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| PHOTOGRAPHY INTERNATIONAL | | 26 June - 3 July 2019 | |
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| | The Rencontres d’Arles will celebrate its 50th anniversary with an opening week from 1 to 7 of July.
Every year, the Rencontres d’Arles, the world’s leading international photography festival, stages around 40 shows at many venues in Arles, from churches to chapels, convents and disused industrial sites. |
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| | | EDGEMONT CEMETERY, WEST ANNISTON, ALABAMA, 2012 © Mathieu Asselin | | | | David Baker (65) at his brother Terry's grave. Terry Baker died at the age of 16 from a brain tumor and lung cancer, caused by PBC exposure. The average level of PBC in Anniston is twenty-seven times higher than the national average. |
| | | | | | Monsanto®: A Photographic Investigation | | | | 29 June to 31 August 2019 | | | Friday, June 28, 2019 from 17:00 to 19:00: Mathieu Asselin & Sergio Valenzuela Escobedo
Monsanto: A Photographic Investigation opening night talk at The Ravestijn Gallery. | | | | | | | | | | | | | This summer, The Ravestijn Gallery will host the exhibition Monsanto®: A Photographic Investigation in collaboration with guest curator Sergio Valenzuela Escobedo. The exhibition shows Asselin’s exhaustive project about the origins, methods and consequences of the destructive pesticides manufactured and used by the American chemical company Monsanto, in both a current and historical context. In 2018, Monsanto was acquired by the German chemical company Bayer, driving increased financial interests in the company whilst the toxic consequences continue to be coerced on vast areas of environment, thousands of farmers, animals and countless others.
In an interview with Sunil Shah for American Suburb X, Asselin outlined his condemning of Monsanto’s products and propaganda, “I think the work becomes much more interesting when you aren’t trying to camouflage your point of view, these are not the right times for ambiguity, even in photography.” The series has received profound recognition in the photographic community and far beyond. Artist, writer and curator Lewis Bush summarises the importance of Asselin’s project saying “Asselin’s photographs become a sort of testament to what happens when the well-being of the future is traded for profit in the present, and specifically the consequences for those people who have to occupy that future, who are inevitable often the poor and marginalised, the last people in other words who might own stocks in a company like Monsanto. ”
Asselin’s work has been published in Foam, Liberation, Paris Match, Huck Magazine, the New Yorker Photo Booth and GEO Freitag. The Monsanto®: A Photographic Investigation project has been shown at, amongst others, the photography festival Les Rencontre d’Arles in France, Fotofestival Breda and Fotomuseum Antwerpen FOMU. Asselin obtained his MA in Photography at the ENSP École Nationale Supérieure de la Photography d’Arles in France. He lives and works in Arles and Caracas.
The publication of Monsanto®: A Photographic Investigation will be available to view in the gallery during the exhibition. Whilst the English 1st edition is sold out, the French version will be for sale. The book is published by Verlag Kettler / Actes Sud (2017), and designed by Ricardo Báez. The book was nominated for the Deutsche Börse Photography Foundation Prize 2018 and was the Winner of First Photobook of the Paris Photo-Aperture Foundation Photobook Awards 2017.
A special newspaper edition of Monsanto®: A Photographic Investigation will be printed with support from the MIAP Foundation (Message In A Photo Foundation). Over the course of the exhibition, there will be a programme of events held at The Ravestjn Gallery for farmers, biologists, students, policymakers and other interested parties about the effects of Monsanto’s pesticides, compiled by historian and curator, Macha Roesink in collaboration with Mathieu Asselin and Sergio Valenzuela Escobedo.
Monsanto®: A Photographic Investigation is the first in a series of exhibitions initiated by The Ravestijn Gallery in which the gallery offers the space to established and emerging artists during the summer to facilitate conversations around social issues. The project can only be purchased by non-profit institutions that endorse the conditions of photographer Mathieu Asselin and curator Sergio Valenzuela Escobedo.
