Every summer since 1970, over the course of more than forty exhibitions the Rencontres d'Arles has been a major influence in dissiminating the best of world photograph.
Throughout the city day and night,during the Opening week photographers and curators of the program meet from 1 — 7 July the public at evening projections, exhibition tours, debates, lectures...
At the invitation of the Rencontres d’Arles, France PhotoBook holds the 2024 Arles Books Fair in the heart of the festival.
On March 11, 2011, a massive earthquake measuring 9 on the Richter Scale struck the Northeast coast of Japan and the Tōhoku region, marking one of the most powerful tremors ever recorded. The seismic event caused the Pacific floor to rupture along a stretch over 500km long and 200km wide, triggering a tsunami of up to 30m in height in some areas. The tsunami wreaked havoc, reaching up to a 5 kilometers inland, devastating everything in its path. The aftermath led to a series of catastrophic events at the Fukushima Daiichi nuclear power plant, including four explosions and three core meltdowns. This resulted in a nuclear accident that released overwhelming levels of radioactivity into the air, land, and sea. Thirteen years later, the true impact on affected populations remains difficult to measure. 19,765 people died. 2,553 were reported missing and 20,000 are still displaced.
As a non-profit foundation, The Deutsche Börse Photography Foundation support young artists who work with the medium of photography in the form of awards, scholarships and exhibitions, often in cooperation with other institutions. Since 2019, The Deutsche Börse Photography Foundation have been cooperating with the "Fotohaus ParisBerlin" and present changing works by international artists every year as part of the largest international photography festivals "Les Rencontres de la photographie d'Arles".
At this festival The Deutsche Börse Photography Foundation is presenting works by Mexican artist Diego Moreno at the Fondation Manuel Rivera-Ortiz. On view are works from his series Malign Influences and In My Mind There Is Never Silence.
This summer, the report by the laureates of the 13th edition of the Carmignac Photojournalism Award dedicated to the ecological and human challenges of e-waste in Ghana is on display in two exhibitions at the United Nations Headquarters in New York and at the Fondation MRO in Arles.
With the support of the Fondation Carmignac, investigative journalist Anas Aremeyaw Anas, and photojournalists Muntaka Chasant and Bénédicte Kurzen, spent a year documenting the transboundary flow of e-waste between Ghana and Europe. Their collaborative report highlights the complexities of this global issue, revealing both its economic importance for thousands in Ghana and its significant human and environmental impacts.
Kurzen documented e-waste flows and communities involved, challenging stereotypes and shedding light on the inefficiencies within European e-waste management systems. In Accra, Chasant studied e-waste workers' social structures and migration. And Anas went undercover to expose corruption and illegal e-waste flows re-entering global markets. This exhibition offers a nuanced perspective on the challenges and issues related to e-waste management on a global scale.
On the occasion of the Paris 2024 Olympic Games, one of the major international events of the summer, the Rencontres d'Arles is partnering with Photo Elysée and the Olympic Museum to produce an exhibition dedicated to sports photography.
For over a century, major sporting events have been accompanied by images. With the rise of amateur photography in the late 19th century, coinciding with the first modern Olympic Games in 1896, photography and sports have, in many ways, evolved together. The visibility given to sports events necessarily involves photographic imagery. Pursuing performance, combining effort with gesture, the practice of sports follows precise rules and is showcased when performed for competition. The staging of sports is relayed by photographers who position themselves around the stadium.
For more than a hundred years, sports spectacles have been carried by the media. The images that broadcast achievements and promote champions attract ever larger crowds and gain an increasingly global audience. Sporting performance, captured by cameras, becomes a demonstration of a societal model. Watched and practiced everywhere, whether in the most industrialized or remote areas of the globe, sports spectacle is propelled into a media, economic, and political world. Undoubtedly, photography has played an essential role in this process, mobilizing a mass audience.
"The Sport on Trial" exhibition unveils the extensive photographic collections of the Olympic Museum and the Photo Elysée museum in Lausanne. During major competitions, photographs are designed to draw attention to athletes' performances. By exploring a largely unpublished photographic heritage, the exhibition reveals the visual grammar of sports photography through several theme…
The exhibition assembles photographic leaps in time in exciting pairings full of wit and melancholy. Black-and-white photographs of West Berlin in the 1970s and 1980s are juxtaposed with colour photographs of the reunited city from 2021 to 2023: It is street photography at its best, fleeting moments and imagery captured amidst a crowd of passers-by.
