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| PHOTOGRAPHY INTERNATIONAL | | 28 Oct – 4 Nov 2020 | |
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| | Patrick Waterhouse
FRONT AND SIDE PORTRAITS, 2014 - 2018
Installation consisting of 32 individually framed photographs / acrylic paint on archival pigment prints
30,5 x 20,2 cm ea. / framed 48,5 x 38,2 cm ea.
Total width 355 cm (including 7 cm spacing in between)
Unique Editions | | | | | | | | ... extended until November 7, 2020 | | | | | | | | | | | | | The Ravestijn Gallery is proud to present exclusively the first gallery exhibition of Patrick Waterhouse's acclaimed series "Restricted Images", made with the Warlpiri of Central Australia.
Patrick Waterhouse was born in the UK in 1981. The Restricted Images series is a collaboration between Waterhouse and the Warlukurlangu Art Centre. The works were made in the communities of Yuendumu and Nyirripi which are remote desert aboriginal communities in Central Australia.
The publication in 1899 of The Native Tribes of Central Australia caused a sensation in Europe. The book’s authors, telegraph-station master Francis J. Gillen and ethnologist W. Baldwin Spencer, had written in depth about the customs and traditions of the Aboriginal groups living near Alice Springs and also illustrated their texts with 119 photographs, many of which captured rituals and ceremonies. While the subject, quality and quantity of the images set a new standard for anthropological photography, the authors were largely oblivious to the impact they would have on the lives of the Aboriginals. The pictures revealed the gap in knowledge between the authors, whose goal was showing the exotic natives "in their natural state", and the subjects, who were completely unaware of the new medium and how it could invade their privacy or reveal their secrets to a wider audience. Unwittingly or not, the authors also infringed upon Aboriginal cultural protocols by showing sacred sites and the dead. | | |
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| | | | | | | Helmut Newton: Self-Portrait, Monte Carlo 1993
© Helmut Newton Estate |
| | | | | | | | | | | | 31 Oct – 8 Nov 2020 | | | Helmut Newton would have turned 100 years old on 31 October 2020. His foundation was established in Berlin-Charlottenburg in autumn 2003 and opened in summer 2004; since then, more than 50 exhibitions have been presented here. The Helmut Newton Foundation is taking this special anniversary as an opportunity to honour the exceptional photographer by presenting his legendary and timelessly innovative oeuvre for the first time and in a freely accessible way in a large outdoor exhibition in Berlin’s urban space on an 85-metre-long wall at the Kraftwerk Berlin, Köpenicker Straße 70 in Berlin-Mitte. | | |
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| | | “Michael Schmidt – Retrospective. Photographs 1965–2014“, exhibition view, Hamburger Bahnhof - Museum für Gegenwart - Berlin 2020 (o.T. aus Waffenruhe / Ceasefire, 1985-87) / Nationalgalerie - Staatliche Museen zu Berlin © Stiftung für Fotografie und Medienkunst mit Archiv Michael Schmidt / Photo: Matthias Völzke | | | | | | | | ... until 17 January 2021 | | | | | | | | | | | | | Michael Schmidt (1945–2014) occupies a unique position in contemporary German photography. Born in Berlin and with no formal training in photography, he discovered the medium as a form of artistic expression in the mid-1960s. The retrospective at the Hamburger Bahnhof portrays his life’s work chronologically for the first time and also represents the first exhibition of the photographer’s oeuvre in his hometown of Berlin in 25 years.
For each of his work groups, Schmidt developed an individual photographic method of accessing reality. These include portraits, self-portraits, cityscapes, landscapes and still lifes. Along with the series Waffenruhe (1987), Ein-heit (1996), Lebensmittel (2012) and other original photographs, the exhibition presents unpublished working prints, book designs and archival materials to illustrate the development of Schmidt’s art, which through its continual exploration and innovation has been seminal for a younger generation of photographers.
A 400-page catalogue published by Koenig Books accompanies the exhibition and contains essays by Ute Eskildsen, Janos Frecot, Peter Galassi, Heinz Liesbrock and Thomas Weski, all of whom worked with the artist on various projects.
Following the exhibition at Hamburger Bahnhof, the retrospective will be shown at the Galerie Nationale du Jeu de Paume in Paris (11 May – 29 August 2021), the Museo Nacional Centro de Arte Reina Sofía in Madrid (28 September 2021 – 28 February 2022) and the Albertina Museum in Vienna (24 March –12 June 2022). | | |
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| | | | | | Abschlussausstellung #28 | | | | | | | Fri 30 Oct 19:00
31 Oct – 20 Dec 2020 | | | | | |
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| | Claudius Schulze, WD2350-RP0469.18, Dr. ir. Matěj Karásek with an autonomous bionic drone, Pigment print, 2018,
© Claudius Schulze, Courtesy the Artist / Galerie Robert Morat | | | | | | | | ... until 20 December 2020 | | | | | | | | | | | | | We are witnessing the greatest upheavals of modern times: Artificial Intelligence and Global Change are altering fundamentally what we took for granted. Biosphere X is the attempt to document and reflect on these developments artistically.
