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| PHOTOGRAPHY INTERNATIONAL | | 24 April — 1 May 2024 | |
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| | | |  | | | "Im Mund des Hotel Texas, in Koza, 20. November, 2023", 2024
© Miji Ih |
| | | | | | | | | | | | Thu 25 Apr 19:00
26 Apr – 7 Jul 2024 | | | | | |
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| | Alexis Waldeck
Actress-singer Liza Minnelli, Vogue 1967
© Condé Nast | Bert Stern, Twiggy wearing a mod minidress by Louis Féraud +
leather shoes by Francois Villon, Vogue, 1967
© Condé Nast |
| | | | | | | Photographic Treasures of the 20th Century | | | | | | | | ... until 20 May 2024 | | |  | | | | | | | | | | The Helmut Newton Foundation and Pinault Collection proudly present CHRONORAMA. Photographic Treasures of the 20th Century. Following its highly successful premiere at Palazzo Grassi in Venice, the collaborative project will be shown at the Helmut Newton Foundation in Berlin starting 15 February 2024. "CHRONORAMA" marks the latest partnership between the Helmut Newton Foundation in Berlin and leading international collections. In 2018, it hosted "Between Art & Fashion", with 223 works by 85 photographers from the collection of Carla Sozzani, former editor-in-chief of the Italian Elle and Vogue.
Now, the foundation unveils François Pinault’s recently acquired collection of exceptional photographs, including portraits, fashion, still lifes, architecture, photojournalism, as well as early illustrations from the legendary Condé Nast Archive. Showcasing nearly 250 works created between 1910 and the late-1970s for Condé Nast’s style-defining magazines, this chronological presentation traces the evolution of the fashion industry against the backdrop of radical changes in western culture, spanning subjects from the sophisticated to the sublime. Naturally, Helmut Newton’s works are also part of this remarkable collection, as he contributed extensively to Condé Nast magazines like Vogue and Vanity Fair from the 1950s onward. Most of Newton’s fashion photographs featured in this show have not been previously exhibited in Berlin.
Furthermore, the exhibition brings together an impressive array of Helmut Newton’s contemporaries and predecessors, including trailblazing photographers like Diane … | | |
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| | Michael Wesely mit Waldemar Titzenthaler:
Bahnhof Zoo, Berlin 1898/2023
© VG Bild-Kunst, Bonn 2024 | | | | | | | | ... until 1 September 2024 | | | | | | | | | | | | | How can a city’s spatial and architectural development dynamics be visualised photographically? How can photography capture time and life? In two new bodies of work, the internationally renowned photographer Michael Wesely traces fragments of past realities preserved in historical architectural photographs of Berlin. In doing so, he explores the archival dimensions of the medium of photography.
For "Doubleday", Wesely precisely superimposes his own photographs over old photographs of 19th and 20th-century architecture in Berlin, creating breathtaking leaps in time between the past and the present: 19th-century strollers on Alexanderplatz encounter today’s tourists; reconstructed copies of the buildings are superimposed onto ruins; and a park has taken the place of Monbijou Palace.
In his "Human Conditions" series, the artist focuses on the traces of people’s lives around 1900 enclosed in the Prussian Photogrammetric Institute’s large-format photographs. Wesely is particularly fascinated by the spooky disappearance of people in motion, whose contours have not been captured by the long exposure times, and whose shadowy figures he meticulously exlicits.
The Museum für Fotografie is also presenting works by Michael Wesely from previous years. These include the recently completed cycle about Leipziger Platz and Potsdamer Platz that followed the development of the new city quarter from 1997 to 2021. Another group of works shows demonstrations and protest gatherings, each of which Wesely photographed with exposure times of a few minutes and whose transient nature has left only traces and ghostly apparitions. These photographs are brought into dialogue with photojournalistic images of urban life and d… | | |
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| | Alfred Ehrhardt, Blick vom Turm der Katharinenkirche auf den Zollkanal im Hamburger Hafen, 1930/40er Jahre
© Alfred Ehrhardt Stiftung | | | | | | | | | | | ... 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.
