B.V. | | | | | | | | 16 – 31 October 2020 | | | | | | | | | | | | | As a complement to its immersive exhibitions ‘Monet, Renoir, Chagall … Journeys Around the Mediterranean’ and ‘Yves Klein: Infinite Blue’, the Atelier des Lumières will exceptionally open in the evening over the autumn break to present ‘The Last Sentinels’, the first immersive exhibition created from hundreds of photographs taken by the famous artist Jimmy Nelson.
These evening events are part of a cycle of immersive exhibitions entitled ‘Save the Planet’ which present, every other year, an original immersive work by a committed artist.
After an exhibition devoted to Yann Arthus-Bertrand in 2018, for the benefit of the Good Planet Foundation, this year the British artist Jimmy Nelson’s photographs with their sumptuous compositions will feature on the walls of the Atelier des Lumières.
A voyage of around forty minutes in the heart of the last indigenous cultures and landscapes around the globe, ‘The Last Sentinels’, created by the studio Spectre Lab, celebrates the diversity of these peoples that live in harmony with nature.
By holding this immersive exhibition, Culturespaces is financially supporting the Jimmy Nelson Foundation, which strives to bring together the peoples of the world around the preservation of humankind’s natural and cultural heritage. | | |
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| | | | | | | Espen Eichhöfer: aus der Serie "A to B", 2013
© Espen Eichhöfer / VG Bildkunst 2020 |
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| | Robert Frank, White Tower, New York 1948
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York | | | | | | | ... until 10 January 2021 | | | | | | | | | | | | | Robert Frank, who was born in Zurich in 1924 and died last year in Canada, is widely regarded as one of the most important photographers of our time. Over the course of decades, he has expanded the boundaries of photography and explored its narrative potential like no other. Robert Frank travelled thousands of miles between the American East and West Coasts in the mid-1950s, going through nearly 700 films in the process. A selection of 83 black-and-white images from this blend of diary, sombre social portrait and photographic road movie would leave its mark on generations of photographers to come. The photobook "The Americans" was first published in Paris, followed by the US in 1959 – with an introduction by Beat writer Jack Kerouac, no less. Off-kilter compositions, cut-off figures and blurred motion marked a new photographic style teetering between documentation and narration that would have a profound impact on postwar photography.
It is quite possibly the single most influential book in the history of photography; however, rather than being a spontaneous stroke of genius, Frank had worked on his subjective visual language for years. Many of his photographs from Switzerland, Europe and South America, as well as his rarely shown works from the USA in the early 1950s, are on a par with the famous classics from "The Americans". The photographer’s early work, which remained unpublished for editorial reasons and is therefore little known to this day, reveals connections to those iconic pictures that still define our image of America, even today.
At the heart of the exhibition "Robert Frank – Memories" is the narrative force of Robert Frank’s visual language, which developed in opposition to all con… | | |
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| | | Photo: Phroom Agency | | | 10th Edition MIA Fair 2021 | | | | 25 – 28 March, 2021 | NEW LOCATION: SUPERSTUDIO MAXI MILAN | | | | APPLICATIONS OPEN till November 15th, 2020 | | | For applications please contact application@miafair.it
phone +39 02 83241412
www.miafair.it | | | | | | | | | | | | | MIA Milan Image Art Fair, the international photography art fair of Italy, will stage its 10th edition in Milan from Thursday, March 25th to Sunday, March 28th, 2021 at the new location of SUPERSTUDIO MAXI. The VIP opening will take place on Wednesday, March 24th.
MIA Fair is currently accepting applications for the Main Section and for the new MIA&D Section from galleries presenting curatorial projects.
The deadline for applications is November 15th, 2020.
For applications please contact application@miafair.it or phone +39 02 83241412.