As an artist and researcher, Claudius Schulze has always strived to find the world that lies below the surfaces of the ordinary. His work series Biosphere X documents the extinction of species, depicts the development of bionic robots, protocols animals and their behavior, visualizes urban retreats of wild nature from the perspective of autonomous machines, and creates new species with its own artificial intelligence.
Today up to 50 percent of all animal species are threatened with extinction. At the same time, leading developers and philosophers are already sketching a bio- and geotechnical future in which machines will develop their own consciousness. What may seem to be two distinct developments—of nature and IT—are in fact the consequences of the actions of the one species that has come to dominate the planet: homo sapiens.
For his site-specific installation Biosphere X at the Alfred Erhardt Stiftung, Claudius Schulze conflates these two epoch-defining trends: the loss of biodiversity on the one hand and the creation of new life forms through artificial intelligence and bionics on the other. Could miniature drones soon be used to pollinate crop plants at a time when, concurrently, the basis of life for millions of living creatures is being lost? As part of an intensive research process Claudius Schulze uses the medium of photography and other imaging methods to work on the representation of these two abstract and complex phenomena, in an attempt to make them more t… | | |
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| | | From the series Arctic Zero © Paolo Verzone / Agence VU' | | | | | | | | ... until 24 September 2021 | | | | | | | | | | | | | Svalbard is an archipelago in the Arctic Ocean. Its territory is tied to Norway, but as a demilitarised zone it has a neutral status. The name "Svalbard" in Norwegian denotes a "cool coast", which seems somewhat of an understatement, as the average temperature lies around -6°C.
Not every story has its origin in the thousand roots of the Orient. Some come to us from the northern reaches; their intensity and tension can easily keep up with their famous cousins from the East. This northern archipelago offers the potential of every fantastical story, its soil inhabited by a surprising diversity of species. Its landscapes are rich on the surface as well as underground - a mixed blessing for sure, as they were too often considered with specific interests in mind, purely in terms of their profitability from a human or economic standpoint.
But the story of this place has just begun. We recall the polar expeditions from the early 20th century with legends such as Roald Amundsen. Ny-Ålesund, the most populous locality on Svalbard, has left its mark in the mining world.
These days, Svalbard is a playing field for around a dozen different nations seeking to stake their claim in scientific research. Their goals and motivations go off in all four cardinal directions; the area is marked by contrasts and opposition. From natural reserve with limited access to take-off area for scientific rockets, the archipelago is tightly bound to our specific epoch and subject to the rhythms of our time. The next chapter of this story remains to be written.
Text: A. Meyer / Clervaux - cité de l'image | | |
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| | | | | | | | Heinz Krüger: Moskau 1982 |
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| | Burt Glinn, Opening of a Pepsi Cola Bottling Plant in Novorossiysk, USSR, 1974
© Burt Glinn/Magnum Photos | | | | | | | Magnum photographers on commission | | | | | | | | 23 October 2020 – 22 January 2021 | | | | | | | | | | | | | Deutsche Börse Photography Foundation shows the exhibition "Open for Business - Magnum photographers on commission". It is on display from October 23, 2020 to January 22, 2021 in The Cube, Eschborn / Frankfurt. The exhibition shows commissioned works from six decades by more than 50 photographers of the legendary agency Magnum Photos, offering insights into fascinating and lesser-known parts of their portfolios.
For more than 70 years Magnum photographers have documented the world’s major events and hidden stories. Simultaneously, many of these same photographers have worked on assignments for fashion brands, governments, NGOs and industries. Although not recognised by a wider public as "Magnum" work, the resulting works play a vital role in the Magnum story. They also embody the complex cultural position of photography, sitting at the intersection of art, documentary and commerce.
"Open for Business" takes a critical look at Magnum’s commissioned work from the 1950s to the latest assignments from 2019 and reveals interactions between commercial and independent production. It highlights the way photographers shaped or changed visual languages of corporations and how they have played with assignments through their own free interpretation, resulting in surprising, ironic and humorous outcomes.