Alfred Ehrhardt’s (1901–84) singular images of the port of Hamburg are also being presented for the first time in this two-person exhibition. Ehrhardt’s photographs from the 1930s are more objective. The port is depicted here less as a metaphorical space, and more as a dynamic setting of the industrial age, which gave rise to a specific maritime technology. To a certain extent, Ehrhardt creates a kind of inventory of its elements, documenting various types of ships, loading bridges, cranes as well as characteristic details such as ship propellers and anchor chains. He managed to create particularly striking photographs of the seasonal forces of nature where these exert a visible impact on harbor operations, including when boats have to make their way through the ice. Evident in these images is Ehrhardt’s fondness for motifs that cemented his status as a nature photographer. | | |
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| | Janus Double
Fine Art print Metallic auf Aludibond
© Corinna Rosteck | | | | | | | | 19 April - 24 May 24, 2024 | | | Gallery Weekend:
27 - 28 April, 2 - 5 pm
Artist Talk: Saturday, 4 May, 4 pm
with Michaela Nolte and Performance by
Gabriela Dumitrescu | | | | | | | | | | | | | In movement, man flees from time, tries to hold on to it, to overcome it, but also to change it. Corinna Rosteck's search is for images that make these "unsettling" realities tangible. In her photo and video installations,she explores questions of location, change, and dissolution, as well as the place of dream and reality.
"Water" and "dance" as fleeting subjects form the starting point for her works. She focuses on the blurring and distortion of liquid elements and bodies in motion. The aim is to make structures and orders visible that are otherwise hidden. The focus is on the transition, the dynamic, always endangered balance, worked out through multiple exposures and cross-fades for an expanded perception and transformation of time.
In conjunction with productions by renowned dance ensembles and in dialogue with solo dancers and musicians, she develops her works own performances and installations, where moving images are projected onto the dancers and merge into a total work of art through the interplay of light, space, and music.
What moves humanity? In a globalized, networked and mobile, Janus-faced world, the focus is on people, their desires and fears in the present moment.
Corinna Rosteck (born in 1968, grew up in Hamelin and Ibiza) is a freelance artist working in the fields of photography, video art and installation. Since her studies in Berlin with (Professor K. Gonschior / Color Space Painting) and her master student diploma with Prof. Katharina Sieverding (Photomedia), she has been developing a painterly-informed photography since the mid-1990s, which uses experimental printing processes on reflective materials and surfaces to create unique objects using light technology.
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| | | |  | | | Anna Szprynger
Untitled (Paris#02), 2024
Archival pigment print
40 x 60 cm |
| | | | | | | | | | | | Sat 27 Apr 14:00
30 Apr – 29 Jun 2024 | | | | | |
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| | Maisie Cousins: Slug, 2015 / Maisie Cousins: Snails, 2019
© Maisie Cousins, Courtesy TJ Boulting | | | | | | | | 28 April - 20 June 2024 | | | Opening: Saturday, 27 April, 12 – 3 pm
Berlin Gallery Weekend Special opening hours:
Saturday, 27 April, 12 – 3 pm (Opening)
Sunday, 28 April, 1 – 6 pm | | | | | | | | | | | | | "SMORGASBORD" brings together a curated selection of works from 2017 to 2024 by British photographer and visual artist Maisie Cousins and celebrates her first solo show in Germany.
Cousins' earliest works here reveal her interest and exploration of nature and sexuality, and the thin, precarious line where, for a brief moment, flowers, food and bodies are at their peak of ripeness. Through brightly coloured close-ups of glossy liquid covered fruit, petals, skin and bugs, the works celebrate joy and beauty between attraction and repulsion.
In Cousins’ most recent work, decaying sticky food and flowers are now superseded by mini plastic pigs, boiled sweets, or a brightly coloured bouncy ball. These new subjects are presented in epic or intimate scaled photographs, always in Cousins’ signature tightly cropped compositions and bright colours. This shift in subject matter is marked by Cousins becoming a mother, and yet seeing the world through nostalgic toys and sweets from childhood.
