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| PHOTOGRAPHY INTERNATIONAL | | 8 - 15 March 2017 | |
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| | | | | The Hasselblad Foundation is pleased to announce that Dutch artist Rineke Dijkstra is the recipient of the 2017 Hasselblad Foundation International Award in Photography to the sum of SEK1,000,000 (approx. EUR100,000). The award ceremony will take place in Gothenburg, Sweden, on October 9, 2017. A symposium will be held on October 10 in honor of Rineke Dijkstra, followed by the opening of an exhibition of her work at the Hasselblad Center, as well as the launch of the book Rineke Dijkstra – Hasselblad Award 2017. |
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Shany, Palhamin Israeli Airforce Base, October 8, 2002 © Rineke Dijkstra | | | | | | | |
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| | | Untitled, 2013 © Ren Hang / courtesy Stieglitz19 | | | | | | | – 12 March 2017 | | | | | | | | | | | | | Provocative, but also poetic. Foam is exhibiting the explicit photographs of Ren Hang (1987 - 2017, CN). The photographer was selected by the Outset | Unseen Exhibition Fund during the Unseen Photo Fair 2016, his exhibition at Foam is the result. We are deeply saddened to hear of the untimely passing of Ren Hang. It is a great honour for Foam to present Ren Hang’s exceptional work until 12 March 2017 at Foam 3h. Our thoughts and sincerest condolences go out to his family and friends. The exhibition is a collaboration with Stieglitz19, Antwerp. | | |
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| | | | | | | Thomas Wrede: Blühende Obstbäume, 2004, aus der Serie: "Wrapped Landscapes"
© VG-Bildkunst, Bonn 2017 |
| | | | | | | | | | | Sun 12 Mar 11:00
12 Mar – 5 Jun 2017 | | | | | | |
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| | | | | | | | Arnold Odermatt: Ennetmoos, 1977, Silber Gelatine Abzug, 45 x 45 cm © Urs Odermatt, Windisch |
| | | | | | | | | | | Sat 11 Mar 15:00
14 Mar – 6 May 2017 | | | | | | |
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| | | | | | | | © Massimo Branca, Catalina died at the Age of 18, Bukarest, 2014 |
| | | | Homeless Youth | | | | | | | Wed 15 Mar 19:30
16 Mar – 21 May 2017 | | | | | | |
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| | Katharina Sieverding
Transformer 1973/74
Close Up, MoMA PS1, New York 2004–2005
© Katharina Sieverding, VG Bild-Kunst, Bonn 2017
© Foto: Klaus Mettig, VG Bild-Kunst, Bonn 2017 | | | | | | Art and Capital | | | | Works from 1967 to 2017 | | | | 11 March – 16 July, 2017 | | | | | | | | | | | | | "No image is conceivable without the entirety of all the images that are in the world." Internationally recognised as a pioneer of unconventional visual strategies and an innovative media-led creative practice, Katharina Sieverding has revitalised the artistic potential of photography. She introduced the super-sized format as a key element of her exhibitions at a time when this was far from common practice. An assertion-turned-object, the large format manifests itself in space in the form of projections after experimentation with different sizes. Sieverding’s serial photographic works give expression to reflections about identity, gender discourses and the necessary emancipation of the role of the female artist as well as about the current social, political and cultural climate. Her archive is a repository of recollections and knowledge. Mirroring the artist’s themes and subjective perception of current events, it conveys an image of the time. Since the 1960s, using film and photography, Sieverding has employed her portrait with unparalleled consistency, often blowing it up it to monumental size and manipulating it in myriad ways. In the 1970s, with astonishing prescience, she began to develop her large-format multilayer montages on the state of the world, which were first presented to an international audience at documenta 6 in 1977. But the artist also addresses fundamental questions about art and the conditions of its production and reception. She investigates the relationship between individual and global structures as well as microscopic and macroscopic ones. Her creative practice not only reproduces the accelerated visual processes of the present, it also scrutinises them with a view to responsibility, not least her own. | | | | |
