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| PHOTOGRAPHY INTERNATIONAL | | 4 ‐ 11 March 2020 | |
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| | | | | This year’s FotoFest Biennial takes place March 8 ‐ April 19, 2020. FotoFest’s central exhibition, lecture, and film programs for the FotoFest Biennial 2020, AFRICAN COSMOLOGIES – Photography, Time, and the Other, explores artists from the continent and its global diaspora. |
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| | | | | The Armory Show is March 5-8 with 183 exhibitors from 32 countries. But there are many other art fairs throughout New York City this week, including Volta (March 4-8), with 53 international galleries; Independent New York (March 5-8), with 60 galleries; The Clio Art Fair (March 5-8); Art on Paper (March 5-8) , with 100 galleries, and Scope (March 5-8), with 60 exhibitors. |
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| | | Werner Knaupp: Westmaennersinseln, 13.09.2009, Acryl auf Leinwand, 130 x 180 cm | Christof Rehm: furor8, 180 x 140 cm, 2020 | | | Christof Rehm (photography) + Werner Knaupp (painting) | | | | 9 – 29 March 2020 | | | | Opening reception: Sunday 8 March 2020, 11:00 a.m., the artists are present | | | | | | | | | | | | | With "furor" fotodiskurs brings together two artists who are both fascinated by Iceland. At first, however, Werner Knaupp's paintings and Christof Rehm's photographs have little in common.
Werner Knaupp applies acrylic paint layer by layer on canvas with a pasty brushstroke. His palette is limited to black and white, the latter increasingly withdrawing from the paintings. Black rocks and cliffs rise lonely from wildly surging waves. The narrow strip of sky above the horizon becomes smaller and smaller until the viewer sinks into a black sea. Through the reduction in colourfulness and the restriction in the choice of motives, these works exert a force of attraction that draw you into the pictures, as it were. But in the end, their shining blackness prevents the viewer from looking below the surface and only gives an idea of what is pulsing there.
Christof Rehm remains on land with his large-format camera. His black-and-white photographs show a rough landscape of stone and boulders. Beneath all the silent barrenness, one senses a deeper turbulence. Rehm seems to capture the moment just before the thin curtain of visible reality tears forever. But he also denies access to his pictures. The depicted negative edge, blurring and traces of processing such as dust and scratches make it clear: it is a picture on the wall and the viewer remains in his world.
fotodiskurs 12: booklet with literary and visual food for thoughts is released with the opening.
Werner Knaupp studied painting at the Academy of Fine Arts in Nuremberg. In 1977 he took part in documenta 6 in Kassel. From 1986 to 2001 Werner Knaupp taught as a professor of painting at the Academy of Fine Arts in Nuremberg. Since 2004 he has been a memb… | | |
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| | | | | | | | Barbara Klemm: Paris, Louvre, 1987 |
| | | | | | | | Fotografie und Malerei | | | Wed 4 Mar 18:00
5 Mar – 5 Jul 2020 | | | | | |
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| | | Yang Fudong, New Women III, 2013 © Yang Fudong, courtesy Sammlung Wemhöner | | | | | | | | | | | | | ... until 10 May 2020 | | | | | | | | | | | | | | | Performance is an independent art form, and photography is its constant companion. For the first time in Germany, this group exhibition brings together photo sequences whose origins lie in performance art, dance, and other staged events, complemented by a selection of street photography and conceptual photography series. With their common focus on the human body, the images document or interpret performances, which in many cases have also been initiated by the photographers themselves. The close connection between photography and performance, happenings, and action art has existed for many decades and ranges from the Dadaists and Surrealists to Viennese Actionism and the contemporary nude human installations made in the public space by Spencer Tunick. The works of the 13 internationally renowned artists are presented throughout the spaces of the Helmut Newton Foundation as if on multiple stages, where visitors can view images of people who, in the act of performance, seem to slip into dream-like, parallel planes of reality.
A relatively unknown work by Helmut Newton is the series of images he made of the dancers of the Ballet de Monte Carlo starting in the 1980s. Instead of depicting them on the classical stage, he photographed them on the streets of Monaco, on the steps behind the famous casino, near the emergency exit of the theatre building, or in the nude at his own home. Newton reinterpreted with these dancers the compositional idea that came to define his work – Naked and Dressed – and once again addressed the link between exhibitionism and voyeurism.
