| | | PHOTOGRAPHY INTERNATIONAL | | 29 May — 5 June 2024 | |
| | | | | | | | | | | | | | | | | | | | Vistas #22, 2020 © Brea Souders | | Photography through the lens of AI | | Missing Mirror | | Akosua Viktoria Adu-Sanyah » Alexey Chernikov » Louisa Clement » Lynn Hershman Leeson » Maria Mavropoulou » Christopher Meerdo » Milo Poelman » Miti Ruangkritya » Philip Schütte » Brea Souders » Alexey Yurenev » | | 31 May – 11 September 2024 | | Opening of the group exhibition Missing Mirror and the solo exhibition AI Attacks by Paolo Cirio on Thursday 30 May from 17.30 to 21.00 hrs. The exhibitions will be opened in the presence of Paolo Cirio and the artists from the group exhibition. During the opening, we will also launch the newest issue of Foam Magazine #66: Missing Mirror, which features themes from the exhibition. In addition, we celebrate a new collaboration with creative studio affect lab, presenting their interactive AI photo booth Ctrl.Alt.Img. | | | | | | | | Foam is thrilled to announce a manifestation on Photography Through the Lens of AI, zooming in on the latest developments on Artificial Intelligence (AI) in photography. In recent years AI has started to make a big impact in the world of photography, changing the way we make and see images. The multidimensional project consists of a group exhibition Missing Mirror which is accompanied by the solo exhibition of Paolo Cirio – AI Attacks (part of Foam’s recurring Next Level series), a thematic issue of Foam Magazine (#66: Missing Mirror), along with a digital presentation on Foam’s online platform Explore. Since its inception in the 19th century, photography has undergone a constant technological evolution. From traditional darkroom techniques to the transformative potential of software such as Photoshop, image manipulation has remained a key part of the medium. The latest advancement however, AI, has set off a new era in photography, enabling the creation of images that exhibit astonishing realism while being fundamentally divorced from reality. In Photography Through the Lens of AI, Foam explores the intersection between art, technology, and society, highlighting how the recent advancements in AI impact our relationship with images, ourselves and our perception of reality. This focus on technological development in photography has been integral to Foam’s programming, in past exhibitions and in the magazine, and Foam will continue to do so going forward. Group exhibition Missing Mirror Through four distinct themes the exhibition invites the visitor to look beyond the surface of AI. In chapter one, Missing Body, artists give shape to a physical appearance of AI. The second chapter, Missing Person, reflects on AI's capacity to become a substitute for humans — not necessarily in physical form, but rather by expressing the immaterial essence, such as the existence of an AI personality or identity. In Missing Camera, chapter three, AI fills the position of the camera for events that never took place or could never have been photographed. Lastly, in chapter four, Missing Viewer, artists reflect on one of the most threatening developments, the absence of people: AI functions and perceives on its own, without the need of humans. The exhibition showcases the work of international artists who reflect on the danger and potential of AI. | |
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| | | | Mugshots.com, N1 + N2, from the series Obscurity, 2016 © Paolo Cirio | | Paolo Cirio » AI Attacks | | 31 May – 25 August 2024 | | Opening: Thursday 30 May 17:30 | | | | | | | | The solo exhibition AI Attacks by Paolo Cirio focuses on the social implications of AI systems, machine learning AI models, and the use of data. Cirio sees AI as a form of automated violence, expressed through surveillance, discrimination, and disinformation. With his work, he challenges power structures by exploring AI for his counterattacks. The exhibition showcases installations with prints, videos, and artefacts, highlighting his online artistic interventions and activist campaigns and prompting reflection among the general public. Paolo Cirio is a conceptual artist, activist, and hacker. The central themes he engages with are social, economic, and cultural issues in contemporary society. His interventions and research-based artworks are presented as installations, lectures, artefacts, photos, videos, and public art. Cirio has participated in solo and group exhibitions at international museums and has won several awards, including Golden Nica first prize at Ars Electronica in Linz, 2014; Transmediale second prize in Berlin, 2006; Eyebeam Fellowship, 2012; and NEA grant at ISCP in NYC, 2017; among other awards. | |
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| | | | | | | | | | | | | | | | | | | | | | | | | | | | Andreas Feininger Traffic on 5th Avenue 1950 Gelatinesilberabzug 16,4 x 21,9 cm (18,7 x 24,1 cm) | | Andreas Feininger » Photographs | | 29 May - 21 June, 2024 | | | | | | | | | In Andreas Feininger's work, photography is more than just the depiction of a view; in his work, it generates a new insight into what is photographed. Lempertz Berlin is dedicating an extensive show to the discoverer of special views and insights, which opens on May 28. The exhibition, which premiered in Cologne at the Lempertz headquarters in March, features pictures from various groups of works and creative phases, providing an overview of Feininger's oeuvre. His works in the familiar style are complemented here by many of his homages to his city of New York as well as surprising views that show how a shell, a bone or a feather can also be seen. Here Feininger shows himself to be a particularly impressive master of light and focus. While some of his works still reflect the influence of the Bauhaus, where his father Lyonel taught, Andreas Feininger found his own new way of dealing with perspectives and motifs in New York. All works in the exhibition are for sale. | |
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| | | | | | | | | | | | | | | | | | | | | | | Michael Ruetz from Timescape 162 162.0, February 4 1991, 17:30 h Pariser Platz, Berlin-Mitte © Michael Ruetz | | Michael Ruetz » Poesie der Zeit | | ... until 4 August 2024 | | | | | | | | How to make visible the passage of time and transience, how to document the ruptures and changes that occur in societies and urban environments? These are the questions that Michael Ruetz – like few other artists – addresses in his work. Since the mid-60s he has observed the transformation of natural and urban habitats in locations in Berlin and elsewhere in Europe in a large-scale photographic study, capturing the changes in a series of photographic snapshots and inventory images. His Timescapes came about over a period of nearly sixty years and comprise more than 600 series made up of thousands of photos. The central concept of Timescapes is that the position and visual axis of the camera always remain the same, while only the time intervals of the photo series vary. At the heart of the exhibition are the Timescapes of Berlin. The photo series present a particularly powerful consolidation of the far-reaching transformation of German society in the post-war period, after reunification and up to the present day. Sites of power or historical relevance such as Potsdamer Platz or the Brandenburg Gate, the Schlossplatz, Gendarmenmarkt, Berlin’s government quarters or the Berlin Wall have undergone radical change, particularly since 1989/90. Buildings and visual axes disappear or are built anew, streets are returned to previous states or renamed, squares are radically redesigned, open spaces built upon, vacant spaces given new life. Ruetz’ images of Berlin are an expression of how architecture can shape and redefine our environment, thus giving it a prerogative of interpretation over our perception. His photo series develop their own aesthetics beyond documentary sobriety, revealing a poetry of time in the process… | |
