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| PHOTOGRAPHY INTERNATIONAL | | 7 - 14 October 2020 | |
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| | Photo London presents an international photography fair online, Photo London Digital, with 109 exhibitors from 21 countries running until 18 October 2020. |
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| | Haute Auctions is the new destination for international collectors to buy and sell important twentieth-century and contemporary photographs and editions. Start bidding from September 30. Live auction will be held on October 13th through Invaluable.com |
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| | Justin Dingwall, NOSTOS II, 2019
Giclée print on 100% cotton fine art paper
A1 (84,1 cm x 59,4 cm), A0 (118,9 cm x 84,1 cm)
Edition of 10 plus 2 artist's proofs | William Ropp, PARIS, 2012
Fine Art Print
57,5 cm x 41,2 cm
Edition of 10 |
| | | | | | | Contemporary Portrait Photography | | | | | | | | ... until 31 October 2020 | | | | | | | | | | | | | ARTCO Gallery in Aachen presents photographic works by four internationally renowned artists who interpret the subject of portraiture in a very individual way.
Justin Dingwall, born 1983 in Johannesburg, South Africa, is one of the most successful portrait photographers in his country. Dingwall wants his works to celebrate another beauty. The unique and different finds his special interest. "I want my work to speak for itself and for people who interpret it in their own way. I want people to be touched by my paintings... As long as someone feels something, I have achieved my goal. The exhibition features works from various series, including "Fly by Night" and, most recently, "Beautiful Terrible".
Toyin Loye was born in Nigeria in 1959 and studied fine arts at Obafemi Awolowo University in Ile Ife. His works have been shown in solo and group exhibitions on all continents. He lives and works in The Hague, Netherlands. The works shown here focus on the transfer of ancient rituals of African peoples to the present day. The signs carved into the skin served the Yoruba as a means of social identification of the tribe or family. Loye's concern is to convey the significance of dying practices and to relate them to today's ideals of beauty.
William Ropp, born in 1960 in Versailles, France, is an internationally successful photographer who is also known as the "shadow sculptor" because of his special style. He often places his models in complete darkness and then uses extremely long exposure times. With an old flash light he creates a partly mystical looking illumination. In his photographs, Ropp wants to capture that which the people he portrays do not carry out into the world, that which normally remains hidden. Especially his portraits of children are impressive proof of this.
Imraan Christian, 1992 born in Cape Town, is a young South African photographer and filmmaker. He is an artist and activist at the same time and describes himself as "son of the soil". In recent years he has worked on projects with UNICEF, CNN, BBC world services, Nike and Vogue Italia, among others. Christian gained international recognition with his documentary about the student riots in South Africa in 2015/16. The exhibition will present works from his new series "Crown". In these photographs, it was his intention to honour their common ancestors and their connection to the cosmos. Drawings from different indigenous cultures show that during a ritual the skin was darkened with pigments to embody the dark depth of the cosmos. | | |
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| | Helmut Newton
Oui Magazine, Las Vegas, 1975
© Helmut Newton Estate | | | America 1970s/80s | | | | | | | 9 October 2020 – 16 May 2021 | | | | Unfortunately, there is NO opening this time. | | | | | | | | | | | | | After taking a full-time position with the French edition of Vogue in 1961, Helmut Newton worked in parallel for the fashion magazine’s American edition as well. During this time, he produced images in both Europe and the USA. In New York, Newton delivered his photographs directly to Alexander Liberman, who was the editorial director of American Vogue from the 1960s to the 1990s – not to mention a successful painter, sculptor, and photographer himself. Newton liked the United States and the sense of freedom it offered, and he regularly commuted between the Old and New Worlds. In the 1970s, most of Newton’s American fashion and nude photographs were shot in New York, Las Vegas, Miami, and Los Angeles for various magazines; Newton included some of these in his second photography book, Sleepless Nights (1978). After 1980, when Helmut and June Newton began traveling regularly to Los Angeles to spend the winter months at Chateau Marmont, he made numerous portraits of the "famous and infamous" in and around Hollywood for magazines such as Egoïste, Interview, Vanity Fair, and New Yorker, as well as some nudes for Playboy. The images presented in this exhibition clearly show how Newton’s pictorial language changed during his time in the USA and that portraiture became increasingly important for him.