We encounter a similar theme with Bernd Uhlig and his images of the choreographies by Sasha Waltz, whom he has accompanied wit… | | |
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| | Thomas Wrede
Haus im Gebirge, 2007
C-Print, 120 x 240 cm, Edition: 1/2 AP
© Thomas Wrede, VG Bild-Kunst, Bonn 2019 / Courtesy Wagner + Partner and the artist | | | | | | | | | | | ... until 26 April 2020 | | | | | | | | | | | | | | | What is real and what is fake? What truths do we believe to see? Or is it all just an illusion? These questions have accompanied photography since its beginnings. Today in our contemporary media culture they play a more prominent role than ever before, and they are at the core of this exhibition, which is centered around the theme of "nature" and the imitation of the natural. Replicating a natural form entails different problems than reproducing a human-made form, which is in itself artificial. As true masters of illusion, the artists produce miniatures of imaginary places, seascapes, snow-covered landscapes, mountains, urban spaces, and the forces of nature. It is becoming increasingly difficult to discern the model from the real in photography, which often leaves viewers with the impression of a deceptively real image of nature.
This is exemplified in Sonja Braas' works, in which we are violently confronted with the full dramatic force of catastrophes such as volcanic eruptions, tornados, or floods. Inspiring terror and fear, these natural spectacles are also exceptionally beautiful. Referencing romantic notions of the sublime, her images are best understood as commentaries on the omnipresent flood of images that surrounds us.
Thomas Wrede presents remote, unspecified, and inhospitable landscapes in his photographs. For his works, he selects a segment of a landscape, variable in size, where he places model buildings, miniature vehicles, or small toy trees. The proportions within the image shift, giving rise to a sense of confusion on the part of the viewer.
Julian Charrière works in a similar manner, by transforming piles of earth into monumental mountain panoramas … | | |
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| | | | | | | | Iiu Susiraja, Nakkisämpylä, 2019 |
| | | | | | | | | | | | Wed 4 Mar 18:00
4 Mar – 4 Apr 2020 | | | | | |
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| | | © Ted Witek | | | | | | | | 5 March – 9 April, 2020 | | | | Opening: Thursday, 5 March, 7-9pm | | | | | | | | | | | | | "TED’S PHOTOGRAPHS CAPTURE MANY ELEMENTS OF THE POWER OF FEMININITY, BE THAT ELEGANCE, SENSUALITY, STRENGTH OR EVEN MYSTERY..." Hilda Yasseri, Curator
Ted Witek was born and raised in the United States (Connecticut) and has since lived in Germany, Portugal and Canada. He now resides in Toronto and Lisbon. | | |
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| | | © CNA/Romain Girtgen | | | | | | | UNESCO Memory of the World | | | | | | | | OPEN TO THE PUBLIC AGAIN FROM 1st MARCH! | | | | The Family of Man comprises 503 photographs by 273 artists from 68 countries, and was brought together by Edward Steichen for the New York Museum of Modern Art (MoMA). | | | | | | | | | | | | | Presented for the first time in 1955, the exhibition was meant as a manifesto for peace and the fundamental equality of mankind, expressed through the humanist photography of the post-war years. Images by artists such as Robert Capa, Henri Cartier-Bresson, Dorothea Lange, Robert Doisneau, August Sander and Ansel Adams were staged in a modernist and spectacular manner.
Having toured the globe and been displayed in over 150 museums worldwide, the final, complete version of the exhibition was permanently installed in Clervaux Castle in 1994. Since its creation, The Family of Man has attracted over 10 million visitors and entered the history of photography as a legendary exhibition. In 2003, the collection was inscribed in the UNESCO Memory of the World register.