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| | | | | | | | | | | | | | | | | | | | | | | | | | | | À l’eau! À l’eau! Les archives du Soir: the beach and the Tour de France | | Sat 1 Jun 18:30 1 Jun – 29 Sep 2024 | | | | | | |
| | | | | | | | | | | | | | | | | | | | | | | | | | Maisie Cousins, I shouldn’t have gone away, 2023 © Maisie Cousins | | Ray Echoes. Memory | | 5th International Triennial of Photography | | Jana Bissdorf » Sophie Calle » Maisie Cousins » Omar Victor Diop » Lebohang Kganye » Nicholas Nixon » Mimi Plumb » Johanna Schlegel » The Anonymous Project / Lee Shulman » | | 30 May – 22 September 2024 | | Opening: Wednesday 12 June 2024 | | | | | | | | In its fifth edition, the international photography triennial RAY presents contemporary photography and related media at various exhibition venues in Frankfurt and the Rhine-Main region. In exhibitions and events, the triennial's artists explore and reflect on challenges and areas of tension in self-perception and human interaction, all under the theme ECHOES: they create an echo that draws attention to their themes. The exhibition "Ray Echoes. Memory" shows seven international artistic positions that deal with the role of photography as a carrier of memory. In their works, the artists question how missing or blurred memories can be (re)created using photographic images. They visualise how elastic our memory is when it comes to storing and reproducing the past and show how what we have seen fades and is replaced by new images. In her series "memories I don't have", German artist Johanna Schlegel searches for a way to visualise missing memories of her childhood. By chemically processing photographs from her family album, she creates blurs on the surfaces of the images that express the gaps in her memory. The feeling of anxiety and climatic threat that the American artist Mimi Plumb associates with the memories of her youth in small-town Walnut Creek on the US West Coast also permeates the cool photographs in her series "The White Sky". The German artist Jana Bissdorf creates a connection between different time levels and narratives in her group of works "Paths to Happiness", for which she physically combines found black and white photographs with her own colour photographs, thus building new associative spaces between the present and the past. In the series "Being there",… | |
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| | | | | | | | Jürgen Klauke, Transformer, 1973/2024 — Dreiteilig, © VG Bild-Kunst, Bonn 2024, Courtesy: Galerie Anita Beckers und/and Jürgen Klauke | | RAY Echoes Identity | | 5th International Triennial of Photography | | Mónica Alcázar-Duarte » Joy Gregory » Jürgen Klauke » Dinu Li » Inuuteq Storch » | | ... until 1 Sep 2024 | | Wednesday, June 5th, 2024, 6:30pm: RAY artist Jürgen Klauke in conversation with Stephan Berg at Museum MMK für Moderne Kunst, Frankfurt am Main. | | | | | | | | For decades, the institutions and collections in Frankfurt and the Rhine-Main region have been home to a remarkable density and expertise in the field of photography and related media. After the last four successful editions of the RAY – Triennial of Photography, now eleven cooperating institutions are joining forces to make this focus internationally visible. With exhibitions, numerous events, including the beginning three-day festival on the triennial theme of "ECHOES", RAY offer a multifaceted exploration of photography for all from May 3rd to September 1st, 2024. The artists of the triennial 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 create an echo that draws the public’s attention to their themes. Similar to a sound experience, they reverberate their messages that are perceived as an independent event beyond what is depicted. On this basis, "RAY ECHOES" concentrates on three focal points: identity, memory, and emotion. With RAY ECHOES. IDENTITY Fotografie Forum Frankfurt (FFF) is showing one of three central exhibitions of the Triennial focussing on the relationship between photography and identity. The exhibited artists Mónica Alcázar-Duarte (MX), Joy Gregory (GB), Jürgen Klauke (DE), Dinu Li (HK) and Inuuteq Storch (DK) explore the making and breaking away from identities. Echoes are present in the form of reflections on personal experience, transcendence, and the currency of retrospection. Alongside recent contemporary photographs and a video installation, ear… | |
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| | | | ©Jana Hartmann, ©Shir Newman, ©Jeannette Petri, 2024 | | IMAGINE | | | Jana Hartmann » Shir Newman » Jeannette Petri » | | 4 – 13 June 2024 | | Opening: Monday 3 June 19:00 | | | | | | | | IMAGINE presents photographic positions about reality and imagination with the artists Jana Hartmann, Shir Newman and Jeannette Petri. Their works are concerned with environment, war and violence as well as identity and gender. As part of the series "Dialogues between Word and Image" from the Women’s Department Frankfurt, this exhibition curated by PhD Sonja Müller and realized by Linda Kagerbauer (Women’s Department) is a cooperation with FFF and Historisches Museum Frankfurt on the occasion of the exhibition "City Women Photographers". IMAGINE is on view at Fotografie Forum Frankfurt, 2nd floor. | |
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| | | | | | | | Ilse Bing, Selbstporträt mit Leica im Spiegel, Frankfurt 1931 © Historisches Museum Frankfurt |
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| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Untitled 648, 2023 © Cindy Sherman Untitled 659, 2023 © Cindy Sherman Courtesy the artist and Hauser Wirth | | Cindy Sherman » | | ... until 4 August 2024 | | | | | | | | Cindy Sherman is considered to be one of the most important American artists of her generation. Her ground-breaking photographs have interrogated themes around representation and identity in contemporary media for over four decades. In this new body of work, the artist collages parts of her own face to construct the identities of various characters, using digital manipulation to accent the layered aspects and plasticity of the self. Sherman has removed any scenic backdrops or mise-en-scène–the focus of this series is the face. She combines a digital collaging technique using black and white and color photographs with other traditional modes of transformation, such as make-up, wigs and costumes, to create a series of unsettling characters who laugh, twist, squint and grimace in front of the camera. To create the fractured characters, Sherman has photographed isolated parts of her body–her eyes, nose, lips, skin, hair, ears–which she cuts, pastes and stretches onto a foundational image, ultimately constructing, deconstructing and then reconstructing a new face. The exhibition is accompanied by a catalogue by Hauser & Wirth Publishers. | |