For more information about the project please visit: www.mathieuasselin.com | | |
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| | | | | | | | | | | | | Rebel Lives Photographs from inside the Lord's Resistance Army (LRA) | | 28 Jun – 6 Oct 2019 | | | | | | | |
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| | Kate in an EEG Study of Cognition in the Wild, Strayer Lab, University of Utah, Utah 2015
© Lucas Foglia / Courtesy of Michael Hoppen Gallery | | | | Foam Fotografiemuseum presents major exhibition at the Les Rencontres d'Arles 2019: | | | ON EARTH – Image-making, Technology and the Natural World | | | | | | | 1 July – 22 September 2019 | | | | Atelier des Forges, 33 avenue Victor Hugo, 13200 Arles, France | | | | Opening party: 4 July 2019 from 17.00 hrs onwards | | | | Location: La Mule Blanche, 9 Rue du Président Wilson, Arles | | | | Les Rencontres d’Arles Opening week: 1 - 7 July 2019. | | | | | | | | | | | | | Foam will present a large thematic exhibition at the 50th edition of the Rencontres d’Arles, the largest and most respected photography festival in the world. The exhibition, entitled On Earth - Imaging, Technology and the Natural World, brings together the work of over 25 contemporary artists who use innovative imaging strategies to reflect on the evolving relationship between humans and nature. With this exhibition Foam underlines it’s wish to both represent the latest developments in photography and to exhibit cutting-edge and relevant works.
Since its inception, photography has testified to the paradoxical relationship between man, nature and technology. In the wake of great nineteenth-century landscape photographers, a new generation of artists is employing contemporary imaging techniques to document and question our relationship with the natural world – which is increasingly experienced through the very same imaging technologies they employ. Photography enables us to observe this world and the effects of our existence in it. But can it also function as a catalyst for alternative ways of engaging with our environment?
Connecting with Nature
Besides photography, the artists showcased in this presentation make use of installations, sculptures, in-game photography and video. The various visual approaches diverge and converge throughout the exhibition, showing how artists seek to both scrutinise and reconcile our technological, socio-economical, spiritual and political connection with the natural world. The inherent interconnectedness between (imaging) technology and our experience of the natural landscape becomes apparent in the work of Mark Dorf and Lucas Foglia. They prove that our definition of what constitutes nature is largely dependent on human engineering. The power of the image to evidence (or obscure) the devastating effects of human engagement with the land is explored by artists such as Matthew Brandt and Anouk Kruithof, while artists such as Melanie Bonajo and Adam Jeppesen present alternative ways of connecting to nature. With a few exceptions, image-makers no longer traverse the land – camera in hand – to document their surroundings. Photographers such as Thomas Albdorf, Drew Nikonowicz and Persijn Broersen & Margit Lukács employ social media, image search engines, Google Maps, virtual reality and other visual tools to unpick our increasingly mediated and screen-based experience of the landscape. | | |
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| | | | | | | The Glow, 110x300cm, photography
Mixed media © Shao Wenhuan |
| | | | | | | | | | | | Sat 29 Jun 16:45
29 Jun – 28 Jul 2019 | | | | | |
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| | | | | | | From Nothingness series
Bliss Amidst Destruction
2017-2018, Giclee Print, 50 x 33.33 cm
© Liang Xiu |
| | | | | | | | | | | | Fri 28 Jun 16:45
29 Jun – 28 Jul 2019 | | | | | |
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| | | Ye Funa, The Supper of Goddess, 2015, Fotografie, © Ye Funa | | | Berlin Beijing Visual Exchange | | | | 柏林•北京 视觉转换 | | | | | | | 28 June – 25 August, 2019 | | | | Opening: Friday, 27 June, 6pm | | | | | | | | | | | | | To mark the 25th anniversary of the city partnership between Berlin and Beijing, the Gesellschaft für Deutsch-Chinesischen kulturellen Austausch (GeKA e.V., Society for German-Chinese Cultural Exchange) in cooperation with the Staatliche Museen zu Berlin is showing works by young artists from Berlin and Beijing at the Museum für Fotografie (Museum of Photography). The participating artists studied at the weißensee kunsthochschule berlin, the Berlin University of the Arts (UdK) and the China Central Academy of Fine Arts in Beijing (CAFA). He Xiangyu, an artist who lives in Berlin and Beijing, has also accepted an invitation to take part in the exhibition.
He Xiangyu, who travels regularly between the two cities, is a conceptual artist exploring a wide range of media and themes. His works are currently on display in the Chinese pavilion at the Venice Biennale. In his contribution to the Berlin exhibition, he juxtaposes a minimalistic wooden sculpture with a photograph that can only be recognised as an image of that object at second glance. This work links him with that of Yala Juchman, who extends her photographs into the surrounding space and transforms them into objects. She, too, integrates very diverse media into her concepts – shifting between photography, sculpture, installation and performance.