Sometimes the very same place is photographed anew, most of the time the new photograph freely improvises on a theme stemming from its black and white counterpart. And yet, people are always in focus of Renate von Mangoldt, who has made a name for herself primarily as a portrait photographer of writers.
The photos refer to each other in various ways - not just in terms of content and location but also formally. It is only together that they unleash their power. They tell of a specific time and also narrate a history. How the world has changed, how time has changed, how the city has changed, how people have changed!
Renate von Mangoldt (b.1940 in Berlin) lived in Erlangen during the 1950s. From 1961 to 1963 she attended the Bayerische Staatslehranstalt für Photographie in Munich. From 1964 she worked as a photographer at the Literarisches Colloquium Berlin and has been based in Berlin ever since. Von Mangoldt’s works have been widely published, shown in exhibitions and included in numerous public and private collections.
Accompanying the exhibition, the book "Berlin Revisited" which includes an essay by poet and political scientist Brigitte Oleschinski, will be published by Steidl in Göttingen.
Curator of the exhibition is Berlin photographer, author and gallerist André Kirchner.
Finissage and award ceremony of 'Prix du Public': Saturday 29 June, 11am
Until June 27, visitors are invited to vote anonymously on site for one of the artists participating in the exhibition to win the the Prix du Public, endowed with 2,500 euros. The award will be awarded during the exhibition finissage.
Following the success of the first edition of the prize, the organisers Clervaux - Cité de l'image and the Cercle Artistique de Luxembourg (CAL) are pleased to continue this joint project, which aims to promote the art of photography in Luxembourg and the Greater Region.
From a total of 106 submissions, 14 talented artists have been selected for the exhibition, who have captured the jury's attention through their recent contemporary photographic works, presenting a wide range of styles, research, innovation and originality.
The 14 finalists are: Marie Capesius, Cristina Dias de Magalhaes, Krystyna Dul, Willi Filz, Nazanin Hafez, Filip Markiewicz, Pierre Metzinger, Lukas Ratius, Margit Schäfer, Olivier Schillen, Neckel Scholtus, Giulia Thinnes, Jeannine Unsen and Mohammed Zanboa.
The Prix de la Photographie 2024 - Clervaux Cité de l'image goes to Nazanin Hafez, whose impressive photography series "Discrete" was selected from the finalists.
This year's jury, consisting of leading national and international experts from the art and culture scene, was particularly impressed by the presentation and realisation, both in terms of content and concept. There are several aspects of Nazanin Hafez's work that can be appreciated and admired. In particular, the very precise approach to the subject and the decision to limit herself to refreshingly small formats that nevertheless achieve a great visual impact. The overall presentation of the work, which is both skilful and integral to the immersive aesthetic - and which, above all, brings out the strengths of the images themselves.
"Elfriede Stegemeyer / elde steeg. Photographs 1932 - 1938 from the Gerd Sander Collection", continues the series of exhibitions focused on the collection of the galerist and collector, Gerd Sander.
Elfriede Stegemeyer (1908 - 1988) is one of many female representatives of the photographic avant-garde active during the Weimar Republic. The fact that her name is less well known today than that of other photographers of the style Neues Sehen (New Photography), even within photographic circles, is due to the political circumstances of the time in which she produced the majority of her photographic work.
In 1932, the twenty-four-year-old Stegemeyer discovers photography. Her early photographic work is inspired by the spirit of modernism. In the newly established photography class at the Kölner Werkschulen (Cologne Trade School), she quickly learned the technical basics of working with the camera. From the start she makes confident and imaginative use of the creative methods of Neues Sehen (New Vision) and Neu Objektive Photographie (New Objective Photography). Radical top and bottom views, close-ups, strong contrasts and tightly framed image cropping which abstract the subject, as well as rhythmically structured compositions, are part of her creative repertoire. Stegemeyer experiments with camera-less techniques in the darkroom creating photograms and photo-montages, with which she later creates collages. The new photography of the 1930s has an unmistakable influence on her work.