The exhibition has been developed in cooperation with Magnum Photos Paris, Foam Amsterdam and "Les Rencontres de la photographie Arles". It was curated by Anne-Marie Beckmann, Deutsche Börse Photography Foundation, and Mirjam Kooiman, Foam Fotografie Museum Amsterdam. | | |
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| | | | | | | "BLOW-UP"
Großbritannien/Italien 1966. R: Michelangelo Antonioni. D: David Hemmings, Vanessa Redgrave, Sarah Miles. 111 Min. 35mm. OmU |
| | | | Durch die Augen von Magnum | | | | | | | 3 Nov 2020 – 3 Jan 2021 | | | | | |
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| | | Louis Stettner: Windshield, Upstate New York, 1954 | | | | | | | | 31 October - 19 December, 2020 | | | | Opening: Saturday, 31 October, 7- 9:30 pm | | | | | | | | | | | | | "What a life - between photography and fine arts, sculpture and panel painting, France and America. A life between countries and cultures, languages and sensitivities. Not that Louis Stettner couldn't have made up his mind. But he probably needed this oscillation between the continents, the cities and disciplines in order to be able to re-enact life's big questions over and over again. "Being a photographer", he once said, "means perpetual discovery."
Born in 1922, died in 2016, Stettner spanned practically the entire 20th century. (...) Ultimately, there were two poles that shaped Stettner and between whom his own camera art mediated: On the one hand, the left-wing humanism of the Photo League initiated by Grossman, and on the other, the approach of Brodovitch, who was interested in the formal. "Form cannot really exist without content," Stettner put it in a nutshell. Conversely, content without a struggle for form is at least no art. In Stettner's work, both aspects coincide in a convincing way: the deeply felt interest in people and an alert, sometimes bold, surrealist-inspired look interested in visual surprises. This applies to his oeuvre created in New York as well as to his dealings with Paris. (...)
In Paris there were names like Doisneau, Boubat, Cartier-Bresson that became friends and confirmed him in his path. Not to forget Brassaï, who not only contributed a wonderful, sensitive text to Stettner's first book or portfolio - "10 Photographs" (1949). He was also a role model, guide, fatherly friend: "He was my master." Not only was Paris a great inspiration, said Stettner, the people had also given him the certainty that "I was doing something important."… | | |
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| | Aneta Grzeszykowska, Mama #32, 2018 (Detail)
Pigment ink on paper, 50 x 36 cm
© Courtesy of the artist and the Raster Gallery, Warsaw | | | | | | | | 28 October 2020 – 28 February 2021 | | | | | | Francisco Carolinum Museumstr. 14, 4010 Linz
Austria
www.ooelkg.at | |
| | | | | | For more than 15 years, Polish artist Aneta Grzeszykowska (*1974) has been reflecting on fundamental questions of identity and self-understanding in her works. Her subject of focus is the human body, particularly that of women, in its role as a projection screen and construction. Family Skin addresses the wide range of methods, products, creams, gels, masks, massages and plastic surgery procedures for enhancing, perfecting and self-optimising the skin. The exhibition is set against the backdrop of this furious obsession with beauty and eternal youth.
By means of photography and sculpture, Aneta Grzeszykowska focuses on the construction of a physical aesthetic as an ideal image, also by opposing it with the signs of old age and disfiguration. She works with photographic and collage techniques, both digital and analogue.
These include, in particular, the rituals and mise-en-scène of beauty and self-expression that have become firmly established within social media as collective norms. Aneta Grzeszykowska deliberately experiments with these clichés in some of her series. Selfie (2014) and Face Book (2020) clearly allude to this with their titles. She provokes the question of what fragments of the self remain underneath the photographic surface, the shell and skin of the physical. To this end, she deploys her own body in performative transformations and stagings, which she documents in photo series, films and book objects. She takes on different roles. She works with clothing and masks, make-up, foundation and body paint.
The exhibition is presenting selected works of various series dating from 2006 until the present. Examples will be shown of Untitled Film Stills (2006), which refers to the group of work… | | |
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| | At the Ivankovo train station 120 refugees live in a train. Croatia. 1994.
© Sebastião Salgado | | | | | | | | ... until 14 February 2021 | | | | | | | | | | | | | Sebastião Salgado. "EXODUS" is an exhibition that highlights how Salgado urgently campaigned for social justice and peace, and long before he gained wide public acclaim with his project "GENESIS" or the documentary, "The Salt of the Earth" (2014) by Wim Wenders.
In the photographic series "EXODUS", Salgado documents the dark side of the modern age: the ruthless exploitation of nature and the fate of millions of people on the run who are struggling to survive under the most degrading conditions. Salgado was so affected by this immense suffering that it robbed him of the will to live. Exhausted and disillusioned, he stopped taking photos for several years. However, his wife Lélia Salgado suggested that they reforest the rainforest. In 1998 they founded the Istituto Terra and since then have replanted more than 2.5 million trees. The paradise that Salgado knew as a child had once again emerged. With nature returning, they regained hope and resolved to show others that it is worth getting involved.