Despite their very different cultural backgrounds, the artists nominated by their universities have more in common than would initially be expected. They all live in large cities and navigate quite effortlessly between their origins and traditions and a global lifestyle characterised by architecture, consumption and media. For the artists Ye Funa, Li Buinyuan and Chi Peng, who grew up in China, as well as for Rie Yamada, who was born in Japan, an area of conflicting priorities emerges between their own strong artistic traditions and the realm of modern and contemporary art that was still dominated by Western influences two decades ago. This dissonance provides fertile ground for examining social roles and sexual identity. Ye Funa uses her videos and photographs to play with the roles possible within her own family and art history, while Rie Yamada tries out various roles and family constellations in her photographic self-portraits. The works of photographer Chi Peng, who usually plays the leading role in his dream-like presentations, express the search for one’s own position – between East and West as well.
In contrast, Jannis Schulze is never visible in his own images; his rather casual photographs reflect his subjective attitude towards life in poetic visualisations that he associatively combines in books and exhibitions. Thomas Koester, on the other hand, constructs austere tableaux with his black-and-white photographs in which the inhabitants of large cities such as Moscow or Seoul merge with their urban surroundings. Li Binyuan, who recently showed his video works at MoMA PS1, interacts bodily with his natural and constructed environment in performances documented in film and photographs. | | |
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| | | | | | | | Inscape #8, Iping Common, Midhurst, 2019, Giclee print, 65x90cm © Simon Roberts |
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| | | | | | | Florian Merkel
Mann mit Bass, 1987-1990
Eiweißlasurfarbe auf Silbergelatinebaryt
48 x 48 cm
© Florian Merkel, 2019 |
| | | | Overpainted Photography | | | | | | | Tue 2 Jul 18:30
3 Jul – 6 Oct 2019 | | | | | |
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| | | | | | | Claus Goedicke, Blume [Tulpe], aus der 66-teiligen Reihe "Dinge" (Teil 39), 2013
© Foto: Herling / Herling / Werner, Sprengel Museum Hannover, © Claus Goedicke |
| | | | Naturwelten in der Kunst seit 1950 | | | | | | | Tue 2 Jul 18:30
3 Jul – 6 Oct 2019 | | | | | |
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| | | | | | | Untitled No.74 1980. Colour photograph 50.8 x 61 cm
© Cindy Sherman |
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| | Alexander Ustinov
Collective farm Lenin's Way, Kuybyshevskaya (now – Samara) Oblast. The First Secretary of the Communist Party of the Soviet Union (the CPSU) Nikita Khrushchev, the Secretary of the CPSU Mikhail Suslov, and the Chairman of the Council of Ministers of the Soviet Union Dmitry Polyansky.
11 August 1958 | | | | | | The power and truth of Alexander Ustinov | | | | June 27 – September 22, 2019 | | | | | | | | | | | | | The Lumiere Brothers Center for Photography returns to its study of Soviet-era photography with an anniversary exhibition of photographs by Alexander Ustinov to mark his 110th birthday. A legend of the most important newspaper of his era—Pravda—where he worked for more than 50 years, Ustinov became the face of photojournalism of that period. The material gathered allowed the exhibition’s curators to focus on significant events in the history of the USSR and to not only display the works published during Ustinov’s lifetime, but also use his archive, which has been carefully preserved by his daughter. The exhibition is centered around photographs that were not approved at the time for various different reasons. This novel curatorial approach will help the viewer to find a perspective that, taking into account their experience of and engagement with the material, will be personal to each individual.
"It was a conscious decision to give young curators a chance to work with Ustinov's archive. The Lumiere Brothers Center for Photography has been working professionally with Soviet-era photography for 20 years. But visitors to the Center, as well as the staff who work there, are from younger generations, which is why it does not make sense to talk about Soviet photography using templates created in the Soviet era," says the founder and chief curator of the Center Natalia Grigorieva-Litvinskaya.