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| | | | installation view Man Ray: LIBERATING PHOTOGRAPHY 2024, PHOTO ELYSEE Lausanne | | Man Ray » LIBERATING PHOTOGRAPHY | | ... until 4 August 2024 | | | | | | | | "To be totally liberated from painting and its aesthetic implications" was the first avowed aim of Man Ray (United States, 1890-1976), who began his career as a painter. Photography was one of the major breakthroughs of modern art and led to a rethinking of notions of representation. In the 1920s and 30s, the photographic medium came to the forefront of the avant-garde movement, and Man Ray soon made a name for himself with his virtuosity. As a studio portraitist and fashion photographer, but also as an experimental artist who explored the potential of photography with the people around him, Man Ray was a multi-faceted figure. Considered one of the 20th century’s major artists, close to Dada and then Surrealism, he photographed Paris’ artistic milieu between the wars. EXHIBITION Curated from a private collection, the exhibition explores the artist’s extensive social contacts while presenting some of his most iconic works. In addition to providing a dazzling who’s who of the Parisian avant-garde, the works also highlight the innovations in photography made by Man Ray in Paris in the 1920s and 30s. ARTIST He took his first photographs in New York in the 1910s, but it was in Paris that his career took off. Even before opening his studio in Montparnasse in 1922, Man Ray worked for a year in his hotel room. The photographer's reputation grew, and before long, the artist's studio was flourishing. Fashion photographs alternated with portraits of the artistic figures of the day who had made Paris’ no… | |
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| | | | | | | | Georg Brückmann Superego, 2024 Uwe Walter Schwimmbad V, 1989 |
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| | | | | | | | | | | | | | | | | | | | | | | Miles Aldridge, Lookable Legs 1, 2002 Vogue Italia |
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| | | | | | | | | | | | | | | | | | | Milenia del corazón y del artificio, 1998 © Paloma Navares |
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| | | | | | | | | | | | | | | | | | | | | | | | | | | Widline Cadet, Nan Letènite In Eternity, 2021 © WIDLINE CADET |
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| | | | | | | | | | | | | | | | | | | | | | | Iwan Baan, sede de la CCTV, Pekín, China, 2011. Diseñada por OMA © OMA © Iwan Baan |
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| | | | | | | | | | | Ken Brown (American, b. 1944), Pink Trailer Tilt, 1976, from the American Roads portfolio. Chromogenic color print, 11 x 14 in. 2020.76.4. Gift of Richard D. and Kandace A. Riebel. Collection of the Haggerty Museum of Art, Marquette University © Ken Brown |
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| | | | | | | Mara, Almeria, Spain, 2022 from the series "Agony in the Garden" © Lua Ribeira/Magnum Photos | | CLOSE ENOUGH | | New Perspectives from 13 Women Photographers of Magnum. | | Olivia Arthur » Myriam Boulos » Sabiha Çimen » Cristina De Middel » Bieke Depoorter » Carolyn Drake » Cristina García Rodero » Nanna Heitmann » Susan Meiselas » Hannah Price » Lua Ribeira » Alessandra Sanguinetti » Newsha Tavakolian » | | ... until 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 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. Charlotte Cotton, Curator of the inaugural Close Enough exhibition, International Center of Photography, New York, 2022 | |
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| | | | | | | | Damu DAGON, Gushiegu, GHANA, 2013 © Ann-Christine Woehrl | Moon In Mauve, Grez FRANCE, 2022 © Ann-Christine Woehrl |
| | Ann-Christine Woehrl » WITCHES IN EXILE and DARKLIGHT | | ... until 26 July 2024 | | | | | | | | Ann-Christine Woehrl » WITCHES IN EXILE Museum Fünf Kontinente Until 2 June, 2024 Maximilianstrasse 42, 80538 Munich www.witches-in-exile.art | | 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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| | | | | | PaJaMa » | | | | | | | | | | PaJaMa Paul Cadmus, Jarend French and Margaret French | | 30 May – 1 Aug 2024 | | | | | | |
| | | | | | | | | | | | | | | | | | | | | | | We Cry In Silence © Smita Sharma | | Smita Sharma » We Cry In Silence | | 1 – 16 June 2024 | | Photoville 2024 presents over 85 free outdoor photo exhibitions across all five boroughs of NYC | | | | | | | | A chance meeting with a survivor led me to investigate the murky world of trafficking. Trafficking is a silent issue. It happens right in front of us, we just don’t see it. It is the fastest growing criminal industry in the world today. Lack of reliable reporting has led the internet to be filled with cliché representational images. There are too few stories, with little human connection or emotion, leading to no impact. Through "We Cry In Silence," I’ve tried to put a face to this issue and fill in the gaps. My work focuses on cross-border trafficking of underage girls in South Asia for sex work and domestic servitude. Because of the sensitivity of the subject, I’ve taken great care to protect the identities of the girls, worked within ethical and legal boundaries, and collaborated with organizations and law enforcement agencies to amplify my work. "We Cry In Silence" is now a book and an educational campaign, which seeks to connect visual journalism to those who can’t afford to buy expensive magazines and are blocked by paywalls, through workshops, presentations, exhibitions, and a free zine to encourage engagement around visual storytelling as a tool for advocacy and change. | |
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| | | | | | | | | | | | | | | | | | | | | | | | | | | Jean-Claude Gautrand Le Galet (#1), 1968-1969 Gelatin silver print, vintage. Printed by the artist. © Estate Jean-Claude Gautrand Courtesy Les Douches la Galerie, Paris | Jean-Claude Gautrand Recherches, Cosmonaute, 1961 Gelatin silver print, vintage. Printed by the artist. © Estate Jean-Claude Gautrand Courtesy Les Douches la Galerie, Paris |
| | Jean-Claude Gautrand » Le temps irrémédiable | | 30 May – 13 July 2024 | | Opening: Wednesday 29 May 2024 5pm | | | | | | | | 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." | |