For the tenth anniversary we launch an important news: MIA Fair moves to SUPERSTUDIO MAXI which allows us to nearly double the available space. The new venue, with a size of 7,500 m², will facilitate the respect of social distancing anti-Covid rules, without causing particular inconvenience to the event experience. | | |
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| | Lot 159
Valie Export
"Einkreisung", 1976
vintage gelatin silver print, PE paper, re-worked with red watercolour,
titled in black Indian ink, signed, photographer’s stamp, verso inscribed "Fotografik",
edition of 3, numbered 3/3 and monogrammed, inscribed with blue ball-point pen, 41.7 x 61 cm,
several slight creases throughout the sheet; including the gramophone record "wahre Freundschaft", 1978,
signed, no. 73 and with a dedication
Estimate: EUR 12,000 to EUR 18,000 | | | Photography | | | | | | Online auction: here
Auction ends: October 28, 3 pm
Print catalogue: dorotheum.com | | | | | | | | | | | | | From the early travel photography of the 19th century to contemporary snapshots and projects: the Dorotheum photography auction, which is brimming with 213 works, spans the history of photography.
The auction will reveal a rare, previously unpublished body of work by a world star: seven photo booth images from 1922 by Ludwig Wittgenstein, who was in his mid-thirties (€ 5,000 - 7,000). Valuable photographs from the life of the philosopher are also seven images created from 1923 to 1946 (€ 3,500 - 4,500).
Further auction highlights include new-objective, abstract nature studies by the American photographer, Imogen Cunningham (€ 5,000 - 7,000 each) as well as works by the prominent Austrian filmmaker and pioneer of media art, VALIE EXPORT [including "Einkreisung" (encirclement) from "Körperkonfigurationen" (body configurations), 1976, € 12,000 - 18,000]. Another feature includes the personal and atmospheric interior photographs by Nan Goldin. Both Self-portrait in blue bathroom, London 1980 and Nan and Brian in bed, N.Y.C 1983 correspond to her statement: "These pictures come out of relationships, not observation" (€ 6,000 - 8,000 each).
The online auction ends on October 28th at 3 pm. The catalogue is available online at dorotheum.com as both a print and an online version. | | |
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| | | | | | | | Key-Visual der »11. Darmstädter Tage der Fotografie«, N. A. Vague, #real #me #ad 3, 2017, © N. A. Vague |
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| | | | | | Rapid Response Restitution | | | | | | | 24 Oct – 19 Dec 2020 | | | | | |
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| | | | | | | | | | | | | | Thu 22 Oct 18:30
23 Oct – 15 Nov 2020 | | | | | |
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| | Martha Cooper: Skeme running on top of subway, Bronx, NYC 1982, © Martha Cooper
from the exhibition: "MARTHA COOPER: TAKING PICTURES" URBAN NATION - MUSEUM FOR URBAN CONTEMPORARY ART | | | EMOP BERLIN — EUROPEAN MONTH OF PHOTOGRAPHY | | | | 500 artists in more than 100 Berlin-based institutions | | | | | | | October 2020 | | | | | | | | | | | | | The 9th edition of EMOP Berlin — European Month of Photography will take place from 1—31 October 2020. More than 100 Berlin museums, galleries, cultural institutions, embassies, alternative art spaces, project spaces, and photography schools will offer a wide range of exhibitions and events showcasing the beloved and celebrated medium in all its diversity. This year’s main theme is Europe — Identity, Crisis, Future. Further topics such as 30 years of German reunification and 100 years of Greater Berlin, as well as classical genres such as portrait, architectural, and fashion photography will also be represented.
Thanks to its decentralized program with numerous partner institutions and parallel exhibitions, EMOP Berlin can take place in autumn regardless of any possible restrictions due to the coronavirus pandemic. Suitable measures regarding entrances and other hygiene requirements will be taken in response to the situation as needed.