The portraits taken by Joel Meyerowitz in Provincetown, Massachusetts, were made around the same time as the Newton images presented. Every summer in the late 1970s and early 1980s, Meyerowitz retreated from New York City to the idyllic former fishing village of Provincetown. With his large-format camera he captured images of like-minded free spi… | | |
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| | | | | | | | Andreas Mühe: Biorobot IV © VG Bild-Kunst Bonn 2020 |
| | | | | | | | | | | | Thu 8 Oct 19:00
9 Oct 2020 – 6 Jan 2021 | | | | | |
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| | | | | | | Michael Wesely
Potsdamer Platz, Berlin (27. 3. 1997 – 13. 12. 1998) |
| | | | | | | | | | | | Fri 9 Oct 12:00
10 Oct – 13 Dec 2020 | | | | | |
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| | | Berlin, 2.10.1990, Potsdamer Platz © Regina Schmeken | | | | | | | | 14 October – 5 February 2021 | | | Opening: Wednesday, 14 October 6.30 pm in presence of Regina Schmeken (with registration only)
Artist Talk: Thursday, 15 October 6.30 pm with Dr. Kristina Lowis and Regina Schmeken (with registration only) | | | | | | | | | | | | | The exhibition "Black is White" presents figures and forms from various scenes. The selection from the past 40 years, curated by Luise Holke and the artist herself, invites the visitor to discover the art of comment through photography and Schmeken’s particular view. Precise observations, pictures meant to grow into historical monuments over time: from the fall of the Berlin wall via all but abstract athletic bodies in movement to an impressive portrait of Greta Thunberg behind a fence that seems to keep her and her generation from taking over. Schmekens subjective seizure of the moment sharpens the viewer’s perception in an ever moving, fleeting world.
Regina Schmeken (*1955) works with photography as an artistic medium since 1976. For her early works she received the Prix de la Critique of the Rencontres Internationales de la Photographie in Arles in 1978. First acquisitions were made by the Bibliothèque Nationale de France in Paris and the Museum of Modern Art in New York. Schmeken‘s works have been shown in exhibitions since the beginning of the 1980s. Recently, her large format series about the crime scenes of the NSU received much attention. She works for the Süddeutsche Zeitung since 1986.
The works on show in Bordeaux are drawn from various series: on the German unification era 1989/90, motion studies (dance, soccer, pole vault, fencing) and political personalities and events. Regina Schmeken lives and works in Berlin.
More information: www.reginaschmeken.com | | |
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| | | | | | | Albrecht Fuchs, Isa Genzken, Berlin 2003
© Albrecht Fuchs und VG Bild-Kunst, Bonn 2020 |
| | | | | | | | Portraits 1989-2020 | | | Fri 9 Oct 16:00
10 Oct – 6 Dec 2020 | | | | | |
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| | | WHITE NIGHT, Le Caire, Egypte 2001 © Gilles Coulon / Tendance Floue | | | | | | | | ... until 9 April 2021 | | | | | | | | | | | | | Light is a global phenomenon. In its natural cycle, it is subject to the laws of a rhythmic iteration, but in an artificial context, it defies all laws.
In contrast to its natural counterpart, industrial light is a convenient and easily controlled source of illumination. The subtle differences in intensity and rich colours observable during the authentic transition from day to night are missing in the human-created scenario. Think of a universally applicable system presented in a linear form: the neon tube.
The fluorescent tube has become for Gilles Coulon the centre of his photographic series. Starting in the year 2000, he has been on a global journey to analyse its visual effects.
Neon light conveys its own symbolism. It illuminates transitory and purely functional spaces and distinguishes them as such. The characteristic light defines the mood of a place. The resulting atmosphere seems both lyrical and starkly monotonous. The premises – waiting rooms, supermarkets, train platforms or bus stations – appear impersonal.
While the neon gas can effectively light up every décor, its effect is not illuminating. Gilles Coulon shows the object in all its superfluous splendour and unexpected charm. “White Night” banishes the darkness and snatches the stars out of the nightly sky. Can neon lights inspire humans as the moonlight used to do before it had to cede the scene? | | |
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| | | | | | | | Flagged Down, ©Patty Carroll |
| | | | Photographs by 100+ Women in Response to the 19th Amendment | | | | | | | Sat 10 Oct 16:00
9 Oct – 21 Nov 2020 | | | | | |
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| | | Installation view: Frank Mädler "Lob und Landschaft" 2020 | | | | | | | | ... until 17 October 2020 | | | | | | | | | | | | | In his latest, mostly large-format works, Frank Mädler dedicates himself to surface and color. In camera-less photographs, he creates landscapes ("Felder") that deal with the process of reduction and simplification. Frank Mädler also continues his work with photograms ("Frauengruppen"). Color and the theme of memory play a central role in his new body of work, "Umgebungsbilder".