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| | | | | | | | | | | | | | | | | | | GERARD DALLA SANTA Paysages (Pennsylvania), 1993 Archival pigment prints 55x70 cm | | (Re)Viewing the Land | | Marina Berio » John Chiara » Gérard Dalla Santa » Claude Iverné » Terri Weifenbach » | | 21 May – 29 June 2024 | | | | | | | | A selection of photographs by established contemporary artists, all represented by the gallery and whose different practices illustrate the wealth of the landscape genre. With some new works, the exhibition offers a dialogue between formal and documentary approaches - such as Gérard Dalla Santa's beautiful homage to Walker Evans - and others, more radical, like that of John Chiara whose monumental approach that sublimates the ordinary. Since the 90s, Gérard Dalla Santa has focused mainly on landscape work, considering mankind's transformative effect on the landscape, memory space and coexistence across time. He first explored the southwest region of France, the greater Paris region where country and city overlap, and since 1993, has continued to explored these themes in the landscapes of Pennsylvania in the USA, drawing upon personal references that include Walker Evans, Lee Friedlander, Robert Adams. In 2015 he was awarded a grant from the CNAP (Centre National des Arts Plastiques), towards a project on the city of Pittsburgh, its industrial heritage within the urban tissue and the city's permanent cycle of demolition and construction. His recent landscapes are places that bear witness to the interaction between man and nature. In the 2020 lockdown, he photographed every day the Belleville-Menilmontant neighbourhood of Paris where he lives, the series was acquired by the Musée Carnavalet in 2021. Gérard Dalla Santa has received several institutional grants and commissions and participated in numerous personal and group exhibitions in France and in Europe. His works figure in the permanent collections of the Centre Pompidou, the Frac Aquitaine, the Frac Midi-Pyrénées, the Fonds National d’Art Contemporain and the Fondation d’Entreprise Hermès. | |
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| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Violet Catching Firefly, Danville, VA ©Elijah Gowin |
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| | | | | | | | | | | | | | | Ingar Krauss Pastorale, Zechin 2001 | | Ingar Krauss » PASTORALE | | ... until July 20, 2024 | | Part of EXPOSED. Torino Foto Festival | | | | | | | | 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. | |
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| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Laurence Rasti, Ohne Titel, aus der Serie «There Are No Homosexuals in Iran», Türkei, 2014 © Laurence Rastir | | Paare / Couples | | Jane Evelyn Atwood » Édouart Boubat » Rosellina Burri-Bischof » Kurt Caviezel » Larry Clark » Bruce Davidson » Elliott Erwitt » Louis Faurer » Burt Glinn » Rob Gnant » Nan Goldin » Harry Gruyaert » Ernst Haas » Monique Jacot » Justin Jin » Simone Kappeler » Thomas Kern » Will McBride » Inge Morath » Mads Nissen » Walter Pfeiffer » Laurence Rasti » Emil Schulthess » Iwan Schumacher » Christian Staub » Jakob Tuggener » Karlheinz Weinberger » Garry Winogrand » | | 1 June – 6 October 2024 | | Opening: Friday, 31 May, 6 pm With the exhibitions Bernard Voïta – Melencolia and Paare / Couples, Peter Pfrunder bids farewell after 26 years as director and curator at Fotostiftung Schweiz. | | | | | | | | Couples are omnipresent in photography – in historical photo albums just as much as on Instagram. More fascinating than the countless idealised self-portraits though, are those shots in which couples do not pose, but seem to be genuinely themselves, and strangely detached: playing and courting, enamoured and intoxicated, desperate and clinging. Or lonely and lost. The current exhibition at Fotostiftung Schweiz is dedicated to the diversity of couple dynamics in photography and presents pictures in which something happens between two people. Photographs of non-posing couples are little revelations that go far beyond documentary snapshots. Rarely do people display their feelings and state of mind as openly as in these scenes of togetherness, even when it becomes loneliness. Glances, facial expressions, arms, hands, gestures and postures suggest that hidden things are going on, to which others have no access. The photographers’ motivation to take such pictures presumably stems from the same impulse, the same fascination with which we as observers encounter these images: with a mixture of voyeurism and empathic curiosity. However, more than with other photographs, we tend to superimpose our own projections, memories, hopes, disappointments and desires onto the real events captured in couple photographs. It is precisely for this reason that the Paare / Couples project refrains from putting the collected photographs in their respective historical contexts or explaining their stories. The symbolic and emotional power of this image category can manifest itself even more effectively if nothing is known about their respective backgrounds and if the (possibly prominent) names of the people depicted do not distract from the subtle signals of a wordl… | |
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| | | | Bernard Voïta: Melencolia III + Melencolia XIII (Nicolas L.), 2014 © Bernard Voïta | | Bernard Voita » Melencolia | | 1 June – 6 October 2024 | | Opening: Friday, 31 May, 6 pm | | | | | | | | Bernard Voïta (b. 1960 in Cully, Vaud) is one of the outstanding photographic artists of our time. His works bring to mind montages or collages at first, but on closer inspection, they turn out to be real installations in the space. His series Melencolia (2014–2017), which is being presented comprehensively for the first time at Fotostiftung Schweiz, constitutes the quintessence of his long-standing balancing act between reality and appearance – a highly topical artistic statement on the present. "I am not a photographer," says Bernard Voïta. He is not so much interested in photography as a technical medium, but rather as a means of perception, as a visual transformation of reality. He certainly does use the camera in this sense to create his works. Already in 1990, Voïta produced black-and-white photographs that caused a sensation because they generated a reality all of their own without using the usual techniques of manipulation or defamiliarisation. His three-dimensional installations in the studio, photographed from a very specific perspective, produce images that appear two-dimensional, creating a pictorial reality that is paradoxical and whose structure is incomprehensible. Bernard Voïta still adheres to this approach today. He has tenaciously and persistently pursued his fantastical game with appearance and reality, provoking new irritations of perception in various works. His Melencolia series, produced from 2014 onwards, brings banal everyday things into such a meticulously organised disorder that observers lose their footing and orientation, and stray from a seemingly meaningful reality into a labyrinth full of absurdities. Each individual picture proves to be a sensorial, clever, humorous and sometimes disturbing il… | |