In 2016 and 2018, the EMOP Opening Days were held at C/O Berlin Foundation in Amerika Haus to kick off the festival. This year, Kulturprojekte Berlin is working together with Akademie der Künste; the EMOP Opening Days will take place from 1—4 October at Pariser Platz. Under the main theme of Photography between Art, Politics, and Mass Media, an extensive program with internationally renowned photographers, curators, media experts, and journalists will be offered. Panel discussions, artist talks, discursive events, a film program, and guided tours of the exhibition by the photographers of OSTKREUZ will mark the beginning of this year’s Month of Photography.
At the end of March 2020, 110 projects were selected for participation by this year’s jury, consisting of Thomas Licek (former Managing Director of Eyes On, Vienna), Barbara Esch Marowski (Director, Haus am Kleistpark), Annette Hauschild (photographer, OSTKREUZ — Agentur der Fotografen), Dr. Susanne Holschbach (art and media scholar, lecturer, Neue Schule für Fotografie), and Dr. Christiane Stahl (Director, Alfred Ehrhardt Foundation). Excerpt from the Jury 2020 statement: “The 9th edition of the festival in Berlin will once again showcase photographic gems and offer an exciting and aesthetically sophisticated examination of photography that is sure to bring this multifaceted medium closer to thousands of visitors.” | | |
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| | | © Sergey Maximishin / Festival La Gacilly-Baden Photo 2020 / Fotomontage | | | Festival La Gacilly-Baden Photo 2020 | | | | All Eyes East | | | | | | | | | | | | | | | | | | | | FESTIVAL LA GACILLY-BADEN PHOTO 2020
The festival will take place 14 July (French National Holiday) to 26 October 2020 (Austrian National Holiday).
The festival is entering its third year and it has become a communicator of topics with a strong humanistic orientation showcasing the various aspects of the relationships between people and their environment.
The festival extends over a length of 7 kilometers – divided into a "garden route" and a "town route", starting from the visitor center on Brusattiplatz. Integrated into the public space, there are about 2,000 photographs to be seen, some as large as up to 280m2.
It is the largest outdoor photography festival in Europe, visited by 266,751 visitors in 2019. Entry is free.
NEVER GIVE UP! – This is the motto 2020, which combines the work of the photographers of the Festival La Gacilly-Baden Photo in two impressive themes: "All Eyes East" and "Renaissance".
Renaissance or rebirth – stands for the commitment and awareness of the exhibiting photographers for our planet Earth with their work, just like festival founder Jacques Rocher with his gigantic 100 million trees reforestation project "Plant for the Planet".
Rebirth consequently means the hope of change for the better of our world. In this sense, remembering the Fall of the Berlin Wall 31 years ago as a unique example of how the wind of freedom triggered Glasnost (openness) and Perestroika (remodeling). And thus enabled the modernization of the social, political and economic system of the former Soviet Union, which ultimately led to the end of the Cold War. | | |
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| | | | | | KW Institute for Contemporary Art, daadgalerie, Gropius Bau | | | | | | | – 1 Nov 2020 | | | | | |
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| | | | | | The best of times - The worst of times | | | | | | | – 25 Oct 2020 | | | | | |
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| | | | | | Propositions for Alternative Narratives | | | | | | | – 25 Oct 2020 | | | | | |
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| | | | | | INTERNATIONAL PHOTO FESTIVAL | | | | | | | – 25 Oct 2020 | | | | | |
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| | | | | | The Things I Tell You | | | | | | | – 18 Jul 2021 | | | | | |
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| | | | | | open air festival - VIVA LATINA ! | | | | | | | – 31 Oct 2020 | | | | | |
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| | | | | | THIS IS THE END | | | | | | | – 31 Oct 2020 | | | | | |
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| | | | | | | | | | 60 outdoor exhibitions city-wide & free online programming | | | – 29 Nov 2020 | | | | | |
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| | | | | | FANTASIES - Stories, rules, inventions | | | | | | | – 10 Jan 2021 | | | | | |
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| | | | | | Festival internazionale della fotografia urbana - VII edizione | | | | | | | – 8 Nov 2020 | | | | | |
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© 14 October 2020 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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