The exhibition will present the important historical events that Ustinov captured in his photo reports in the 1930s-70s, being in close proximity to representatives of several generations of power. However, despite the abundance of official pictures in the archive: portraits of success, applause, you will not find them in the exhibition. You will see photos not intended for publication at the time but taken by an official photographer who had access to such subjects. | | |
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| | Dauphin 11, 2012
29 1/2 inches x 67 inches, 75 x 170 cm
C-print, diasec, mounted on aluminum
Edition 1/7 + 2 A.P.
© Dionisio Gonzalez | | | | | | | | 26 June – 13 July 2019 | | | | Opening on Wednesday, June 26, 6 - 8 pm | | | | | | | | | | | | | | |
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| | Michael von Graffenried, Manifestation sur la place des Martyrs à Alger, 1991
Vintage gelatin-silver print, 30 x 40 cm
© Michael von Graffenried, Courtesy Galerie Esther Woerdehoff | | | | | | | | | | | ... until 27 July 2019 | | | | | | | | | | | | | The new exhibition of the Galerie Esther Woerdehoff confronts two perspectives on Algeria through photography.
First, the vintage prints of Michael von Graffenried, taken in 1991 when the Swiss photographer travelled to Algeria and followed the first free elections that led to the victory of the Islamic Salvation Front in favour of the creation of an Islamic state. The army’s intervention interrupted the electoral process and a civil war lasting about ten years followed, with terrorist attacks, murders of intellectuals and journalists and violent repression. From 1991 to 2002, Michael von Graffenried made about thirty trips to Algeria and chose the panoramic format that became his signature, with a camera aiming at belly level that allowed him to photograph his subjects without their knowing it. He will be one of the few Western photographers to document terrorism, its repression and the daily life of Algerians in this civil war situation.
Second, the work of Youcef Krache, an Algerian photographer born in 1987, who lives and works in Algiers. He is a member of the 220 collective whose photographers offer a new perspective on society. In a contrasting black and white with a strong grain, Youcef Krache claims to "propose mirrors to society" through his projects and photographs the street and the Algerian population in its daily life. Since the street demonstrations in February 2019 protesting against Bouteflika’s candidacy for the presidential election and calling for a political transition, he has chosen to focus his photography on covering this situation. Youcef could have been one of those children photographed on a playground or on the street by Michael. Nearly 30 years apart, these photographs confront two moments of history and the hopes of a people. | | |
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| | | | | | | | Gerti Deutsch aus Life in Japan 1960 |
| | | | | | | | | | | | Thu 27 Jun 19:00
27 Jun – 3 Aug 2019 | | | | | |
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| | New Forest, 2018
C print
58 x 71in / 148 x 180cm (edition of 3)
32 1/2 x 39 in / 83 x 100cm (edition of 7)
© Harry Cory Wright | | | | | | | | 28 June – 28 July 2019 | | | | Private view: Friday 28 June 2019, 5.30 – 7.30pm | | | | | | | | | | | | | We are delighted to announce that Harry Cory Wright will be in residence at Snape Maltings gallery in Suffolk during July. Place and Line will present a beautiful selection of photographs and drawings, all inspired by the Suffolk coastline.
In partnership with Eleven Fine Art | | |
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| | | | | | | | Katy B Plummer. Beast Trinity |
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| | | | | | | | Min Wong, Karma is a bitch (detail), digital print on material, 2019. Image courtesy of the artist. |
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| | | Mendel Diness - Luigi Pesce - Palestine. Iran, c. 1857-1858 - Album de 51 épreuves sur papier salé | | | Orientalist Photographs
Photographies orientalistes | | | | | | Auction: Thursday, June 27th, 2019 at 14:00
Vente : jeudi 27 juin 2019 à 14h | | | Specialist :
Antoine ROMAND
Assisted by François Cam-Drouhin and Agathe Ouallet
3, rue Crespin du Gast 75011 Paris
Tel. : + 33 0 (6) 07 14 40 49
antoine@antoineromand.fr
Public exhibitions at Hôtel Drouot - SALLE 2
Wednesday, June 26th from 11 am to 18 pm
Thursday, June 27th from 11 am to 12 am
Phone during the auction :
+ 33 0(1) 48 00 20 02 + 33 0(1) 48 00 20 14
Online Catalogue : www.gros-delettrez.com
Bid live www.drouotonline.com | |
| | | | | | | | | | | | | Orientalist photographs by E. Béchard, E. Benecke, A. Cavilla, M. du Camp, E. de Campigneulles, E. Chantre, J. B. Charlier, M. Diness, E. Douté, T. Dumas, D.I. Ermakov, M. Flandrin, J. P. Girault de Prangey, J.B. Greene, V. Hell, C. Lallemand, G. Le Gray, Lehnert & Landrock, T. Leeuw, F. Moulin, R. Murray, P. Nadar, von Ostheim, L. Pesce, J. Pedra, H. Plantet, C.J. Portier, H. Sauvaire, A. Sévrugin, J. Valentine, L. Vignes, G.W. Wilson.