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| | | | | | | | | | | | | | | | | | photo basel 2024 | | 11 – 16 June 2024 | | Opening hours: Mon, 10 June: 6 - 9 pm vip preview (invitation only) Tue, 11 – Sat, 15 June: 12 – 20 pm Sun, 16 Juni: 12 – 6pm | | | | | | | | photo basel is Switzerland’s first and only international art fair dedicated to photography-based art. photo basel brings together galleries from around the world in a unique, authentic setting and sees itself as an integrative and hybrid platform that connects all actors of the art world (online and IRL). As a fair, we want to actively contribute to this dialogue and make art photography even more accessible. To achieve this, photo basel has put together a varied supporting program alongside 41 international galleries (coming from 15 countries) for this year's 9th edition. Since 2016, photo basel is located in the immediate proximity of Art Basel, situated in the beautiful compound of the Volkshaus Basel. Volkshaus Basel is a building softly renovated by acclaimed Swiss architects Herzog & de Meuron. Volkshaus is located at Rebgasse 12, just 700 meters from the Art Basel exhibition center. photo basel welcomes 41 galleries from 15 countries to its ninth edition. Over 450 photographic positions (artworks) by 150 artists are on show. photo basel is delighted to count among this year's new galleries Anita Beckers (Frankfurt am Main), Doyle Wham (London), In The Gallery (Copenhagen & Palma de Mallorca), inside-out gallery (Brussels), nüüd.gallery (Berlin), POLARWIND (Zürich), SmithDavidson Gallery (Amsterdam, Mexico City & Miami), AN INC. (Seoul) as well as Window Fourteen (Geneva). | |
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| | | | | | | | | | | | | | | | Lot 108 Cristina García Rodero (1949) El Alma Dormida,1981 Gelatina de plata, papel 50,3 x 40,3 cm, imagen 47 x 31,5 cm, reverso: título, fecha, firma y Dedicatoria, soporte 63 x 47 cm, tiraje de 1994 2.800 - 3.500 € | | Miradas Cruzadas | | Collection of photographs by Humberto Rivas and María Helguera | | | | | Auction: Thursday 30 May 2024 4pm | | Preview: 28 – 29 May 2024 | | On May 30 at 4 p.m. Juan Naranjo Gallery of Art and Documents will hold the first of the auctions that they have prepared for the commemoration of the 10th anniversary. The lots can be seen on May 28 and 29 between 11 a.m. and 1 p.m. and between 4 p.m. and 7 p.m. at the Jardins de Montserrat gallery, s/n, 08029 auctions@juannaranjo.eu Tel. +34 659 95 66 48 | | | | | | | | The collection we are offering for sale provides a personal vision of Humberto Rivas and María Helguera. It is a collection comprised of images from photographers with whom they have maintained a close relationship. Each photograph is a story in itself, but we can also establish a dialogue between the creator and the collectors; it offers us a visual narrative from which we can trace a thematic and conceptual line with their artistic production. The catalogue offers 58 lots of photographs by authors with whom the collectors have had a relationship. The auction comprises works by Spanish photographers: Gabriel Cualladó, Ricard Terré, Joan Fontcuberta, América Sánchez, Javier Vallhonrat, Manolo Laguillo, Mariano Zuzunaga, Pere Formigera, Ferrán Freixa, Toni Catany, Carlos Cánovas, Chema Madoz, Cristina García Rodero, Fran Herbello, Manuel Sonseca, and Vari Carates. There is also a group of creators from Latin America such as Anatole Saderman, Eduardo Comesaña, Marcelo Brodsky, Marcos López, Facundo de Zuviria, Adriana Lestido, Graciela Iturbide. Photographs by authors of different nationalities like Eva Rubistein, Roberto Salbitani, Henry Lewis, André Jasinski, and Raymonde April. | |
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| | | | lot 61 Charles Clifford, Aldeanos de Palma y sus alrededores, 1860 | | Lidia Ortiz Maqueda Collection | | A photographic vision of 19th century Spain | | | Auction: Thursday 30 May 2024 4pm | | Preview: 28 – 29 May 2024 | | On May 30 at 4 p.m. Juan Naranjo Gallery of Art and Documents will hold the first of the auctions that they have prepared for the commemoration of the 10th anniversary. The lots can be seen on May 28 and 29 between 11 a.m. and 1 p.m. and between 4 p.m. and 7 p.m. at the Jardins de Montserrat gallery, s/n, 08029 auctions@juannaranjo.eu Tel. +34 659 95 66 48 | | | | | | | | The catalogue composed of 91 lots, features important photographers who visited or worked in Spain in the 19th century such as Alphonse De Launay, Pierre Emile Joseph Pecarrere, Francisco de Leygonier y Haubert, Paul Marès, Louis de Clercq, Auguste de Belvedere, Charles Clifford, José Martínez Sánchez, J. Laurent, Charles Mauzaisse, Alphonse Guiard, José Rodrigo, Louis Léon Masson, Edgar Haincque de Saint-Senoch, James Hollingworth Mann, Lévi, Casiano Alguacil, Beauchy, Antoni Esplugas y Puig. Lidia Ortiz's interest in historical images led her to start a collection of 19th-century photography at a time when it was still in the process of being categorized. These circumstances allowed her access to images that generally speaking did not interest collectors of the time. Her interest in contemporary art and the history of photography enabled her to seek out and collect images that went beyond well-known names and those already in collections. Advised by expert Christophe Goeury, Lidia began to take an interest in lesser-known or undervalued photographers who produced high-quality work. | |
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| | | | | | | | Lot 4047 Otto Lilienthal. (Photographer: Alex Krajewski) Otto Lilienthal flying one of his gliding planes near Berlin, Rhinower Berge, Germany, 1893 Vintage collodion paper print Estimate € 7.000 | | Photography from the 19th - 21st Century | | Nobuyoshi Araki » Eugène Atget » Édouard Baldus » Max Baur » Hans Bellmer » Karl Blossfeldt » Brassaï » Adolphe Braun » Kurt Buchwald » Harry Callahan » Henri Cartier-Bresson » Jewgeni Chaldej » Edward S. Curtis » František Drtikol » Harold Edgerton » El Lissitzky » Günther Förg » Arno Fischer » Leonard Freed » Nan Goldin » Charles-Édouard Hocquard » Thomas Hoepker » Ute Mahler » Roger Melis » Roger Melis » Nadar » Kazumasa Ogawa » Jens Rötzsch » Herb Ritts » Gundula Schulze Eldowy » ... | | Bassenge Photography Auction: Wednesday, 5 June, 2024, 3pmErdener Str. 5a, 14193 Berlin Online Catalogue: here Preview: Rankestrasse 24, 10789 Berlin 27 May – 1 June and 3 June, 10am – 6pm and 4 June, 10am – 2pm More information: Jennifer Augustyniak + 49 30 219 97 277 jennifer@bassenge.com or photo@bassenge.com | |
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| | | | | | | | Auktion 1247/Lot 47 Candida Höfer Elbphilharmonie Hamburg Herzog & de Meuron, 2016 C-Print, bündig auf Aludibond aufgezogen 139,5 x 157,5 cm (184 x 201,5 cm Rahmen) Aus einer Auflage von 6 Exemplaren Schätzpreis € 40.000 - 50.000 | | Lempertz – Photography | | Auction 1246 Photography | Tuesday, 4 June, 2024, 2 pm (lots 500 – 682) Online catalogue | PDF catalogue Auction 1247 Evening Sale | Tuesday, 4 June, 2024, 6 pm (lots 1 – 70) Online catalogue | PDF catalogue Auction 1248 Day Sale | Wednesday, 5 June, 2024, 2 pm (lots 300 – 433) Online catalogue | PDF catalogue Preview Thursday, 30 May to Monday, 3 June | weekdays 10 am – 5.30 pm | Sat 10 am – 4 pm | Sun 11 am – 4 pm | |