Stegemeyer cultivated close contacts with the artists group known as the Cologne Progressives. Later she explicitly pointed out the importance of the abstract, geometric compositions of Franz Wilhelm Seiwert and Otto Fre…
Visitors’ Lobby, Gallery A, 1st Avenue at 46th Street New York NY 10017 www.un.org
This summer, the report by the laureates of the 13th edition of the Carmignac Photojournalism Award dedicated to the ecological and human challenges of e-waste in Ghana is on display in two exhibitions at the United Nations Headquarters in New York and at the Fondation MRO in Arles.
With the support of the Fondation Carmignac, investigative journalist Anas Aremeyaw Anas, and photojournalists Muntaka Chasant and Bénédicte Kurzen, spent a year and a half documenting the transboundary flows of e-waste between Ghana, and Europe, and further. Their collaborative report highlights the complexities of this global issue, revealing both its economic importance for thousands in Ghana and its significant human and environmental impacts.
Kurzen travelled to the United Kingdom, the Netherlands and Germany to document e-waste outbound flows and communities involved, challenging stereotypes and shedding light on the inefficiencies within European e-waste management systems. In Accra, Chasant studied e-waste workers' social structures and migration journeys, from the rural North to the capital’s scrapyards. Aremeyaw And Anas went undercover to unveil corruption, dubious working conditions and illegal e-waste flows re-entering global markets. This exhibition offers a nuanced perspective on a critical and complex global issue.
NEW YORK – June 28 - August 31, 2024 in partnership with the United Nations Institute for Training and Research (UNITAR)
United Nations Headquarters, Visitors’ Lobby, Gallery A, 1st Avenue at 46th Street, New York, NY 10017 Open Monday to Friday: 9:00 am – 5:00 pm Free admission More information on www.un.org/en/exhibits
Ahead of the retrospective Libres expressions, dedicated to Jean-Claude Gautrand by the Musée Réattu in Arles this summer (June 29-October 6), Les Douches la Galerie is pleased to present, for the first time, a solo show dedicated to French photographer Jean-Claude Gautrand (1932-2019). You are invited to discover his early experiments from the 1960s, with a selection of vintages from his iconic series. The book Recompositions by Jean-Claude Gautrand, published last April by Contrejour editions, accompanies these two exhibitions.
"To photograph is to engage in a race against erasure, disappearance, nothingness. It is a fight against time, a challenge to oblivion. The camera, a magical instrument capable of immortalizing the fleeting, but also the irremediable."1
It is certainly this "irremediable" quality that demands the most attention in the work of Jean-Claude Gautrand, who photographs the disappearance of things, constructions, or places to inscribe them into eternity. Photography witnesses a battle where destructive forces ally with time to erase what was thought to be eternal. The various post-war photographic clubs he frequented hardly inspired him. "Apart from the world of reporting, the photographic field was then reduced to either illustrative or documentary photography of distressing conformity".2 He discovers in volumes I and II (catalogs of the exhibitions Subjektive Fotographie I and II, from 1952 and 1955) organized by German photographer Dr. Otto Steinert, a different photography that struck him as "an atomic bomb in the mire of photography."
Quartz Studio is pleased to present PASTORALE, the second solo show in Turin by the German photographer Ingar Krauss (East Berlin, 1965).
A pastoral, from the Latin pastor (shepherd), is a motif in the visual arts that depicts the life of the shepherds in an idyllic rural landscape scene, as an ideal of rural simplicity and tranquility, as romantic images of closeness or return to nature. This motif of a "place of longing" for simple life in nature, which corresponds to ideas about the Garden of Eden in religious thought and feeling, reappears in the photographs of Ingar Krauss as a dreamlike inner scenery, personal and self-reflexive, referring to the rural as a metaphor.
Krauss lives in a rather remote region of East Germany, near the river Oder, which separates Germany from Poland – a very secluded rural habitat. The peculiar features of his immediate environment are the source for his images, which were all made in a small radius around his house. They reveal the artist as deeply connected with his surrounding nature, particularly interested in a realism which is magical in a natural way, as an embedding of the wonderful and the uncanny in the everyday. The enigma of how this relationship between reality and miracle can be felt through an image leads into the mystery of the transformative forces that make an image a work of art.
Every summer since 1970, over the course of more than forty exhibitions at various of the city's exceptional heritage sites, the Rencontres d'Arles has been a major influence in dissiminating the best of world photography and playing the role of a springboard for photographic and contemporary creative talents.
