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| PHOTOGRAPHY INTERNATIONAL | | 23 - 30 January 2019 | |
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| | IMPLICIT TENSIONS: MAPPLETHORPE NOW | | | Thirty years after Robert Mapplethorpe's death, the Solomon R. Guggenheim Museum, New York will hold a year-long exhibition. The first part (January 25 – July 10, 2019) features early Polaroids, collages, and mixed-media constructions; iconic, classicizing photographs of male and female nudes; floral still lifes; portraits of artists, celebrities; and searingly honest self-portraits. The second part (July 24, 2019 – January 5, 2020) will address Mapplethorpe’s complex legacy in the field of contemporary art alongside works by Rotimi Fani-Kayode, Lyle Ashton Harris, Glenn Ligon, Zanele Muholi, Catherine Opie, and Paul Mpagi Sepuya. |
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| | NICK BRANDT: THIS EMPTY WORLD | | | After the pre-release of 7 photographs from the series "This Empty World" by Nick Brandt at PARIS PHOTO the full project will be released on 23 January and will comprise 45 images: atlasgallery.thisemptyworld.com The Book "This Empty World", 128 pages, 84 photos, Thames & Hudson, will be out on 1 February. The exhibitions "This Empty World" starting in London on February 7 (ATLAS Gallery) – in New York on February 21 (Edwynn Houk Gallery) – in Los Angeles March 1 (Fahey/Klein). |
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| | PLAT(T)FORM 2019 | | | 42 international emerging artists and photographers present their portfolios |
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| | Charlie Phelps, surf lifesaver, Tweed Heads, New South Wales, Australia, 2016-2018
© Stephan Vanfleteren, Courtesy Kahmann Gallery, Amsterdam | | | | | | | | 25 January – 29 March 2019 | | | Opening: Friday 25 January 2019
Stephan Vanfleteren will be present at the opening.
To RSVP, please email info@kahmanngallery.com | | | | | | | | | | | | | Kahmann Gallery is proud to present the most recent project of Stephan Vanfleteren: Surf Tribe. This sales exhibition follows the successful showing of the series at the Kunsthal Rotterdam. For Surf Tribe, Vanfleteren travelled the globe for over 18 months to document various troops of surfers, immersing himself in the international surf community. Instead of the stereotypical shots of boards cleaving the waves, Vanfleteren has captured portraits of the surfers away from the action in his well-known black and white style. We see everyone from surfing legends, competitive surfers, young students to surf hippies. While he went to the famous surf havens in places like Hawaii and California, Vanfleteren also ventured to more obscure spots where surfing is entrenched in the way of life. What connects all of these people, is being part of a global culture that deeply respects the ocean. | | |
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Saul Leiter
Untitled, New York, ca. 1950
© Saul Leiter Foundation
Courtesy Howard Greenberg Gallery |
David Lynch
Untitled
Los Angeles, 1990s
© David Lynch |
Helmut Newton
Jenny Capitain, Pension Florian
Berlin 1977
© Helmut Newton Estate |
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| | | | | | | | until 19 May 2019 | | | | | | | | | | | | | | The three-part exhibition "Saul Leiter. David Lynch. Helmut Newton: Nudes" marks the first time in the history of the Berlin institution that an exhibition will be dedicated exclusively to the genre of nude photography. | | |
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| | | | | | Selected Work of the International Class Vol. 1 | | | | | | Fri 25 Jan 19:00
26 Jan – 17 Mar 2019 | | | | | |
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| | | | | | | | © Ruth Stoltenberg, Bad Mondorf In Luxemburg, 2015, aus der Serie Schengen, 2014- |
| | | | | | | | | | | Sun 3 Feb 16:00
24 Jan – 17 Mar 2019 | | | | | |
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| | | | | | | | | | | | | Thu 24 Jan
25 Jan – 23 Mar 2019 | | | | | |