Frank Mädler's ceramic objects not only add interesting facets to his photographic practice, they are an integral part of the work of this versatile artist.
Born in Torgelow, Germany, in 1963, Frank Mädler studied at the Academy of Visual Arts in Leipzig, Germany, under the direction of renowned artist Astrid Klein. In 2004, he won a scholarship to the German Academy in Rome at the Villa Massimo, an esteemed German prize for a visual artist. In 2007, Mädler graduated with his Masters in Fine Art from the Academy of Visual Arts in Leipzig, Germany, where he lives and works today.
His work hangs in public and private collections, including the American Bank Collection, USA, the Art Gallery of Ontario, Toronto, the Antoine de Galbert Foundation in Paris, the Mulder Foundation in Lima, Peru, the Kunstforum Ostdeutsche Galerie in Regensburg, Germany, the DZ BANK Kunstsammlung, Frankfurt, Germany, Art Collection Telekom, Berlin, and the Staatliche Kunstsammlungen in Dresden, Germany.
Frank Mädler has published various monographs and books and has been written about by several curators, scholars and critics, including Martina Padberg, Tanja Dückers, Charlotte Gutmann, Maximillian Keller, Lily Koshitavshvili, Christina Leber, Agnes Matthias, Katharina Menzel, and Insa Wilke. | | |
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| | | | | | | Seiichi Furuya, Ohne Titel, aus: "Mémoires", 2012
Dia-Installation, 4 Projektionen mit je 80 Einzelbildern
Sammlung Niedersächsische Sparkassenstiftung
im Sprengel Museum Hannover, © Seiichi Furuya |
| | | | Aus der Sammlung Niedersächsische Sparkassenstiftung | | | | | | | 14 Oct 2020 – 3 Jan 2021 | | | | | |
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| | | Roger Ballen: Cat Catcher, 1998 © Roger Ballen | | | THE PLACE OF THE MIND | | | | Roger Ballen » RETROSPECTIVE | | | | 14 October 2020 – 14 February 2021 | | | | | | | | | | | | | Roger Ballen’s errily beautiful photographs are populated by outsiders, animals, and enigmatic objects. With his photographic stagings, which create a strange and perplexing atmosphere, Roger Ballen dives into the abysmal depths of the human psyche. Born in New York in 1950, Roger Ballen is one of the most important and influential international art photographers of today. For more than 40 years, he has been living and working in Johannesburg, South Africa. With his both fascinating and unsettling work, he occupies a unique position in contemporary photography, situated somewhere between documentation and fiction.
At the Francisco Carolinum, the OÖLKG presents the first comprehensive museum solo exhibition of the renowned photographic artist in Austria. The show features works from all of the artist's important series and creative periods: from his early work in the late 1960s which was influenced by photojournalism, to his multi-faceted film oeuvre to current colour photographs. In addition to his photographs, the museum will be showing many of his well known films including his very most recent production Roger the Rat.
Roger Ballen became internationally known with disconcerting photo-documentary works showing underprivileged whites and their precarious living conditions during apartheid. With his unsparing eye for the banal and grotesque, Roger Ballen portrayed the inhabitants and architecture of barren rural communities in South Africa in the 1980s and early 1990s without any socially critical or voyeuristic attitude. While he continued to place outsiders and those on the fringe of society at the centre of his pictures, staging and psychologizing became more and more important in later series of Roger Ballen’s work. In fo… | | |
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| | | Ogony Boy. 2007 © George Osodi | | | | | | | A New Exhibition of Social Documentary and Portrait Photography | | | | | | | | 7 October – 1 November 2020 | | | | | | | | | | | | | Face to Face is a free, public exhibition of social documentary and portrait photography, curated by Ekow Eshun, in partnership with the Fund for Global Human Rights. The exhibition will take place from 7th October to 1st November 2020 at Kings Cross Tunnel, London.
Featuring the work of emerging international artists: Alejandro Cartagena, Margaret Courtney-Clarke, Medina Dugger, Mahtab Hussain, Dhruv Malhotra, Sabelo Mlangeni, George Osodi, and Kyle Weeks.
For more than 18 years, the Fund for Global Human Rights (the Fund) has catalysed the work of courageous grassroots activists across the globe. Through equipping these bold local leaders with the funding, tools and contacts they need to create transformational change, the Fund has helped millions of people lead lives of dignity with access to basic resources and their fundamental rights.