Unashamedly provocative and sensual, the exhibited pieces are bold testaments that celebrate the female body and challenge the mainstream misogynistic notions of perfect and clean beauty. Offering witty, seductive and socially significant imagery, Cousins is undoubtedly one of the most exciting visual artists of her generation.
Maisie Cousins, born in 1992 in London, studied Fine Art Photography at Brighton University. Her work has been exhibited internationally in numerous solo and group shows.
In 2019 she was awarded one of FOAM Amsterdam’s FOAM Talents with a travelling exhibition to London and New York. She has exhibited in several international photography festivals, including the Vogue Photo … | | |
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| | | |  | | | Valérie Belin, Electra (Super Models series), 2015,
Pigment print, 177,5 x 134,5 cm, Edition of 6 + 2 AP |
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| | | |  | | | | Unbekannte Fotograf:in, Schauspielerin, c. 1910, Autochrom aus der Sammlung der OÖ Landes-Kultur GmbH © OÖLKG |
| | | | | | | | | | | | Fascination with colour: A look into the pioneering days of colour photography | | | Thu 25 Apr 19:30
26 Apr – 8 Sep 2024 | | | | | |
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| | The Necklace. Buenos Aires, Argentina, 1999.
© Alessandra Sanguinetti/Magnum Photos | | | CLOSE ENOUGH | | | | New Perspectives from 13 Women Photographers of Magnum. | | | | | | | 24 April – 21 July 2024 | | | | | | | | | | | | | "If your pictures aren't good enough, you're not close enough." - Robert Capa
Close Enough explores the practices of thirteen emerging and established women photographers of Magnum and the relationality they create within global situations, local communities, and interactions with individual subjects. Each contributing photographer openly narrates their creative journey, ranging from reflections upon long-term personal projects to work in progress and new pivots in their image-making practices. They give highly personal accounts of their visual vantage points and create a constellation of photographic relativity in this exhibition.
Set in the context of the seventy-fifth anniversary of the founding of the Magnum agency (1947), Close Enough focuses on women photographers whose distinct visions are currently shaping photographic perspectives within Magnum. Together, they move and challenge the photography collective’s boundaries, deepening Magnum’s anchoring of the photographic quest to take account of human experience and survival. In uniquely personal ways, the contributing photographers negotiate gaining access, holding their bearings, and moving deeper in relation to human subjects and experiences - the challenge to photographers to get “close enough” called forth by the cofounder of Magnum, Robert Capa. With determination, urgency, and resourcefulness, each photographer takes account of their practice, inviting us to get close enough. | | |
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| | Ann-Christine Woehrl:
Damu DAGON, Gushiegu, GHANA, 2013 | Ann-Christine Woehrl:
Safuna YIDUANA, Gambaga, GHANA, 2009 |
| | | | | | WITCHES IN EXILE and DARKLIGHT | | | | 24 April – 26 July, 2024 | | | | | | | | | | | | | On the occasion of her exhibition at Museum Fünf Kontinente, LEPI ARTS in Munich will be showing a photographic dialogue by artist Ann-Christine Woehrl with "WITCHES IN EXILE" and "DARKLIGHT". The exhibition focuses on isolation. The fundamental recurring theme of Ann-Christine Woehrl's work.
The perspective and approach to the two photo series could hardly be more different and thus illuminates the photographer's artistic spectrum.
Ann-Christine Woehrl mostly shows the isolation of others. She visualises women who are marginalised and threatened by society, like in the case of "WITCHES IN EXILE". The impressive portraits of women in Ghana who are stigmatised as witches draw attention to the cruel witch-hunt that still takes place today - in Ghana and other parts of the world.
"DARKLIGHT" on the other hand shows her artistic exploration of her own isolation, of pausing in times of pandemic. An ongoing project that she started during the pandemic. Poetic abstractions of nature seem more like painting than photography in the duality of light and shadow. They reflect Ann-Christine Woehrl's inner dialogue with places in silence where she encounters her feelings. These places give her peace and strength, sharpen her senses and her gaze. In resonance with nature, she processes her projects and develops new approaches.