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| | | THE THIRD DAY - Cultivation and measurement of corn plants, German research institute © Henrik Spohler | | | | | | | | until 29 March 2019 | | | | | | | | | | | | | For his work The Third Day Henrik Spohler travels in stages from the north of Germany through the Netherlands to Spain and onwards to the USA, close to the Mexican border. The photographer from Hamburg searches for what human beings have redefined, reproduced and commercialised under the term “nature” in the course of the last few decades. His search is rewarded. He finds a monumental world, or a parallel universe even, which surpasses the imagination of the unsuspecting consumer. Through this photographic series, the latter has to come to the definitive realisation that the daily trip to the supermarket is no more than a simulation of reality, comparable to a virtual performance, allowing each individual a journey into a bygone era. This trivial experience is shaped by romantic and nostalgic promises and spreads the belief that a tomato is indeed only a tomato. But does this belief still hold? We’ve heard about the huge greenhouses covering vast areas where edible plants thrive. Shouldn’t agricultural principles grow proportionally to the population? Enormous greenhouses would thus be a logical consequence and not fiction. But the agricultural industry grows not only in its physical dimensions; it also surpasses the limits of the imagination and of reason. Engineers, technicians, computers, scanners and machines have replaced gardeners and farmers. Day is bereft of its opposite. Artificial light is the better sunshine. Scientifically calculated nutrient solutions replace water as the source of life. Fiction now presents itself as reality in these landscapes covered in plastic all the way to the horizon. Plants grow in artificial blue subsoil. Tomatoes resemble the suckers of an alien creature entirely made up of tent… | | |
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| | Surveillance Panorama No. 4, Vienna MMIX 10008/7000 – The Operaball, 2009
CPG Genève, 2018 – Cul de Sac: 720° Spirale Panorama 300 x 2000 cm. | | | Jules Spinatsch »
Semiautomatic Photography 2003-2020 | | | | until 2 February 2019 | | | GUIDED TOUR IN ENGLISH FOLLOWED BY A LECTURE BY DORIS GASSERT
TUES 29 JANUARY 2019 | TOUR: 17:30 | LECTURE: 18.00 | | | | | | | | | | | | | Jules Spinatsch is one of the most important Swiss photographers on the international scene today. To be specific, he has exhibited at the MoMA in New York, the Fondation Cartier in Paris, the Villa Arson in Nice, the Walker Art Center in Minneapolis, Tate Modern in London, the SFMoMA in San Francisco, as well as at Kunsthaus Zürich or the Fotomuseum Winterthur, to mention only those institutions. The exhibition sums up the panoramic photography projects he has carried out between 2003 and 2018. The artist first used a webcam technique he had developed in collaboration with the engineer Reto Diethelm, then after 2012 he used a computer-controlled SLR that he programmed himself. To explain the principle in a few words: Following a precise grid, a camera records single images at regular intervals over a timespan of between one and 24 hours. Then all the single images are combined in chronological order into a large panoramic view. The panoramic image conveys one continuous space that is cut into time fragments. Once the camera is released, it runs on its own. The camera controls the space but not the action. "Jules Spinatsch Semiautomatic Photography" is a continuous sequence of manual and automated image-making. Starting in 2003, the date of his first solo exhibition at the CPG entitled Temporary Discomfort, he succeeded in responding artistically to a method of photographic production which would subsequently only become more widespread, namely automated surveillance photography. The first panorama made in 2003 during the World Economic Forum [WEF] in Davos, the photographer’s birthplace, marks a turning-point in the history of critical documentary photography. | | |
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| | | | | | | | | | 33 bachelor graduates
of the Art & Design Department
of the University of Applied Sciences Europe | | Fri 25 Jan 19:00
26 – 27 Jan 2019 | | | | | |
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| | | | | | | Louisa Clement
Avatar 29, 2016
Inkjet Print, 115 x 86 cm
Courtesy die Künstlerin und WENTRUP Gallery, Berlin |
| | | | Aktuelle Fotografie made im Rheinland | | | | | | Sun 27 Jan 12:00
27 Jan – 5 May 2019 | | | | | |
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| | | Beatles, Vintage gelatin silver print © Don McCullin | | | | | | | | 30 January – 24 April 2019 | | | | | | | | | | | | | To coincide with the major retrospective at Tate Britain (5 FEBRUARY - 6 MAY 2019), Hamiltons will be celebrating Sir Don McCullin’s lifetime achievement by exhibiting rare and unseen vintage prints dating back to the 1950s. Selected from the photographer’s personal archive, they were made shortly after the photographs were first taken on assignments around the world. Intimate and physically modest, the prints provide access to events witnessed and recorded by a photojournalist working on the frontline of multiple, international flashpoints from Vietnam to Cyprus. Largely produced for a photo editor or agency in a pre-digital age, these historic prints have been visibly put to work and bear the physical marks of their use. In these pictures McCullin shares the telling details of a human face or the gestures of a hand. As he earns his subjects’ trust, he communicates their crisis. To comprehend each remarkable scene, the viewer is pulled in tight as if we are standing beside McCullin in proximity to an anxious soldier, a pointed gun or a grieving wife. | | |