Face to Face, a new exhibition curated by Ekow Eshun, gathers social documentary and portrait photography from regions where the Fund is active—Africa, Latin America, South Asia, and Southeast Asia—presenting encounters that celebrate the agency, energy, and potential of people and causes on the ground.
In working closely with individuals and local communities, the approach of the selected photographers in Face t… | | |
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| | | | | | | | | | | | | Inuit photographies 1910-1930 | | 14 Oct 2020 – 23 Jan 2021 | | | | | | | |
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| | | | | | | | Venus, Lorenzo Triburgo, 2020 |
| | | | | | | | with Sarah Van Dyck | | | 7 Oct – 4 Nov 2020 | | | | | |
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| | | © Laura Stevens / Galerie Miranda | | | | | | | | ... until 31 October 2020 | | | | | | | | | | | | | Galerie Miranda is delighted to present a solo exhibition of photographs by English artist Laura Stevens (b. 1977), on the subject of the male nude.
In the ongoing battle against the objectification of the female body and the gender stereotypes that have entrapped women for centuries, several major exhibitions in the last decade have brought their focus to representations of the male body. In 2013 the Musée d'Orsay in Paris considered the history of the male nude in art, from the classical ideal to the realism of Schiele and the homoerotic of Pierre et Gilles. In January 2020, against the backdrop of the #metoo movement and the conviction of Harvey Weinstein, the Barbican museum in London organized the exhibition 'Masculinities: Liberation through photography'. Extensively researched, these exhibitions considered the array of stereotypes that have defined men's identity over the centuries but also allowed it to evolve. The Barbican exhibition presented critical points of view by 55 major artists, of which 16 were women (Rineke Dijkstra, Karen Knorr, Catherine Opie, Annette Messager...) who each explore specific masculine stereotypes.
In contrast, Laura Stevens' photographs of men are devoid of judgement or caricature. In a quest for a personal vision of masculine beauty, Stevens photographs the bodies of men of different ages with a gaze that is observant, curious, open and sensual yet not sexualized. Stevens is interested in the lines and forms created by the men's poses, finding beauty and humanity in each unique body, irrespective of their proportions. Thus exposed, the men are simultaneously virile and vulnerable; muscled and gracile; confident and shy. With great simplicity and a soft photographic pa… | | |
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| | Didier Goupy, série "Fondations"
Le saule rieur du Fief Champêtre, Fontenoy, Aisne, France, mars 2019
Tirage pigmentaire, 60 x 90 cm, Édition de 3
© Didier Goupy, courtesy Galerie Esther Woerdehoff | | | | | | | | | | | 14 — 31 October 2020 | | | | Opening reception: Wednesday 14 October 18:00 | | | | | | | | | | | | | | |
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| | | Isaac Julien, The North Star (Lessons of the Hour), 2019, framed photograph on gloss inkjet paper mounted on aluminum, 63 x 84 in. Courtesy of the artist and Jessica Silverman Gallery, San Francisco; Metro Pictures, New York; Victoria Miro, London/Venice | | | | | | | | 14 October 2020 – 13 March 2021 | | | | Opening reception: Thursday 15 October 12:00pm | | | | | | | | | | | | | Lessons of the Hour is a ten-screen film installation and photography exhibition by Isaac Julien, CBE RA, thatexplores the life of the visionary African American writer, abolitionist, statesman, and freed slave Frederick Douglass. Incorporating excerpts from Douglass’ speeches and dramatizations of his private and public milieus, the centerpiece of the exhibition, Lessons of the Hour — Frederick Douglass (2019) offers a contemplative, poetic journey into Douglass’ zeitgeist and a forceful suggestion that the lessons of the abolitionist’s hour have yet to be learned.
Frederick Douglass (1818–1895) is a pivotal figure in the history of abolitionism and social reform in the United States who delivered anti-slavery campaigns across the northern United States and the United Kingdom. He was active in the women’s suffrage movement and published three autobiographies which continue to wield cultural influence. The most photographed man of the nineteenth-century, Douglass was a prominent proponent of the medium as a means by which Black people could control their likenesses beyond caricature.