In this way, she creates a visual language that touches. Despite the plight of the women, who are isolated and experience violence, the portraits radiate dignity and pride. They attract attention and draw attention to unbelievable grievances and hardship. "WITCHES IN EXILE" was the beginning of Ann-Christine Woehrl's commitment to women suffering f… | | |
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| | | |  | | | | © Tamiko Nishimura |
| | | | | | | | | | | | Thu 25 Apr 18:00
25 Apr – 8 Jun 2024 | | | | | |
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| | LAURA LETINSKY
Untitled from Ill Form and Void, 2011
Tirage pigmentaire d’archive, Feuille 40x48in (100x120cm) /
image 31.5x40 inch (78,75x100cm)
© Laura Letinsky / Galerie Miranda | | | | | | | | | | | | | ... until 18 May 2024 | | | | | | | | | | | | | For the third capsule show of its 6th anniversary cycle, Galerie Miranda brings together 5 major artists whose different practices explore and disrupt the fundamentals of the traditional photographic medium: the darkroom, the artist's gesture and the representative function. Chuck Kelton's abstract chemigrams resemble landscapes; Laura Letinsky's still lives are in fact meticulous compositions of found images, torn and collaged; Ellen Carey's Finitograms are ready-made unique works, unsigned and unfinished; and Thomas Ruff's digital photograms reinvent the traditional photogram, like those also on show by Nancy Wilson-Pajic, a pioneer in experimental photography in France.
Laura Letinksy creates delicate, meticulous tableaux that sublimate and honour the forgotten details of everyday domestic life. Her large-scale, carefully crafted scenes often focus on the remnants of a meal or party, as she plays with ideas about perception and the transformative qualities of the photograph. Her series Ill Form & Void Full (2010-2014), explores the tension between material and image, as Letinsky extracts elements from already existing imagery in magazines of food and domestic wares, calling attention to the constructed nature of all photographs. Works presented in friendly collaboration with Yancey Richardson Gallery | | |
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| | | |  | | | | Flag Face 2019 © Andres Serrano |
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| | | Image from the series Disintegrata © Silvia Rosi 2024 | | | | | | | | 28 April – 28 July 2024 | | | | | | | | | | | | | | Specifically conceived for the Collection, the exhibition includes twenty new photographic works, some moving images and a nucleus of archive photographs collected by the artist in Italy – mainly in Emilia-Romagna – between 2023 and 2024. Rosi travelled the territory to collect hundreds of ordinary photographs, shots from family albums that recount the everyday lives of those who, having arrived from Africa before the year 2000, portrayed themselves and their lives in various contexts. The exhibition explores, restores and humorously stages an imagery of the notion of ‘Italianness’ across contemporary territory. | | |
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| | | USA. New York City. 1976. Little Italy. Dee and Lisa on Mott Street. © Susan Meiselas/Magnum Photos | | | | | | | | 26 April – 9 June 2024 | | | | | | | | | | | | | Susan Meiselas (1948, Baltimore, USA), a member of Magnum Photos since 1976, became known for her work in the conflict zones of Central America (1978–1983), and in particular for her powerful photographs of the Nicaraguan revolution. Endlessly exploring and developing narratives, she involves her subjects in her works, often working over long time spans and covering a wide range of subjects and countries, from war to human rights issues, and cultural identity to the sex industry.
This exhibition, entitled Mediations after her eponymous work, is the most comprehensive retrospective ever to be held in Europe, bringing together a selection of works from the 1970s to the present day.
This exhibition reveals Meiselas’s unique approach as a photographer who has constantly questioned the status of her images in relation to the context in which they are perceived, showing how she moves through different scales of time and conflict, ranging from the personal to the geopolitical dimension. | | |
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| | | |  | | | Alice Springs
Helmut in pumps, Monte Carlo 1987
© Helmut Newton Foundation |
| | | | | | | | | | | | Tue 23 Apr 18:00
24 Apr – 11 Aug 2024 | | | | | |
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| | | |  | | | Nguyen Trinh Thi 47 Days, Sound-less 2024
3-channel video, black and white and color, sound, mirrors 30 min.