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| | | | | | | | Hushidar Mortezaie and Jiyan Zandi, The Brotherhood, digital photograph, 2018. Courtsey of the artists. |
| | | | Contemporary Photography and Video | | | | | | Sat 26 Jan 18:00
27 Jan – 12 May 2019 | | | | | |
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| | | © Hana Knízřová | | | | | | | | | | | | | 24 January – 28 March 2019 | | | Exhibition opening on January 24th at 7PM
Followed by talk with the curator at 8PM - RSVP | | | | | | | | | | | | | This exhibition presents a segment of contemporary Czech photography with deliberately wide range of photographic strategies – from snapshot-like images that have appeared in the context of fashion editorials to post-conceptual works by artists skeptical of the very photographic medium. Curated by Michal Nanoru. In Love with Contemporary Czech Photography In 1967 or 1968, Allen Ginsberg showed up at the office of Senator Robert F. Kennedy and in an impromptu meeting revealed to the future presidential candidate, among other things, that “what this country needs, if anything, is tenderness. Tenderness is the key to the solution of the ecological problem, as well as all the other human problems. Tenderness to mother nature, tenderness to our fellow man, including tenderness to fairies and junkies, is what at this point is desired by the entire younger generation.” Just months before his plea, Wendy Cobain gave birth to her son Kurt, who, some twenty-two or twenty-three years later, was about to write the oracular verses of the song “In Bloom.” They read today as an anticipation of the rise of the alt-right (“He's the one/Who likes all our pretty songs/And he likes to sing along/And he likes to shoot his gun/But he knows not what it means”), and even, with a little or more good will, both the US administration’s policy of separating families at the border to discourage migration (“Sell the kids for food”) and climate change (“Weather changes moods”). But… | | |
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| | | | | | | Gyuto - Repletion
© Tobi Wilkinson
Courtesy Galerie Thierry Bigaignon |
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| | | | | | | | Mark Steinmetz: Athens, Georgia 1996 |
| | | | | | | | | | | Thu 24 Jan 19:00
25 Jan – 23 Mar 2019 | | | | | |
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| | | | | | | | Gerti Deutsch aus Life in Japan 1960 |
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| | | End Of Cities 2013 © Agnieszka Rayss | | | | | | | a special 30-day section curated by Anna Gondek-Grodkiewicz | | | | | | | | until 7 February 2019 | | | | Subscribe free, YourDailyPhotograph.com | | | | | | | | | | | | | The history of Polish photography has been influenced if not shaped by political conditions in the country. In the second half of the 20th century, the challenge to all artists came from the totalitarian political regime imposed by the Communists from 1945 until 1989. Despite these conditions, Poland has a long and illustrious history of creative fine art photography. But unlike its better-known regional neighbors (Germany, Russia, Hungary, Czechoslovakia), the works of Polish photographers have been less accessible and less known outside the country’s borders. YourDailyPhotograph.com presents a special 30-day section of contemporary Polish photography, starting January 7, 2019. You will discover some terrific works to collect. | | |
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| | | | | | | | Rokni Haerizadeh. Letter! (still), 2014. Single-channel video (color, silent); 6:32 min. Courtesy of the artist and Gallery Isabelle van den Eynde. |
| | | | | | | | | | | Fri 25 Jan 18:00
26 Jan – 28 Apr 2019 | | | | | |
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© Lukas Hoffmann, Simmelstrasse, Berlin, 2018 |
© Lukas Hoffmann: Duisburg (K), 2014 |