Lessons’ narrative unfolds across multiple screens of different sizes, hung salon-style, to create what Julien describes as a “horizontal montage.” The presentation not only echoes the picture-hanging conventions of the era but allows the artist to draw connections between many images at once without relegating any particular detail to the background. Julien filmed Lessons at sites that hold historical significance to the abolitionist’s life, including The Frederick Douglass National Historic Site in Washington, DC, where he lived later in his life, and in the United Kingdom, where Douglass delivered … | | |
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| | | Maciej Dakowicz, Ohne Titel, 2007, aus der Serie: Cardiff After Dark, 2005-2011 © Maciej Dakowicz | | | Street. Life. Photography. | | | | Seven Decades of Street Photography | | | | | | | ... until 10 January 2021 | | | | | | | | | | | | | Fleeting encounters in the streets of international metropolises, calm suburban scenes, thriving thoroughfares, quirky everyday settings – street photography presents the diversity of our urban spaces and the people who live in them. The exhibition "Street. Life. Photography" offers a range of very different perspectives on city life and ways ofphotographing the street.
Street photography depicts public life in metropolitan centres. It shows everyday scenes and escapades, commerce and individuality, comedy and tragedy, political engagement and social change. It portrays single people who seem to merge into the crowds, creating a sense of both proximity and distance. The diversity of urban spaces and their inherent dynamism have always offered countless opportunities for photographers to capture the city’s spectacle and drama.
The exhibition "Street. Life. Photography. Seven Decades of Street Photography" presents around 220 works by thirty-seven international photographers made over the last seventy years. These works present a variety of different perspectives on urban life, while also showcasing the art of taking photographs on the street and in the city. How have photographers viewed the city and its inhabitants both now and in the past? To what extent is our understanding of public and private space and our relationship to our urban environment reflected in their works? How have views of the city – and thus also the genre of street photography – changed over the course of time?
In this exhibition, international contemporary photographers like Maciej Dakowicz, Loredana Nemes, Jenny Odell and Harri Pälviranta are contrasted with historical positions such as those of Diane Arbus, Lee Friedlan… | | |
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| | | Photo: Phroom Agency | | | 10th Edition MIA Fair 2021 | | | | 25 – 28 March, 2021 | NEW LOCATION: SUPERSTUDIO MAXI MILAN | | | | APPLICATIONS OPEN till November 15th, 2020 | | | For applications please contact application@miafair.it
phone +39 02 83241412
www.miafair.it | | | | | | | | | | | | | MIA Milan Image Art Fair, the international photography art fair of Italy, will stage its 10th edition in Milan from Thursday, March 25th to Sunday, March 28th, 2021 at the new location of SUPERSTUDIO MAXI. The VIP opening will take place on Wednesday, March 24th.
MIA Fair is currently accepting applications for the Main Section and for the new MIA&D Section from galleries presenting curatorial projects.
The deadline for applications is November 15th, 2020.
For applications please contact application@miafair.it or phone +39 02 83241412.
For the tenth anniversary we launch an important news: MIA Fair moves to SUPERSTUDIO MAXI which allows us to nearly double the available space. The new venue, with a size of 7,500 m², will facilitate the respect of social distancing anti-Covid rules, without causing particular inconvenience to the event experience. | | |
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| | Thomas Struth
Stanze di Raffaello 2, Roma, 1990
Chromogenic print under plexiglass 2008
125 x 172 cm (175.5 x 221.5 cm)
From an edition of 10
Est. 80/100,000 EUR | | | Lempertz - Photography | | | | Invitation to Consign - Appraisal Days | | | New York (by appointment)
Brussels 22/23 September
Paris 24/25 September
Amsterdam (by appointment)
London (by appointment)
Auction 1161 Photography | Friday, 1 Dec 2020
Auction 1162 Evening Sale | Friday, 1 Dec 2020
Auction 1163 Day Sale | Saturday, 2 Dec 2020
Consignments are welcome until end of September.
Please do not hesitate to contact us for a non-binding estimation of your photography as well as for any questions concerning the auction. | | | | | | | | | | | | |
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| | | | | | | | | | | | | | Thu 8 Oct 15:00
8 Oct – 28 Dec 2020 | | | | | |
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| | Michael Wesely: Women's march, Berlin (12.27 - 12.39 Uhr, 21.1.2017), 2017 © Michael Wesely
from the exhibition MODERNISM'S DIVERSITY. 100 YEARS GREATER BERLIN at HAUS AM KLEISTPARK | | | EMOP BERLIN — EUROPEAN MONTH OF PHOTOGRAPHY | | | | 500 artists in more than 100 Berlin-based institutions | | | | | | | October 2020 | | | | | | | | | | | | | The 9th edition of EMOP Berlin — European Month of Photography will take place from 1—31 October 2020. More than 100 Berlin museums, galleries, cultural institutions, embassies, alternative art spaces, project spaces, and photography schools will offer a wide range of exhibitions and events showcasing the beloved and celebrated medium in all its diversity. This year’s main theme is Europe — Identity, Crisis, Future. Further topics such as 30 years of German reunification and 100 years of Greater Berlin, as well as classical genres such as portrait, architectural, and fashion photography will also be represented.