Morocco. Algeria. Tunisia. Egypt. Palestine. Lebanon. Syria. Iraq. Yemen. Uzbekistan. Turkestan. Caucasus. Ottoman Empire. Armenia. Iran.
A set of gelatin silver prints on Paul Nadar's trip to Turkestan.
A primitive album of a trip to Palestine and Iran composed of salt paper prints by Luigi Pesce and Mendel Diness.
A series of prints on albumen paper by Antoine Sevruguin in Iran. | | |
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| | Lot 1700: MAGNUM PHOTOS "Selection Esther Woerdehoff", 1947-2007. Portfolio with 15 original photographs.
RENÉ BURRI (1933-2014). Rio de Janeiro, Brézil 1960. | PINKHASSOV GUERGUI (1952). The new metro, Japan, Tokyo, 1996 | | | Photography | | | | | | | | | | | | | | | | | | | | Koller’s summer auction of Photography will feature an early and rare daguerreotype by an anonymous photographer depicting a Corpus Christi outdoor procession (lot 1609). Another exciting historical photograph, a group portrait of the "De Lessert children" (lot 1610), is attributed to Jean-Gabriel Eynard (1775-1863) on the basis of comparable works in the Bibliothèque de Genève and the J. Paul Getty Museum. The famous icon by Edward Sheriff Curtis "The Vanishing Race - Navajo" (lot 1622) is a noteworthy lot in the section on travel photography. The Swiss views feature beautiful vedutas of the Grisons by Albert Steiner (lots 1625, 1632, 1634, 1636). Other Swiss photographers such as Hans Finsler (lot 1646), Robert Frank (lots 1679-1681, 1696 and 1699), René Groebli (lots 1654, 1669 and 1683), Balthasar Burkhard (lot 1653) and René Mächler (lots 1651 and 1668) are also represented. In the field of nude photography, prints by Daido Moriyama (lot 1662), Edward Weston (lot 1663) and Imogen Cunningham (lot 1664) are noteworthy. American photography is strongly represented with works by Robert Adams (lot 1687), Leon Levinstein (lots 1692-1693), Dorothea Lange (lot 1691), and Elliott Erwitt (lot 1695). A highlight of the auction is Ansel Adams's "Aspens, New Mexico" (lot 1675). The large depth of field photograph profits from the photographer's mastery and, at the same time, conveys a mythical experience. A further highlight of the auction is a rare photograph of the Eiffel Tower surrounded by fireworks by Brassaï (lot 1686), which has so far only rarely been offered at auction. In the area of portrait photography, Thomas Hoepker's photographs of Muhammad Ali's left and right fist (lots 1710-1711) will be offered. Once again we will present some intimate photos of Marilyn Monroe, by Milton H. Greene (lot 1712) and Bert Stern (lots 1713-1716). Contemporary photography is represented by major artists such as Thomas Ruff (lots 1737, 1740), Candida Höfer and Thomas Struth (lot 1739), Wolfgang Tillmans (lot 1725) and Vik Muniz (lot 1722), among others. The absolute top lot of the auction is the Magnum Portfolio (lot 1700) with 15 original photographs by famous press photographers such as Steve McCurry, René Burri, Marc Riboud, Elliott Erwitt, Werner Bischof, Dennis Stock, and many others. This is a personal selection by the well-known and internationally known gallery owner Esther Woerdehoff, and has been published in a small edition of only 7 copies. | | |
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| | | | | | Emerging Photographies | | | | | | | 1 Jul – 22 Sep 2019 | | | | | |
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| | | | | | | | | | female photographers explore the theme of identity | | | Thu 27 Jun 11:00
28 – 30 Jun 2019 | | | | | |
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| | | | | | | | | | annual two-day outdoor photography festival | | | Fri 28 Jun 19:00
28 – 29 Jun 2019 | | | | | |
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| | | | | | | | © Gloria Oyarzabal (ES), Woman Go No’gree |
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| | | © Shana & Robert ParkeHarrison / Festival La Gacilly-Baden Photo | | | Festival La Gacilly-Baden Photo | | | | HYMN TO THE EARTH | | | | | | Baden near Vienna:
1 June ‐ 30 September 2019
Festival programm - 46 Events:
In addition to the impressive pictures in the parks, gardens and alleyways of Baden near Vienna, the photo festival also offers an exciting side program with guided tours, workshops and lectures.