| | Further information: Dr. Christine Nielsen Tel: +49-(0)221-92 57 29-56 Fax: +49-(0)221-92 57 29-6 photo@lempertz.com | | | | | | | | Auction 1246 Classical Photography A highlight of museum quality is the early interference colour photograph by Dr. Richard Neuhauss from 1901. The Berlin medical doctor and anthropologist was also a pioneer in the exploration of photographic processes. He took up the process developed by the Luxembourg physicist Gabriel Lippmann, presented to the Paris Academy of Sciences in 1894 and named after him, in order to further develop it for his own research purposes. The "self-portrait" from 1901 shows Neuhauss in a checked housecoat, a particularly suitable accessory for his photographic purposes (lot 501, estimate € 6/8000). The transition to classical photography of the first half of the 20th century takes the form of a vintage print of a leaf study: "Silphium Laciniatum (Compass Plant)" by Karl Blossfeldt, in excellent condition (lot 506, € 20/25,000). Alfred Ehrhardt's large-format vintage print "Sandformen, Kurische Nehrung", also in very good condition, is exemplary of his New Objectivity photographs of natural forms and structures in the 1930s (lot 505, € 2500/3000). "Mädchen im Kirmeswagen" by August Sander, here as a print by Gunther Sander, is one of the most sought-after motifs of Sander's opus People of the Twentieth Century (lot 503, € 3500/4000). A series of photographs by Albert Renger-Patzsch - above all his famous "Bäumchen" from 1929 as a large-format vintage print (lot 507, € 40/50,000) - show various facets of his New Objectivity landscape photography of the pre-war and immediate post-war years (lots 510-513, from € 2500/3000 to 3500/4000). Aenne Biermann's youthful portrait of her daughter "Helga", a high-quality vintage print from around 1930 (lot 529, € 8/10,000), is almost iconic for the photography of Neues Sehen (New Vision), whilst "Self-Portrait with Leica" by Ilse Bing from 1931 epitomises the image of the modern woman in the Weimar Republic, here in the form of a later print by Abe Frajndlich (lot 528, € 3/4000). Bauhaus Photography forms a special thematic focus of the auction, with works by various photographers from two private collections. Of particular note are the architectural photographs of Bauhaus buildings by T. Lux Feininger (lots 517/520, € 2000/2500 and 3/4000) and Lucia Moholy (lot 522, € 2500/3000), as well as the latter's subject photographs of Bauhaus designs (lots 521/524, € 1800/2000 and € 4/5000 respectively). The large-format photograph of an anti-war collage "Niemals wieder!" (Never again!) by John Heartfield in the form of a GDR poster design is an impressive period document from 1959, which emerged from various earlier versions from 1930-32 (lot 548, € 2500/3000). The works of Peter Keetman are representative of the contemporaneous West German post-war photography, with eight works on offer, including a "Self-portrait" and the famous "Schallplatte" as a vintage print (lots 560/561, € 1800/2000 and € 2500/3000 respectively). The non-figurative gelatin silver paintings by Chargesheimer, two of which are in the auction (lots 580/581, € 2500/3000 each), form an artistic counterpoint to Keetman's fotoform photography. US American photography of the second half of the 20th century is represented in this catalogue by big names and famous motifs. A piece of scientific photography by Berenice Abbott, for example, is offered in aesthetic perfection: "Van De Graaff Generator, Cambridge/MA" from 1958 as a large-format gelatin silver print (lot 556, € 5/6000). The name Joel Meyerowitz is synonymous with New Colour photography in the USA, represented by a rare vintage contact print of "Red Interior, Provincetown" from 1977 (lot 604, € 3/4000). Robert Mapplethorpe portrayed his favourite model "Phillip Prioleau" in 1979 seated on a pedestal in various positions. The gelatin silver print offered here shows the back view of the artist's muse (lot 597, € 8/10,000). For the photograph "Schiaparelli Jacket with Tinsel and Glass" - here as a platinum-palladium print - Irving Penn created a surrealistic-looking portrait by arranging a figurine and exhibits from an exhibition on haute couture of the 1920s and 1930s at the Metropolitan Museum of Art in New York (lot 606, € 10/15,000). In the humorous double portrait "Lady Bartender at Home with a Souvenir Dog, New Orleans, LA" from 1964, Diane Arbus shows a bartender in her domestic ambience (lot 596, € 12/15,000). | |
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| | | | | | | | 8. Louis-Émile Durandelle Travaux du Nouvel Opéra de Paris, 1861-1875. 232 original negatives (collodion glass plates). | | Photographies | | Manuel Álvarez Bravo » Berenice Abbott » Michael Ackerman » Eugène Atget » Felice Beato » Alphonse Bertillon » Édouart Boubat » Pierre Boucher » René Burri » Harry Callahan » Lucien Clergue » John Coplans » Antoine d'Agata » André Adolphe-Eugène Disdéri » Robert Doisneau » František Drtikol » Louis-Emile Durandelle » Alfred Eisenstaedt » Elliott Erwitt » Gisèle Freund » Lee Friedlander » Nan Goldin » Raoul Hausmann » Horst P. Horst » Frank Horvat » George Hoyningen-Huene » Inez & Vinoodh » Lotte Jacobi » Heinrich Kühn » André Kertész » William Klein » Kimbei Kusakabe » Peter Lindbergh » Robert Mapplethorpe » Richard Misrach » Gordon Parks » Bernard Plossu » Thomas Ruff » Sebastião Salgado » Malick Sidibé » Miroslav Tichý » Weegee » Joel Peter Witkin » Tom Wood » Gyula Zaránd » ... | | Auction: Friday, June 7, 2024 – 2:00 p.m. Public exhibition: At Ader auction house, 3, rue Favart; 75002 Paris Wednesday June 5, 11 a.m. to 6 p.m. Thursday, June 6, 11 a.m. to 6 p.m. Friday, June 7, 11 a.m. to 12 p.m. Specialist: Antoine Romand www.antoineromand.fr Online catalogue: www.ader-paris.fr Live bids: www.drouotonline.com | | |
| | | | | | | | 19th century photographs by : Abdullah Frères | Henry-René d’Allemagne | Eugène Atget | Felice Beato | Paul Marcellin Berthier | Alphonse Bertillon | Thomas Child | Pierre Choumoff | Louis-Jean Delton | Eugène Disdéri | Louis-Émile Durandelle | Giuseppe Enrie | Dmitri Ivanovitch Ermakov | George Robinson Fardon | Kazumasa Ogawa | Kusakabe Kimbei | Lai Afong | Jean-Charles Langlois | Nöel-Marie-Paymal Lerebours | Pierre-Louis Pierson | William Thomas Saunders | Raimund von Stillfried-Rathenitz | Joseph Tairraz | Henry Tournier | Benoît Henri Tyszkiewicz and others Louis-Émile Durandelle, Travaux du Nouvel Opéra de Paris, 1861-1875. 