Thanks to its decentralized program with numerous partner institutions and parallel exhibitions, EMOP Berlin can take place in autumn regardless of any possible restrictions due to the coronavirus pandemic. Suitable measures regarding entrances and other hygiene requirements will be taken in response to the situation as needed.
In 2016 and 2018, the EMOP Opening Days were held at C/O Berlin Foundation in Amerika Haus to kick off the festival. This year, Kulturprojekte Berlin is working together with Akademie der Künste; the EMOP Opening Days will take place from 1—4 October at Pariser Platz. Under the main theme of Photography between Art, Politics, and Mass Media, an extensive program with internationally renowned photographers, curators, media experts, and journalists will be offered. Panel discussions, artist talks, discursive events, a film program, and guided tours of the exhibition by the photographers of OSTKREUZ will mark the beginning of this year’s Month of Photography.
At the end of March 2020, 110 projects were selected for participation by this year’s jury, consisting of Thomas Licek (former Managing Director of Eyes On, Vienna), Barbara Esch Marowski (Director, Haus am Kleistpark), Annette Hauschild (photographer, OSTKREUZ — Agentur der Fotografen), Dr. Susanne Holschbach (art and media scholar, lecturer, Neue Schule für Fotografie), and Dr. Christiane Stahl (Director, Alfred Ehrhardt Foundation). Excerpt from the Jury 2020 statement: “The 9th edition of the festival in Berlin will once again showcase photographic gems and offer an exciting and aesthetically sophisticated examination of photography that is sure to bring this multifaceted medium closer to thousands of visitors.” | | |
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| | | © Sergey Maximishin / Festival La Gacilly-Baden Photo 2020 / Fotomontage | | | Festival La Gacilly-Baden Photo 2020 | | | | All Eyes East | | | | | | Baden bei Wien: The festival will take place
14 July (French National Holiday)
to 26 October 2020 (Austrian National Holiday).
festival-lagacilly-baden.photo | |
| | | | | | | | | | | | | FESTIVAL LA GACILLY-BADEN PHOTO 2020
The festival will take place 14 July (French National Holiday) to 26 October 2020 (Austrian National Holiday).
The festival is entering its third year and it has become a communicator of topics with a strong humanistic orientation showcasing the various aspects of the relationships between people and their environment.
The festival extends over a length of 7 kilometers – divided into a "garden route" and a "town route", starting from the visitor center on Brusattiplatz. Integrated into the public space, there are about 2,000 photographs to be seen, some as large as up to 280m2.
It is the largest outdoor photography festival in Europe, visited by 266,751 visitors in 2019. Entry is free.
NEVER GIVE UP! – This is the motto 2020, which combines the work of the photographers of the Festival La Gacilly-Baden Photo in two impressive themes: "All Eyes East" and "Renaissance".
Renaissance or rebirth – stands for the commitment and awareness of the exhibiting photographers for our planet Earth with their work, just like festival founder Jacques Rocher with his gigantic 100 million trees reforestation project "Plant for the Planet".
Rebirth consequently means the hope of change for the better of our world. In this sense, remembering the Fall of the Berlin Wall 31 years ago as a unique example of how the wind of freedom triggered Glasnost (openness) and Perestroika (remodeling). And thus enabled the modernization of the social, political and economic system of the former Soviet Union, which ultimately led to the end of the Cold War. | | |
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| | | | | | KW Institute for Contemporary Art, daadgalerie, Gropius Bau | | | | | | | – 1 Nov 2020 | | | | | |
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| | | | | | The best of times - The worst of times | | | | | | | – 25 Oct 2020 | | | | | |
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| | | | | | Propositions for Alternative Narratives | | | | | | | – 25 Oct 2020 | | | | | |
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| | | | | | The Things I Tell You | | | | | | | – 18 Jul 2021 | | | | | |
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| | | | | | open air festival - VIVA LATINA ! | | | | | | | – 31 Oct 2020 | | | | | |
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| | | | | | THIS IS THE END | | | | | | | – 31 Oct 2020 | | | | | |
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| | | | | | | | | | 60 outdoor exhibitions city-wide & free online programming | | | – 29 Nov 2020 | | | | | |
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© 30 September 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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