The idea for the internationally exhibited photographic project "GENESIS" arose (at Kunstfoyer Munich, 2015). This body of work is a much more optimistic view of the same earth that Salgado witnessed for so long as injured and destroyed.
In 2019 Salgado received the Peace Prize of the German Book Trade. In doing so, the association and its members honoured the Brazilian photographer Sebastião Salgado, "an exceptional visual artist who has continually campaigned on behalf of peace and social justice and whose entire photographic oeuvre lends a sense of urgency to the global debate surrounding nature conservation and environmental protection. With his ongoing work at the Institut… | | |
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| | | | | | | | Palermo, Sicilia, 1963 © Bruno Barbey, MAGNUM Photos |
| | | | Magnum Photos and Picto 1950-2020 | | | | | | | Thu 29 Oct 19:00
29 Oct – 20 Dec 2020 | | | | | |
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| | | Pappagallo, Toscane, 2018 © Thomas Jorion | | | | | | | | 4 – 28 November 2020 | | | | Exhibition of works & signature of the book "Veduta" at editions La Martinière. | | | | | | | | | | | | | For 10 years, Thomas Jorion travelled the regions of Italy from south to north, from Lago di Maggiore to Sicily, in search of the Palaces that once made the glory of this beautiful country. Most of these monuments are neglected. They're falling apart. But they fall gracefully.
After "Silencio" and "Remains of Empire", photographer Thomas Jorion continues his questioning of the buildings and places abandoned by men.
"I have always been passionate about places of memory and the trace of man. So my work revolved around this notion."
This forgotten heritage surprises by the richness of its decorations, such as these frescoes that extend over the entire room, barely altered by time, sometimes valued and sometimes, conversely, marginalized or neglected. The presence of a bed or armchair reminds us that these spaces, now overgrown by vegetation, were inhabited one day.
Thomas Jorion captures these places in natural light, without retouching or staging. He works with a large-format 4x5 inches photographic chamber. Decadence lights up and the Palaces show themselves in all their beauty.
Thomas Jorion has completed his Italian travels. His work is documented in the beautiful book that has just been released: Thomas Jorion, "Veduta," edition la Martinière, 49 euros. | | |
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| | | Photo: Phroom Agency | | | 10th Edition MIA Fair 2021 | | | | 25 – 28 March, 2021 | NEW LOCATION: SUPERSTUDIO MAXI MILAN | | | | APPLICATIONS OPEN until November 15th, 2020 | | | For applications please contact application@miafair.it
phone +39 02 83241412
www.miafair.it | | | | | | | | | | | | | MIA Milan Image Art Fair, the international photography art fair of Italy, will stage its 10th edition in Milan from Thursday, March 25th to Sunday, March 28th, 2021 at the new location of SUPERSTUDIO MAXI. The VIP opening will take place on Wednesday, March 24th.
MIA Fair is currently accepting applications for the Main Section and for the new MIA&D Section from galleries presenting curatorial projects.
The deadline for applications is November 15th, 2020.
For applications please contact application@miafair.it or phone +39 02 83241412.
For the tenth anniversary we launch an important news: MIA Fair moves to SUPERSTUDIO MAXI which allows us to nearly double the available space. The new venue, with a size of 7,500 m², will facilitate the respect of social distancing anti-Covid rules, without causing particular inconvenience to the event experience. | | |
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| | GUY BOURDIN (1928-1991)
Charles Jourdan, Autumn 1977
Fujiflex Crystal Archive print, printed 2018
34.1/2 x 45 in.
© The Guy Bourdin Estate 2020 Courtesy of Louise Alexander Gallery
€30,000-40,000 | | | Photographs | | | | | | | | | | | | | | | | | | | | On November 10th, Christie’s Paris will be holding it’s Photographs auction, focusing on 20th and 21st century photography. 130 works will be presented by masters of the medium, such as August Sander, Constantin Brancusi, Man Ray, Irving Penn, Helmut Newton, Guy Bourdin and Richard Avedon, including some of the most famous and iconic images from the history of the medium, such as works from the series La Passante du Siècle by Richard Avedon.
Works from the celebrated Small Trades series by Irving Penn are also included in this sale (estimate: €60,000-80,000 each). Alongside these works a beautiful vintage print of The wife of architect Heinz Lüttgen by August Sander (estimate: €40,000-60,000), will be offered.