Throughout the city, day and night, photographers and curators of the program meet the public at evening screenings, exhibition tours, debates, lectures…
WORLD.NATURE.HERITAGE – "Humanity has opened the gates to hell", warned Secretary- General António Guterres in an impassioned speech on the margins of the UN General Assembly in September 2023. UN General Assembly in September 2023 to politicians, entrepreneurs and activists, he warned of the terrible consequences of increasingly extreme weather events. "Our concern is that all climate action will be dwarfed by the scale of the challenge”, as humanity is heading for a temperature rise of 2.8°C.
An appeal to the world that has long been inscribed at the heart of our festival. It is our duty to preserve the poetry of creation for our children. On the fundamental issues of urbanisation, biodiversity, natural resources, environmental pollution and global warming, we will try to use images to provide, if not solutions, then at least food for thought. Therefore, in our seventh festival year, we will be showing the work of the great masters of environmental photography: Nazli Abbaspour, Evgenia Arbugaeva, Yasuhoshi Chiba, Joana Choumali, David Doubilet and Jennifer Hayes, Nadia Ferroukhi, Sacha Goldberger, Richard Ladkani, Lucas Lenci, Luca Locatelli, Pascal Maitre, Beth Moon, Maxime Riché, Sebastião Salgado, Alain Schroeder, Vee Speers, Brent Stirton, Lorraine Turci, David Turnley, Peter Turnley and Cássio Vasconcellos.
"We all need Eden as a horizon," writes Cyril Drouhet in his essay in the festival catalogue. "There was a time when we had a rainbow in our heads: We believed in the future, in progress, our dreams were full of utopias. In the third millennium, this colour has turned grey. But life needs radiant colours like in photography to enchant the world again. That is the cha…
The third edition of the Biennial for Visual and Sonic Media düsseldorf photo+ from 17 May to 14 July 2024 is themed "On Reality". In exhibitions and concerts, talks, panels and other events, current and updated photography as well as media-based art in its most diverse facets can be experienced throughout Düsseldorf. The artists will reflect in a wide variety of ways on how media significantly shapes our understanding of reality today and in the past. Computer-generated worlds of images and sounds surround us everywhere, and the Biennale integrates these into the art trail and links analogue-generated audiovisual realities. In total, the Biennale offers over 50 exhibitions and events in museums, collections, galleries, independent exhibition spaces and universities. This year's düsseldorf photo+ is being organised under the artistic direction of Pola Sieverding and Rupert Pfab. Ljiljana Radlovic oversees the project management.
Highlights from our varied exhibition programme:
In photographs, now seen as historic, Allan Sekula critically illuminates social structures operating within the industrial workforce of the USA at Galerie Konrad Fischer. The group exhibition at the gallery boa basedonart, another retrospective show, focuses on social stereotypes in relation to self-portraits. Sumi Anjuman offers a contemporary insight into gender inequality at the private Philara Collection.
Toby Binder also takes a sociological standpoint with a look at crisis-ridden milieux at the gallery Clara Maria Sels. The exhibition at Julia Ritterskamp further investigates this stance in a show of t…
The international Triennial of Photography RAY is celebrating the diversity of photography in Frankfurt and the Rhine-Main region for the fifth time with a focus on "ECHOES". Eleven institutions and exhibition venues in Frankfurt and the Rhine-Main region will be showing works on the theme of "ECHOES" by contemporary photographers and artists. With exhibitions, numerous events, and a three-day festival on the triennial theme of "ECHOES", RAY offers a multifaceted exploration of photography.
How do images contribute to the understanding of our identity, our memories, our emotions, and the ability to grasp and process current social, communal, and political challenges? RAY Echoes offers no answers to these questions, but rather – like a laboratory – it offers many perspectives and opportunities for individual exploration.
The artists of the RAY 2024 – Triennial of Photography use photography and related media to explore and reflect on the challenges and tensions of self-perception and human interaction. Their works span the past, present, and future, from the intimate and personal to the collective. By capturing these diverse moments and phenomena, they generate an echo that draws the public’s attention to their themes. Similar to a sound experience, they create reverberation that is perceived as an independent event beyond what is depicted. On this basis, RAY Echoes concentrates on three focal points: identity, memory, and emotion.
In the exhibition RAY Echoes Identity at the Fotografie Forum Frankfurt (3 May – 1 September, 2024, opening on 2 May), the artists explore the making and breaking away from identities. Echoes are present in the form of reflections on personal experience…
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.»