festival-lagacilly-baden.photo | |
| | | | | | | | | | | | | | Europe’s largest photographic festival is coming to Baden near Vienna for the second time. Under the motto HYMN TO THE EARTH, esteemed international photographers will exhibit fascinating visual worlds in a gigantic open-air gallery: 39 exhibitions with 2,000 large-format images—each up to 280 square meters in size—will transform the gardens, lanes and squares of Baden for four months and across 7-kilometres, into a "picture-city". | | |
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| | | | | | Eyes East Bound | | | | | | | – 10 Aug 2019 | | | | | |
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| | | A.L. STEINER, UNTITLED, RAINBOW ROOTS, DIGITAL PHOTOGRAPH, DE/FROM: C.L.U.E. (COLOR LOCATION ULTIMATE EXPERIENCE), DIGITAL VIDEO, ROBBINSCHILDS + A.L. STEINER, 2007, COURTESY THE ARTISTS + DEBORAH SCHAMONI GALERIE | | | | | | | 50JPG - 50 Days for Photography in Geneva | | | | | | | | 19 June – 25 August 2019 | | | | | | | | | | | | | | | | The exhibition OSMOSCOSMOS attempts to bring together two universes that are too rarely associated in our monotheistic cultures where sexuality is marked by guilt: Eros and cosmos. We can describe them as dynamic, as not static, not stable, not fixed. Jean-Pierre Vernant (1), specialist in ancient Greece and its myths, describes the meeting of the two: Eros - always in motion, between men and gods - witnessed the birth of the universe, allowing Uranus and Gaia to procreate. Gaia, who is emancipating herself from Chaos, needs the energy of Eros to unite with Uranus. Lying on his back and mating with Gaia, Uranus refuses to withdraw, despite the Titans they have just spawned and who are waiting to be born. Gaia encourages her future children to revolt and places a sickle handle in young Cronus' fist. He grabs the object to use it as a weapon and cuts off his father's sexual parts. This immense pain forces Uranus to pull away from Gaia with vehemence and upwards, forming the vault of the sky, the starry firmament, the Cosmos – forever. | | |
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| | | | | | | | © Sergey Prokudin-Gorsky / Library of Congress |
| | | | open air festival | | | | | | | – 30 Sep 2019 | | | | | |
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| | | | | | | | © Maria Gawryluc - 30 Under 30 Women Photographers |
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| | | | | | | | © Johanna Heldebro, Night Watch II, from To Come Within Reach of You (Gunnar Heldebro, Hässelby Strandväg 55, 165 65 Hässelby, Sweden), 2009 |
| | | | | | | | | | | | Chapter One: 06 JUN - 25 SEP
Chapter Two: 17 OCT - 21 DEC | | | | | |
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| | | © Alessandra Sanguinetti / Magnum Photos | | | | | | A week-long series of free and interactive talks, symposium, events,
Magnum books, images and short films | | | | | | | | ... until Sun 30 June 2019 | | | | | | | | | | | | | Technology and its impact on our world is arguably the most critical story of the 21st Century. Societal changes led by technological developments, are affecting almost every aspect of our lives. Photography is uniquely placed to mediate the dialogue about man and technology as both medium and message. This year, Magnum Photos is embarking on a new content programme to document this relationship and as part of our ongoing partnership with the Barbican, we will populate the pavilion with a programme that looks at individual projects and photographic approaches that address the topic. During the week long takeover, Magnum will invite the audience to engage creatively around the concept of “Life Rewired” – the Barbican’s theme for 2019 – through informal presentations of work, creative experiments and conversations. The Hub will be populated by Magnum books, and images and short films will be shown. This series of events is part of a wider programme organised in conjunction with Magnum’s annual meeting, which includes a one-day symposium at the Barbican on 26 June.