HISTORICAL SUMMARY1955: exhibition of The Family of Man at the Museum of Modern Art (MoMA), New York 1955-1962: travelling exhibition, seen by 10 million people throughout the world 1964-1966: The US Government donates the last complete version of the travelling exhibition to Luxembourg. Edward Steichen visits his native country and expresses his wish for The Family of Man to be exhibited permanently at Clervaux Castle. 1974-1989: partial exhibition of the photographs at Clervaux Castle 1990s: restoration of the historical photographs 1994 (-2010): establishment of the collection as a permanent exhibition at Clervaux Castle 2003: inscription on the UNESCO Memory of the World register July 2013: reopening following renovation of exhibition rooms and restoration of photographs | | |
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| | Joachim Brohm
L. Mies van der Rohe, Tugendhat House, Brno, Onyx Wall
archivfester Pigmentdruck auf Fine Art Papier, montiert auf Alu-Dibond, 2015, 150 × 180 cm
© Joachim Brohm, VG Bild-Kunst, Bonn | | | | | | | | 6 March – 16 May, 2020 | | | | | | | | | | | | | | | Works by Walter Gropius, Ludwig Mies van der Rohe, Rudolf Schindler, Addenda-Architects, among others, have incited Joachim Brohm to reflect on the metamorphoses of Modernism through the medium of photography.
Works of Modernism are constantly being interpreted, reinterpreted, indeed collected and stored away. Modernist architecture is being renovated, redesigned, torn down, reconstructed. Original functions and purposes are thus being altered, occasionally forgotten, but sometimes even optimised and reinvented. New meanings and perceptions for these – often iconic – objects and buildings, on their passage from the 20th into the 21st century, arise through these processes.
Brohm confronts the enduring enigma of Modernism conceptually with his generation's means – whereby his work with the camera is being prompted and supported by Bauhaus architecture and photography as its historical components. Groundbreaking innovations for the development of photography at the time and today become the transparency for his contemporary examination of the medium.
Artist Talk: 2 April, 7 pm
A talk between Ralph Goertz and Joachim Brohm about the artist's work. – Please register at the following email adress by 30 March: event@beck-eggeling.de
Ralph Goertz is the founder of IKS – Institute for Art Documentation in Düsseldorf. He works as a film producer and curator of contemporary photography. He was responsible for the 2019 exhibition "Two Rivers. Joachim Brohm/Alec Soth" at NRW Forum Düsseldorf.
Works by Joachim Brohm will be… | | |
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| | Peter Weller: Marienhütte bei Eiserfeld/Sieg, 1909-1914
Courtesy Die Photographische Sammlung/SK Stiftung Kultur, Köln
in Zusammenarbeit mit dem Siegerländer Heimat- und Geschichtsverein e. V. | | | | | | | Photographic industrial landscapes, architecture and portraits | | | | 7 March - 20 September 2020 | | | Opening: Friday, 6 March 18:00
Opening hours düsseldorf photo+: Friday, 13 March, 18.00 - 21.00
Saturday, 14 March, 12.00 - 18.00 | Sunda, 15 March, 12.00 - 16.00 | | | | | | | | | | | | | Remarkable pictures and sources of inspiration for Bernd and Hilla Becher are the focus of the presentation and at the same time enter into a dialogue with selected works by the photographer couple. The photographs of Peter Weller (b.1868 in Hommelsberg, d.1940 in Düsseldorf) and August Sander (b.1876 in Herdorf, d.1964 in Cologne) already inspired Bechers in the 1960s. While Peter Weller, who of his own free will was mainly involved in documenting mines and steal works in the Siegerland and Westerwald regions, is comparatively less well-known, August Sander is one of the great names in the history of photography, a personality who is directly associated with his portrait work "People of the 20th Century".