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| | | | | | | | | 26 January – 17 March, 2019 | | | | Opening: Friday, 25 January, 5:30pm | | | | | | | | | | | | | Forgotten and neglected. Cold, devoid of people and inanimate. When Lukas Hoffmann (*1981) cycles through Berlin, it’s the marginal areas that catch his eye. He grew up in Steinhausen in Canton Zug, and he went to Berlin after studying in Paris. He lives there now, and there he finds his subjects. Underpasses, house corners, building sites. Hoffmann likes what is desolate. He treats what is marginal with such circumspection that viewpoints, lighting and image details afford his analogue works a great sense of presence and aesthetic quality; they grow beyond themselves until they remind the observer of a painting. These urban brownfields are city outskirts – stagnant, provisional, overlooked – and they fill his images with life. Once Hoffmann has found a place he likes on one of his forays, he goes back there. He works slowly, fastidiously. The weather, the seasons, the incidence of light – he leaves nothing to chance. He’s a constructor. Hoffmann is someone who from the very start worked in an analogue manner, doing everything himself, from the darkroom to making enlargements and framing his works. He’s also a master of the techniques of different cameras. Greyscales are his piano keyboard, as it were, and he plays until his photographs attain the planarity or depth that he desires. Visitors to the Kunsthaus Zug already could experience Hoffmann’s work in several group exhibitions. In early 2019, he will be making a photographic statement with a large solo exhibition, and will be putting new work from recent years on display for the first time in Switzerland. Besides urban architecture, he will also be exhibiting examples of an experiment in which he captures passers-by with a large, portable came… | | |
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| | | | Plat(t)form 2019 | | | | 42 Emerging artists and photographers present their portfolios | | | | | | | Winterthur (Zurich) 25 – 27 January 2019 | Portfolios 2019 online » | | | | | | | | | | | | | | | The thirteenth edition of the curated international portfolio viewing Plat(t)form will be held on the weekend of 25 to 27 January 2019. From some 150 nominations, forty-two emerging European photographers have been invited to Winterthur to present their work to the public and a selected team of experts in Fotomuseum’s exhibition spaces. Plat(t)form 2019 is aimed at both professionals from the field of photography and the arts as well as an audience fired by curiosity. Come along to discover, with us, some of the latest developments in photography, and take this opportunity of personally getting to know the talented young artists and their work. Main sponsor: Luma Foundation.
Further generous support from the Swiss Arts Council Pro Helvetia.
Portfolios 2019 online »
EXPERTS
Michal Raz-Russo, associate curator of photography, Art Institute of Chicago
Bruno Serralongue, artist, Paris
Iris Sikking, freelance curator and lecturer, Amsterdam
Raphael Oberhuber, KOW Gallery, Berlin
Jan Wenzel, publisher, Spector Books, Leipzig
Nadine Wietlisbach, director Fotomuseum Winterthur PRO HELVETIA GUESTS 2019
Natalia Baluta (RU), Marwa Abou Leila (EG), Lekgetho Makola (ZA), Jenny Nordquist (SE), ASM Rezaur Rahman (BD), He Yining (CN) PORTFOLIO VIEWING
SATURDAY, 26 JANUARY 2019, 11:00–19:00
SUNDAY, 27 JANUARY 2019, 11:00–17:00
Visitors and specialists in public dialogue with the invited photographers. DINNER PARTY
SATURDAY, 26 JANUARY 2019, 20:00–24:00
Food, drinks, music and endless opportunities for discussion at Bistro George. EXPERTS’ PRESENTATIONS
FRIDAY, 25 JANUARY 2019, 19:30–21:00
The invited experts and Pro Helvetia guests will introduce themselves and their work.
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| | | | | | | | © AES+F: Inverso Mundus (2015, HD-Video installation, 38") |
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| | | | | | | | Overexposed Memory Space installation 1100x600x310 cm / Single channel video installation, 5 mins / 2015 © Joyce Ho, courtesy TKG+, Taipei |
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| | | | | | | | Progress versus Sunsets | 2017 Filmstill | Video still © Melanie Bonajo |
| | | | As We May Think: Feedforward | | | | | | – 10 Mar 2019 | | | | | |
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| | | | | | | | Goshka Macuga, Installation view at Kochi-Muziris Biennale 2018, Courtesy of Kochi Biennale Foundation |
| | | | Possibilities for a Non-Alienated Life | | | | | | – 29 Mar 2019 | | | | | |
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| | | | | | | | Leigh Bowery & Trojan, 1983 © Jonny Rosza |
| | | | | | | | The Revolt Against Innocent | | | | | | | 14 exhibitions, concerts, screenings | | | – 3 Mar 2019 | | | | | |
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© 16 January 2019 photography-now.com
Ziegelstr. 29 . D–10117 DE . Berlin . Editor: Claudia Stein + Michael Steinke . contact@photography-now.com . T +49.30.24 34 27 80 |
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