Wed 26 June 5 – 6.30pm: In Conversation: Thomas Dworzak Thu 27 June 5.30 – 7.00pm: Mark Power in conversation with Stuart Smith of Gost books Fri 28 June 5 – 6.30pm: Book signing: Alec Soth Sat 29 June 5 – 6.30pm: Book signing: Sohrab Hura Sun 30 June 11am – 12pm: In conversation: Trent Parke on Skype, calling from Australia and discussing his project The Camera is God, on show at the Magnum Print Room. | | |
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| | | | | | | | Nicolas Muller. Girls ring. Argamasilla de Alba, Ciudad Real, 1957 © Nicolas Muller |
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| | | | | | | | Today © Eija-Liisa Ahtila |
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| | | | | | | Right Color, France 2019
© Hélène Bellenger |
| | | | European young photography festival | | | | | | | extended through 21 July 2019 | | | | | |
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| | | © Mandy Barker | | | The Ci.CLO Bienal Fotografia do Porto 2019 | | | 11 curators // 53 artists // 16 venues // 8 workshops //
1 symposium // 1 publication // social events // | | | | | | | – 2 July 2019 | | | | | | | | | | | | | From 16 May to 2 July, the city of Porto will host the first edition of Ci.CLO Bienal Fotografia do Porto. The Bienal supports innovative approaches to visual representation that contribute to a greater critical awareness of the ecological and social vulnerabilities we face. Ci.CLO develops a continuous research and experimentation in collaboration with artists, questioning its own methodologies and proposing narratives, both utopian and dystopian, motivated by cultural and environmental changes.
ADAPTATION AND TRANSITION, the title of the first Ci.CLO Bienal Fotografia do Porto, suggests a dialogic relationship marked by social and environmental crisis. Each era can be characterised in how collective expectations and fears are managed. History tells us that attempts to react are based on scientific and technological development, together with an appeal for awareness, rational thinking and greater spirituality. Concerns related to environmental and ecological changes has emerged in the last 50 years. Narratives surrounding conflicts between culture and nature, which determine our survival and stability on the planet, have gained increasingly more space and consistency. This century is at a critical point. Survival is discussed in terms of imminent risk and emergency.
How can artistic mobilisations function in this time of great contradiction? There is a need to critique global governance that continues to promote ecologically unsustainable strategies. How can we diagnose this "crisis of our time" beyond the pessimism that has created a state of global passivity? What is the "response-ability" we want to encourage? | | |
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| | | | | | The sound of screens imploding
Centre d'Art Contemporain, Genève | | | | | | | – 29 Sep 2019 | | | | | |
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| | Arthur Jafa
The White Album. 2019
Single channel video projection, colour, sound
Golden Lion for best participant in the International Exhibition May You Live In Interesting Times | | | | | | | May You Live in Interesting Times | | | | | | | | ...until 24 Nov 2019 | | | | | | | | | | | | | | | The 58th International Art Exhibition, titled May You Live In Interesting Times, will take place from 11 May to 24 November 2019 (Pre-opening on 8, 9, 10 May). The title is a phrase of English invention that has long been mistakenly cited as an ancient Chinese curse that invokes periods of uncertainty, crisis and turmoil; "interesting times", exactly as the ones we live in today. The 58th Exhibition is curated by Ralph Rugoff, currently the director of the Hayward Gallery in London. Between 1985 and 2002 he wrote art and cultural criticism for numerous periodicals, publishing widely in art magazines as well as newspapers, and published a collection of essays, Circus Americanus (1995). During the same period he began working as an independent curator. The Exhibition will also include 90 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the historic city centre of Venice. Four countries will be participating for the first time at the Biennale Arte: Ghana, Madagascar, Malaysia and Pakistan. The Dominican Republic exhibits for the first time at the Biennale Arte with its own national pavilion. | | |
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| | | | | | | | from the series Sister Alice © Turkina Faso |
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| | | | | | | | from Home Made in Smethwick © Liz Hingley |
| | | | Festival of Photography, Talks and Walks | | | | | | | – 29 Jun 2019 | | | | | |
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© 12 June 2019 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photo-index.art . T +49.30.24 34 27 80 |
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