The exhibition shows the correspondences in terms of content and methodology in the work of the three photographic positions. The documentary description of industrial landscapes in the Westerwald and Siegerland is reflected in both Weller's and Bechers' systematic work; even motivic analogies can be illustrated. The serial as well as the typological view of reality also characterizes August Sander's empathetic and analytical portrait photographs. Not only portraits of craftsmen and workers are being shown, but also portraits that were taken in his home region in the Siegerland, such as in the small town of Herdorf, and are largely unknown. | | |
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| | | | | | | Hans-Joachim Petzak: o. T., Fujicolor Crystal Archive Paper Supreme, Auflage 7
© 2020 Hans-Joachim Petzak |
| | | | | | | | Konsumieren. Benutzen. Entsorgen. | | | Sun 8 Mar 11:00
10 Mar – 7 Jun 2020 | | | | | |
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| | | | | | | | Geert Goiris: Mirror, 2015 |
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| | | | | | | Karl Lagerfeld
Suite 3906
Fendi Herbst/Winter 2010/11
© Karl Lagerfeld |
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| | | | | | | Jean-Luc Mylayne
N° 524, Février Mars Avril, 2007
228 × 183 cm
Collection Mylène et Jean-Luc Mylayne
© Jean-Luc Mylayne
Courtesy Gladstone Gallery, New York, Brüssel;
Sprüth Magers, Berlin, London, Los Angeles |
| | | | | | | | | | | | Thu 5 Mar 19:00
6 Mar – 17 May 2020 | | | | | |
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| | | | | | | | | | | | | | Sat 7 Mar 19:00
7 Mar – 30 Apr 2020 | | | | | |
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| | | Cao Fei, Nova, 2019, Video, 109’. Courtesy the artist, Vitamin Creative Space and Sprüth Magers | | | | | | | | 4 March – 17 May 2020 | | | | | | | | | | | | | | | | Cao Fei is a multi-media artist and filmmaker based in Beijing. Video, digital media, photography and objects all play a role in the artist's engagement with an age of rapid technological development. The Serpentine Galleries exhibition will bring together new and existing works in an immersive, site-specific installation, expanding the themes of automation, virtuality and technology that Cao Fei continuously draws upon. | | |
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| | | © Karolina Markiewicz and Pascal Piron | | | | | | | | PFH* PUTAIN DE FACTEUR HUMAIN | | | | 7 March – 17 May 2020 | | | | Opening: Saturday 7 March 11:30 | | | | | | | | | | | | | PFH* PUTAIN DE FACTEUR HUMAIN - PRÉCIEUX FACTEUR HUMAIN by the duo Markiewicz & Piron – theatre of disorder with mythical, intellectual, social political and formal confrontations articulated by two women, two goddesses, confronting gorgons - a contemporary new myth.
Karolina Markiewicz and Pascal Piron continue their work on human beings and history. We enter a theatre-cinema hybrid made up of paintings, projections, writings, and reworked documentary images, but also synthetic images and a virtual reality experience, created in collaboration with Gil Pinheiro. Everything is punctuated by a multilingual soundtrack, written by the duo and interpreted by Elisabet Johannesdottir and Amandine Truffy. The music is composed by Kevin Muhlen accompanied by Ásta Sigurðardóttir’s voice. The central character is Yuko Kominami, modeled and duplicated.
According to astrophysicist Hubert Reeves, pfh is what they call putain de facteur humain in Quebec, fucking human factor. A single human being can change history to the worst when they look away from major issues, or to the better, when they recognise the precious things around them and confront human and terrestrial issues, guided by an overload of images, sounds and words. The show offers a certain distance.
pfh* has several extensions: a performance with Yuko Kominami and Kevin Muhlen, a publication and conferences, among others in collaboration with Tate Modern. | | |
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| | La Bête / La Bête, un conte moderne
© Yasmina Benabderrahmane / ADAGP, Paris, 2020 | | | | | | | | ... until 12 April 2020 | | | | | | | | | | | | | Yasmina Benabderrahmane is the winner of the LE BAL AWARD FOR YOUNG CREATION WITH THE ADAGP 2019. The purpose of this prize is to accompany for two years the realisation of a creative project that falls within the broad spectrum of the image-documentary, fixed and moving, questioning our human experience. La Bête, A modern Tale by Yasmina Benabderrahmane will be installed at LE BAL from January 15th to April 12th, 2020. A book co-published by MACK and LE BAL accompanies the exhibition.
This is a story between two shores: yesterday’s Morocco, with raw materials at ground and body level, and today’s Morocco, in concrete and rock. Since 2012, Yasmina Benabderrahmane has been travelling across the sand dunes and plains of her native country, which after fourteen years of absence she attemps to reclaim through a visual language.
In the Bouregreg Valley, a few kilometres from Rabat, a new cultural centre, theatre and archaeological museum are being built, a colossal project instigated by the King that resembles a crouching beast, a figure of modernity eating away at the landscape and gradually altering the physiognomy of an ancestral country. The “Beast” does not sleep, it expands, snores, and settles into the landscape, growing larger day after day, imposing its shell-like architecture.
Further on, lie the rough, deserted, bare plains of Chichaoua, in the Atlas Moutains where traditions are passed on from one generation to another in dead calm villages, and where tales told in soft voices bring families together during the celebration of Eid Al-Adha.