Sold to benefit the White Lion Foundation, is the impressive Narnia, South Africa (estimate: €20-30,000) by David Yarrow, and Christie’s is delighted to be offering a unique work of London’s Royal Opera House (estimate: €2,800-3,200) by photographer Joanna Vestey which is being sold to benefit a bold fundraising initiative, Custodians for Covid, to raise funds for arts institutions impacted by the pandemic.
Also included are some unique photographs by Constantin Brancusi, sculptor, including a signed View of the Studio (estimate: €60,000-80,000). This works reflects the artist’s universe, but also his need to perceive his sculptures differently through the lens, like La Négresse Blanche or Femme se regardant dans le miroir (estimate: €15,000-20,000 each). | | |
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| | | | | | | | | | | | | | 29 Oct 2020 – 31 Jan 2021 | | | | | |
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| | | | | | | | | | | | | | Thu 5 Nov 16:00
6 Nov – 21 Nov 2020 | | | | | |
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| | Shirin Aliabadi: Girls in Car 2, 2005 © Shirin Aliabadi and The Third Line
from the exhibition Time Present - Photography from the Deutsche Bank Collection | | | EMOP BERLIN — EUROPEAN MONTH OF PHOTOGRAPHY | | | | 500 artists in more than 100 Berlin-based institutions | | | | | | | October 2020 | | | | | | | | | | | | | The 9th edition of EMOP Berlin — European Month of Photography will take place from 1—31 October 2020. More than 100 Berlin museums, galleries, cultural institutions, embassies, alternative art spaces, project spaces, and photography schools will offer a wide range of exhibitions and events showcasing the beloved and celebrated medium in all its diversity. This year’s main theme is Europe — Identity, Crisis, Future. Further topics such as 30 years of German reunification and 100 years of Greater Berlin, as well as classical genres such as portrait, architectural, and fashion photography will also be represented.
Thanks to its decentralized program with numerous partner institutions and parallel exhibitions, EMOP Berlin can take place in autumn regardless of any possible restrictions due to the coronavirus pandemic. Suitable measures regarding entrances and other hygiene requirements will be taken in response to the situation as needed.
In 2016 and 2018, the EMOP Opening Days were held at C/O Berlin Foundation in Amerika Haus to kick off the festival. This year, Kulturprojekte Berlin is working together with Akademie der Künste; the EMOP Opening Days will take place from 1—4 October at Pariser Platz. Under the main theme of Photography between Art, Politics, and Mass Media, an extensive program with internationally renowned photographers, curators, media experts, and journalists will be offered. Panel discussions, artist talks, discursive events, a film program, and guided tours of the exhibition by the photographers of OSTKREUZ will mark the beginning of this year’s Month of Photography.
At the end of March 2020, 110 projects were selected for participation by this year’s jury, consisting of Thomas Licek (former Managing Director of Eyes On, Vienna), Barbara Esch Marowski (Director, Haus am Kleistpark), Annette Hauschild (photographer, OSTKREUZ — Agentur der Fotografen), Dr. Susanne Holschbach (art and media scholar, lecturer, Neue Schule für Fotografie), and Dr. Christiane Stahl (Director, Alfred Ehrhardt Foundation). Excerpt from the Jury 2020 statement: “The 9th edition of the festival in Berlin will once again showcase photographic gems and offer an exciting and aesthetically sophisticated examination of photography that is sure to bring this multifaceted medium closer to thousands of visitors.” | | |
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| | | | | | KW Institute for Contemporary Art, daadgalerie, Gropius Bau | | | | | | | – 1 Nov 2020 | | | | | |
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| | | | | | | | Key-Visual der »11. Darmstädter Tage der Fotografie«, N. A. Vague, #real #me #ad 3, 2017, © N. A. Vague |
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| | | | | | The Things I Tell You | | | | | | | – 18 Jul 2021 | | | | | |
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| | | | | | open air festival - VIVA LATINA ! | | | | | | | – 31 Oct 2020 | | | | | |
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| | | | | | Rapid Response Restitution | | | | | | | – 19 Dec 2020 | | | | | |
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| | | | | | THIS IS THE END | | | | | | | – 31 Oct 2020 | | | | | |
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| | | | | | | | | | 60 outdoor exhibitions city-wide & free online programming | | | – 29 Nov 2020 | | | | | |
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| | | | | | FANTASIES - Stories, rules, inventions | | | | | | | – 10 Jan 2021 | | | | | |
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| | | | | | Festival internazionale della fotografia urbana - VII edizione | | | | | | | – 8 Nov 2020 | | | | | |
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© 28 October 2020 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photo-index.art . T +49.30.24 34 27 80 |
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