232 original negatives (collodion glass plates). Count Benoit Henri Tyskiewicz Nine albums by the Lithuanian pictorialist photographer containing a previously unpublished set of 857 prints. Modern and contemporary photographs by : Berenice Abbott | Michael Ackerman | Antoine d’Agata | Pierre Auradon | Hugo Bernatzik | Édouard Boubat | Pierre Boucher | Bill Brandt | Brassaï | Manuel Alvarez Bravo | Denis Brihat | René Burri | Harry Callahan | Henri Cartier-Bresson | Yann Charbonnier | Roman Cieslewicz | Lucien Clergue | John Coplans | Louise Dahl-Wolfe | Robert Doisneau | Frantisek Drtikol | Alfred Eisenstaedt | Elliott Erwitt | Gene Fenn | Carlos Freire | Herbert G. French | Gisèle Freund | Lee Friedlander | Francis Giacobetti | Nan Goldin | Stanley Greene | Ernst Haas | Toni Von Haken | Philippe Halsman | Raoul Hausmann | Paul Haviland | Lucien Hervé | Horst P. Horst | Frank Horvat | George Hoyningen-Huene | Ayana Jackson | Lotte Jacobi | Agustín Jimenez | Gertrude Käsebier | Seydou Keita | André Kertész | William Klein | Heinrich Kühn | Inez van Lamsweerde | Peter Lindbergh | Henri Maccheroni | Man Ray | Henri Manuel | Robert Mapplethorpe | Fosco Maraini | Annette Messager | Duane Michals | Richard Misrach | Masao Mochizuki | Carlo Mollino | Sarah Moon | Daido Moriyama | Vik Muniz | Paulo Nozolino | Paul O’Doyé | Terry O’Neill | Orlan | André Ostier | Gordon Parks | Roger Parry | Ian Patrick | Bernard Plossu | Winter Prather | Marc Riboud | Eugene Robert Richee | George Rodger | Willy Ronis | Albert Rudomine,Thomas Ruff | Laurence Sackman | Armando Salas Portugal | Sebastião Salgado | Lise Sarfati | Jan Saudek | Gérard Schlosser | Eberhard Schrammen | George H. Seeley | David Seymour | Malick Sidibé | Jeanloup Sieff | Louis Stettner | Alfred Stieglitz | Dennis Stock | Josef Sudek | Miroslav Tichy | Deborah Turbeville | Pierre de Vallombreuse | André Villers | Alexandre Vitkine | Weegee | Joel Peter Witkin | Tom Wood | Gyula Zarand | René Zuber and others | |
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| | | | | | | | Lot 165 BRUCE DAVIDSON (*1933) Start price: €3.000 'East 100th Street', New York City 1966 Estimate: €5,000 - €6,000 | | OstLicht Photo Auction | | Wednesday, 5 June 2024, 6pm CET | | Werner Bischof » Annie Brigman » Lucien Clergue » Edward S. Curtis » Robert Doisneau » Harold Edgerton » Elliott Erwitt » Trude Fleischmann » Ernst Haas » Frank Horvat » Eikoh Hosoe » Gertrude Käsebier » Heinrich Kühn » André Kertész » Rudolf Koppitz » Madame d'Ora (Dora Kalmus) » Constantine Manos » Will McBride » Arno Rafael Minkkinen » Marc Riboud » Leni Riefenstahl » Jeanloup Sieff » Edward Steichen » Paul Strand » Anton Josef Trčka » Bob Willoughby » ... | | | | | | | | | | The photo auction will start on Wednesday, 5 June 2024 at 6 p.m. CET following the camera auction. As in the two previous auctions from last year, part of the auction consists of the large-format prints from the famous Magnum travelling exhibition "In Our Time", which was shown in Japan around 1990. The Magnum greats Henri Cartier-Bresson, Robert Capa, Werner Bischof, Ernst Haas, Inge Morath, Eliott Erwitt, Bruce Davidson, René Burri, Josef Koudelka, and Sebastião Salgado are represented with icons of contemporary history. "The photo auction is primarily dedicated to classic black-and-white and vintage photography because – unlike in some short-term hyped trends – we see the greatest long-term value in this art segment," says Peter Coeln. Among the classics from the 19th and early 20th centuries are international positions by Edward Steichen, Anton Josef Trčka, Edward Sheriff Curtis, August Sander, André Kertész, Paul Strand, Alfred Eisenstaedt, and Harold Edgerton. The prominent Austrian women photographers of the interwar period are represented with important works by Madame d'Dora, Atelier Manassé, Trude Fleischmann, and Dora Horovitz. Apart from the Magnum photographs, works from 1950 onwards by Weegee, Eikō Hosoe, Günter Brus, Will McBride, Arno Rafael Minkkinen, Joel Meyerowitz, Luigi Ghirri, and Ulay can be purchased at the auction. Again, special thanks go to the independent expert Simone Klein. Simone Klein has been an internationally recognized figure in the world of photography for many years. She was head of photography at Kunsthaus Lempertz for nine years, from 2007 to 2015 she was director of the photographic department at Sotheby’s Europe and led auctions in Paris, London, and New York. From 2015, she was sales director at Magnum Photo. Since 2018, she has been working as an independent appraiser for photography. | |
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| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Photoville 2024 | | over 85 free outdoor photo exhibitions across all five boroughs of NYC | | Sheila Pree Bright » Kendrick Brinson » Kennedi Carter » Nolwen Cifuentes » Ernst Coppejans » Ismail Ferdous » Ed Kashi » Isadora Kosofsky » Isadora Kosofsky » Stacy Kranitz » Pablo Lerma » Justyn Maxon » Felicia Megginson » Ilvy Njiokiktjien » Matthieu Paley » Ahmet Polat » Milette Raats » Eugene Richards » Joseph Rodriguez » Mustafa Saeed » Stacii Samidin » Gregg Segal » Smita Sharma » Humberto Tan » Sara Terry » Sara Terry » Paolo Verzone » Deborah Willis » ... | | 1 – 16 June 2024 | | Opening: Saturday 1 June 2024 | | | | | | | | The annual Photoville Festival is returning to Brooklyn Bridge Park and in all five boroughs of NYC, June 1-16, 2024 ! This year brings a special and outstanding group of artists and programming partners to curate and present 85+ free outdoor photo exhibitions across all five boroughs of NYC . With stories highlighting hope, joy, and compassion, while honoring experiences of adversity and heartbreak, Photoville aims to elevate the power of visual storytelling by fostering empathy and understanding within our communities. Join in celebrating the kick off of this year’s festival, June 1st & 2nd, 2024 for the Opening Weekend Community Celebration in Brooklyn Bridge Park! Enjoy two full days of family-friendly activities, carefully curated photography workshops for professionals and lovers of the craft, engaging tours, and a powerfully captivating night of visual storytelling. And not to mention, free public programming throughout the month of June! | |
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| | | | | | | | | | | | | | | | | | | | | | | | düsseldorf photo+ | | Biennale for Visual and Sonic Media: On Reality | | Jan Albers » Sumi Anjuman » ANT!FOTO » Michel Büchsenmann » Evelyn Bencicova » Toby Binder » Astrid Busch » Aurel Dahlgrün » darktaxa-project » Claudia Fährenkemper » Harun Farocki » Forensic Architecture » Albrecht Fuchs » Geocinema » Philipp Goldbach » Kyriaki Goni » Nicolas Grospierre » Lynn Hershman Leeson » Barbara Kasten » Gudrun Kemsa » Jürgen Klauke » Tomas Kleiner » Friedl Kubelka » Paul Kuimet » Andréas Lang » Jill Magid » Katharina Mayer » Milliones de Maneras » Marge Monko » Clara Mosch » Stefanie Pürschler » Pyrolator » Jon Rafman » Johannes Raimann » Sebastian Riemer » Gabriele Rothemann » Thomas Ruff » Natascha Sadr Haghighian » Martina Sauter » Julia Scher » Berit Schneidereit » Helmut Schweizer » Allan Sekula » Beat Streuli » Katja Stuke » Sophie Thun » Markus Vater » Julius von Bismarck » Sinta Werner » Christoph Westermeier » Sebastian Wulff » Lin Zhipeng » ... | | ... until 14 July 2024 | | 50 participating institutions, galleries and off-spaces | | | | | | | | | 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… | |