Installation view: Shanshui: Echoes and Signals, M+, Hong Kong, 2024
Photo; Dan Leung Photo courtesy: M+, Hong Kong |
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| | | |  | | | | Lotus © Hitomi Watanabe |
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 | Fairs |
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| | | | | | | | presented by AIPAD 2024 | | | | | | | | 25 – 28 April 2024 | | | | Opening: Thursday 25 April 2024 | | | | | | | | | | | | | AIPAD Announces the Highly Anticipated Return of The Photography Show presented by AIPAD to the Park Avenue Armory in 2024 APRIL 25 – 28, 2024
Thursday, April 25: VIP Preview
Evening Reception 5pm - 8pm
Friday, April 26: 12pm - 8pm
Night of Photography: 5pm - 8pm
Saturday, April 27: 12pm - 7pm
Sunday, April 28: 11am - 5pm | | |
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| Festivals |
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| Upcoming |
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| | | © Arko Datto | | | FOTOGRAFIA EUROPEA 2024 - XIX edition | | | | Nature loves to hide | | | | | | | Reggio Emilia 26 April – 9 June 2024 | | | Preview 26 April
Inaugural events 26–28 April 2024
Dedicated to the interconnections between humans and nature, and to the transformations human beings can undertake beyond an approach of dominant control, the 19th edition of the Reggio Emilia Festival returns to invite us reflect on pressing critical issues
Palazzo Magnani, Chiostri di San Pietro, Palazzo da Mosto, Villa Zironi, Palazzo dei Musei, Biblioteca Panizzi, Spazio Gerra and the spaces of the Circuito OFF host exhibitions by both established photographers and young talents | | | | | | | | | | | | | | | From 26 April to 9 June 2024, Reggio Emilia will once again observe the changes to the contemporary sphere through the eyes of great photographers and young practitioners with the 19th edition of FOTOGRAFIA EUROPEA: the festival promoted and organised by Fondazione Palazzo Magnani and the Municipality of Reggio Emilia, with support from the Emilia-Romagna Regional Council.
Nature loves to hide is the theme chosen by the Festival’s artistic board, this year made up of Tim Clark (editor of 1000 Words), Walter Guadagnini (photography historian and Director of CAMERA – Centro Italiano per la Fotografia) and Luce Lebart (researcher and curator, Archive of Modern Conflict).
Drawing on the paradox expressed in a famous fragment by Heraclitus, the title seeks to encompass the power of a nature that so often conceals its essence right before our eyes, while increasingly revealing it in destructive ways, in a continuous process that may be understood as an oscillation between being and becoming. Through this edition’s many prestigious solo and group exhibitions, Fotografia Europea 2024 sets out to explore the connections between concealment and discovery that characterise our relationship with nature, imagining new narratives bound up in an eco-centric conception as opposed to an attitude of dominant control that our species exercises over the planet, so as to understand the current dynamics and the new directions to be taken. | | |
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| | | | | | | | | | | | | | Fri 26 Apr 18:00
26 – 28 Apr 2024 | | | | | |
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| | Anna Jermolaewa & Oksana Serheieva, Rehearsal for Swan Lake, 2023
Photo: Anna Jermolaewa and Bildrecht - AUSTRIA | | | | | | | 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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| | | |  | | | | Arko Datto |
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| | | | | | Even Better Than the Real Thing | | | | | | | – 30 Sep 2024 | | | | | |
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| | | | | | Rencontres de la jeune photographie internationale 2024 | | | | | | | – 25 May 2024 | | | | | |
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| | | | | | Festival de la jeune photographie européenne | | | | | | | – 2 Jun 2024 | | | | | |
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| | | | | | Memory is an Editing Station | | | | | | | – 28 Apr 2024 | | | | | |
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| | | | | | Ten Thousand Suns | | | | | | | – 10 Jun 2024 | | | | | |
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| | | | | | Triennial Exhibition | | | | | | | – 28 Jul 2024 | | | | | |
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© 24 April 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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