"I aspire to show what we don't see and to divert what we do see. " — YASMINA BENABDERRAHMANE | | |
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| | | | | | | Dinesh Boaz
Burners, South Beach, Miami, 2019
from the series: Within the Lines
Archival inkjet print
30" x 45", 40" x 60", 48" x 72" |
| | | | | | | | | | | | Ellen Cantor » | | | | | | | | | | | | | | | Sat 7 Mar 17:00
7 Mar – 18 Apr 2020 | | | | | |
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| | | Baltensperger + Siepert: from "No Real Body", 2020 © Baltensperger + Siepert | | | SITUATIONS / The Right to Look | | | | | | | 29 February – 1 June 2020 | | | | | | | | | | | | | Fotomuseum Winterthur presents the newest cluster The Right to Look as part of its ongoing exhibition format SITUATIONS. The artistic positions by examine the diversity and ambiguity of the various gazes that encounter each other in the photographic image.
The act of seeing is multi-layered: it not only covers visual perception but also includes the processes by which things are made visible and defined and objectified through the gaze of others. In the context of networked, algorithmic image practices, SITUATIONS/The Right to Look reflects on the diversity and ambiguity of the various gazes that encounter each other in the photographic image – in the convergence of technical specifications, interventions by photographers, cultural filters and viewer reception. The increasing globalisation, digitisation and commercialisation of our visual culture have also intensified the potency of the gaze; our modes of looking are interlocked in a complex way, obliging us to address questions of hegemony. Whose interests and what identities and social realities are inscribed in photographic images via the gaze? And who has the right to look (away)?
SITUATION #195: Baltensperger + Siepert (Stefan Baltensperger, David Siepert, Uwe Lützen) in cooperation with Soe Arkar Htun & Sai Naw Kham, Victoria Akujobi & Bunmi Ajakaiye, and Rushdi Al-Sarraj & Ahmed Hassouna, No Real Body – The Fiction of a Singular Identity, 2020
How would your life have evolved if you had grown up in a different place, influenced by completely different social and political realities? This question is at the heart of the latest work of Baltensperger + Siepert. Taking the duo’s everyday working life as a st… | | |
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| | | | | | | | | | | | | | Thu 5 Mar 11:00
6 – 8 Mar 2020 | | | | | |
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| | AIDA MULUNEH
Access, Addis Ababa, Ethiopia
From the series Water Life, 2018
Commissioned by Water Aid, 2018
Courtesy of the artist and Water Aid | | | | | | | AFRICAN COSMOLOGIES—Photography, Time, and the Other | | | | | | | | 7 March – 19 April 2020 | | | Grand Opening Reception: Saturday, March 7, 8-11pm
Silver Street Studios, 2000 Edwards Street, Houston, TX 77007 | | | | | | | | | | | | | Curated by Mark Sealy MBE, Director of the renowned London-based photographic art institution Autograph ABP, African Cosmologies is a large-scale group exhibition that examines the complex relationships between contemporary life in Africa, the African diaspora, and global histories of colonialism, photography, and rights and representation. The exhibition considers the history of photography as one closely tied to a colonial project and Western image production, highlighting artists who confront and challenge this shortsighted, albeit canonized lineage.
Taking its cues from John Coltrane’s avant-garde jazz oeuvre, wherein formal modernisms of the past are made complex by radical imagination and black-futurity, this presentation of diverse ideas, artistic approaches, and material histories proposes a “cosmological exploration” of Africa and the African diaspora — one that defies easy categorization and spatial and temporal boundaries. Succinctly, it explores the very notions of Africa and Africanness beyond traditional geographic and historical lines.
The Biennial artists turn an eye to social, cultural, and political conditions that inform and influence concepts of representation as they pertain to image production and circulation within Africa and beyond. These artists question the ways in which subjectivity is constructed and deconstructed by the camera, and in the process, reveal legacies of resistance by those who defy traditional ideas of sexual, racial, gender-based, and other marginalized identities. | | |
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| | | | | | The Henie Onstad Triennial for Photography and New Media | | | | | | | – 16 May 2020 | | | | | |
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| | | | | | The Lives and Loves of Images | | | | | | | – 26 Apr 2020 | | | | | |
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| | | | | | Every Step in the Right Direction | | | | | | | – 22 Mar 2020 | | | | | |
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© 4 March 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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