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| | | | | | | | | RAY 2024 ECHOES | | 5th International Triennial of Photography | | Mónica Alcázar-Duarte » Jana Bissdorf » Sophie Calle » Maisie Cousins » Joy Gregory » Jesper Just » Lebohang Kganye » Jürgen Klauke » Anton Kusters » Dinu Li » Jyoti Mistry » Diego Moreno » Nicholas Nixon » Mimi Plumb » Johanna Schlegel » Inuuteq Storch » The Anonymous Project / Lee Shulman / Omar Victor Diop » ... | | ... until 1 September 2024 | | | | | | | | 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… | |
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| | | | | | | | | 6. Fotofestival Lenzburg | | Synthesis | | Mattia Balsamini » Raphael Brunk » Markus Bühler » Alan Butler » Cortis & Sonderegger » Luisa Dörr » Federico Estol » Johanna-Maria Fritz » Anja Furrer » Gabriele Galimberti » Maria Giovanna Giugliano » Jana Hartmann » Sabine Hess » Kathrin Linkersdorff » Aurélie Pétrel » Katie Prock » Moira Ricci » Anastasia Samoylova » Paulo Simão » Jansen van Staden » Paolo Woods » Marta Zgierska » ... | | Festival until 23 June 2023 | | | | | | | | A synthesis of numerous topics The exhibitions this year focus on the theme of 'Synthesis' and encourage us to consider the rapid advancements in technology and the overwhelming amount of information that we encounter. In the midst of this diversity, individuals can feel lost, but can also find ways to rediscover themselves and strive for balance. The theme of synthesis is also reflected in the art on display, which explores the permanence and transformation of images. The exhibited artists address various urgent themes, such as light pollution, the intersection of bacteria and art, the love of food, the art of play, and the complexity of human relationships. Through their photographic projects, these artists evoke emotions and inspire reflection on these pressing issues in our society. With over 300 images, 13 locations and 20 indoor and open-air exhibitions, this year's edition of Fotofestival Lenzburg is the most extensive to date. | |
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| | | | | | | | | | | | | | | | | | | FOTOGRAFIA EUROPEA 2024 - XIX edition | | Nature loves to hide | | Lisa Barnard » Marta Bogdańska » Xavi Bou » Gregory Crewdson » Arko Datto » Matteo de Mayda » Paola de Pietri » Paola Di Bello » Karim El Maktafi » Luigi Ghirri » Stefano Graziani » Franco Guerzoni » Silvia Infranco » Antti Karppinen » Jochen Lempert » Armin Linke » Susan Meiselas » Walter Niedermayr » Jo Ractliffe » Silvia Rosi » Natalya Saprunova » Helen Sear » Bruno Serralongue » Michele Sibiloni » Awoiska van der Molen » Yvonne Venegas » Terri Weifenbach » ... | | Reggio Emilia until 9 June 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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| | | | | | | | | | | © Kalina Pulit | | EXPOSED. Torino Foto Festival | | New Landscapes - Turin’s New International Festival of Photography | | Shahidul Alam » Graeme Arnfield » Marwa Arsanios » Mathieu Asselin » Fabio Barile » Botto & Bruno » James Bridle » Robert Capa » Lorenzo Castore » Laura Cinti » Monica de Miranda » Paolo Pellion di Persano » Jan Dibbets » Yasmine Eid-Sabbagh » Luigi Ghirri » Mario Giacomelli » Felix Gonzalez-Torres » Gianfranco Gorgoni » Mishka Henner » Hiền Hoàng » Hiền Hoàng » Larry Johnson » Hiwa K » Lebohang Kganye » Ingar Krauss » Roberto Kusterle » Lena Kuzmich » Sherrie Levine » Armin Linke » Anna Maria Maiolino » Gustav Metzger » Cristina Mittermeier » Tracey Moffatt » Ugo Mulas » Simone C Niquille » Erin O'Keefe » Erwin Olaf » Max Pinckers » Paola Pivi » Kalina Pulit » Tabita Rezaire » Stefania Ricci » Stefania Ricci » Evan Roth » Collier Schorr » Susan Schüppli » Fin Serck-Hanssen » Michele Sibiloni » Gerda Taro » The Otolith Group » Wolfgang Tillmans » Dongkyun Vak » Tomas Van Houtryve » ... | | ... until 2 June 2024 | | the first edition with the title New Landscapes – Nuovi Paesaggi Artistic Directors: Menno Liauw and Salvatore Vitale Over 20 temporary exhibitions in more than 20 venues One programme of events dedicated to photography organized with the city’s main cultural institutions and independent organizations | | | | | | | | EXPOSED is Turin’s new international festival of photography, which every year will bring temporary exhibitions, a specialised fair, educational activities, meetings, artistic commissions and off-site events centered around a theme to the Piedmontese capital in May. Promoted by the City of Turin, the Piedmont Region, the Turin Chamber of Commerce, Intesa Sanpaolo, Fondazione Compagnia di San Paolo and Fondazione per l’Arte Moderna e Contemporanea CRT on behalf of Fondazione CRT and organised by Fondazione per la Cultura Torino, EXPOSED was created to strengthen the deep bond between Turin and photography. The goal is to provoke contemplation regarding the transitional state of photography. Starting from a historical perspective, Exposed seeks to present various approaches, perspectives, narratives, and intersections that showcase the diverse forms the medium takes on. Simultaneously, it aims to inspire, evoke emotions, entertain, and propose new ways of interacting with, interpreting, and appreciating the work of both classic and contemporary artists. Exposed envisions itself as a cutting-edge presence in the international photography panorama, complementing the existing offerings. Therefore, the festival’s artistic direction is focused on an inclusive approach to attract diverse audiences—both local and international—through a diverse program that encompasses different approaches to photography: from classic to contemporary, cross-media, installative and performative. Collaboration and collectivity are key aspects highlighted by the artistic direction, emphasizing the multidisciplinary and kaleidoscopic nature of Exposed. Diverse visions, approaches, ideas, and projects make the festival—and consequently, the city of Turin—an in… | |
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| | | | | | | | | | | | | | From the series Keepers of the Ocean (2019) © Inuuteq Storch The Danish Pavilion: Rise of the Sunken Sun by the artist Inuuteq Storch | | The 60th International Art Exhibition | | Stranieri Ovunque - Foreigners Everywhere | | Claudia Andujar » Iván Argote » Karimah Ashadu » Zanny Begg » Ursula Biemann » Kudzanai Chiurai » Isaac Chong Wai » River Claure » Liz Collins » Miguel Covarrubias » Marcelo Expösito » Simone Forti » Paolo Gasparini » Gabrielle Goliath » Raphael Grisey » Barbara Hammer » Khaled Jarrar » Rindon Johnson » Bouchra Khalili » Kiluanji Kia Henda » Maria Kourkouta » Anna Maria Maiolino » Teresa Margolles » Angela Melitopoulos » Omar Mismar » Sabelo Mlangeni » Tina Modotti » Carlos Motta » Zanele Muholi » Daniela Ortiz » Lydia Ourahmane » Anand Patwardhan » Oliver Ressler » Miguel Angel Rojas » Dean Sameshima » Tejal Shah » Yinka Shonibare MBE » Hito Steyerl » Superflex (Jakob Fenger, Rasmus Nielsen, Bjørnstjerne Christiansen) » Evelyn Taocheng Wang » Nil Yalter » Želimir Zilnik » ... | | 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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