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| | | © Grace Euna Kim, Constellations, 2011 | | | | | | | until 30 March 2017 | | | | | | | | | | | | | The project "Clervaux – cité de l’image" was launched in 2009 in response to presence of the exhibition "The Family of Man", which was conceived by Edward Steichen in 1955 and is now to be found at Clervaux Castle. Clervaux – cité de l’image is dedicated to contemporary photography, showcasing it in the public sphere. A "constellation" is an entity originating from something concrete yet still able to evolve freely. It is flexible and can gather and assemble additional elements and take on various forms under the influence of a creative and irrational spirit. The term is also associated with the more illustrative world of astronomy. This paradigm is born from the subjective view of an observer, who traces the fragments by interconnecting them to form a new entity, a fictive pattern that in itself is but a variable... "The constellation is a metaphor of photography, within the diversity of thinking and the approximation of the heterogeneous." (Anne Immelé in "Constellations photographiques" Médiapop éditions, June 2015, as quoted on the back cover) The "Constellations" of Grace Euna Kim do the same, presenting a myriad of disassociated worlds on glossy paper surfaces. Her photographs form visual collages, their various elements inspired by the artist's travels. Yet these worlds appear to be immersed in the subconscious. Patterns and shapes are laid out like free particles and arranged in an imaginary and fanciful way, creating landscapes that are both surreal and narrative in nature. (Text by A. Meyer, English translation by C. Weyland) More information: www.grace-kim.com | | | | |
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| | | | | | | OB 01 - Osama Bin Laden
(On the Aesthetics of Violence) 2016
Print size: 62 x 87 cm / framed 64,6 x 89,6 cm;
Edition of 9 © Jan Rosseel
Courtesy THE RAVESTIJN GALLERY, Amsterdam |
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three successive exhibitions in
de Brakke Grond in Amsterdam (focus media)
Museum Dr. Guislain in Ghent (focus psyche)
Stroom Den Haag in The Hague (focus politics). | | | 11 Mar – 28 May 2017 | | | | | | |
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junge deutsche fotografie 2016/2017 | | | | | | | Thu 9 Mar 19:00
10 Mar – 1 May 2017 | | | | | | |
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| | | | | | | | from "40/place which does not exist" © Tomasz Laczny |
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| | | Sat 11 Mar 16:00
11 Mar – 23 Apr 2017 | | | | | | |
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| | Alvin Booth
from Nocturne, 2015
each 160 x 90 cm
Digital print, Graphite, LED’s | | | | | | | – 18 March, 2017 | | | | | | | | | | | | | During his emergence as a leading contemporary artist over the last three decades, Alvin Booth's work has focused almost exclusively on the human body as his subject, most often through representations of the female form. At the heart of these works, made in a range of media that include photography, film, printmaking and sculpture, lies his constant search for ways of expressing the elusive concept of beauty. Booth’s first artworks (whole-body casts of female models) were made in the mid-1980s, and inspired initially by an encounter with a sculptor in Oxford — whose credo was that all of her works should have the label "Please Touch" on them. The idea that art could be sensuous in the fuller sense — "touchable" and also playful — was a revelation to him. The work shown by Alvin Booth at Wild Project Gallery in this exhibition take two main forms: his crepuscular ‘Nocturnes’, and a novel group of anthropomorphic sculptural pieces that give a nod to fashion and furnishings but remain firmly in the world of Duchamp, Dali and the late Louise Bourgeois. In both cases, Booth's fascination with illusion, puns and word-play come to the fore. Initially his ‘Nocturnes’ seem the very vegation of photographic pictures for at first sight there is nothing to see but a large frame of black plexiglass. But as darkness falls, the glass begins to emit some light and an image of a dancer's beautiful form slowly emerges from the gloom, to float sensuously in its own frame of wonders. | | | | |
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| | Untitled (Metamorphosis 1) | KRIZIA 1985 | VOGUE ESPANA MARCH 1990
© Giovanni Gastel / Image Service S.r.l. | | | | | | | 15 March – 1 June 2017 | | | | Opening reception: Wednesday 15 March 7:00pm | | | | | | | | | | | | | What fascinates me about photography is that it has no relation to reality; it is the interruption of the constant flow of time. From eternal movement, life, to eternal immobility; it alludes to the real to create a real parallel”. For more than forty years, Giovanni Gastel has created a world of fashion and photography all his own. His photographs have appeared on the covers and pages of top fashion magazines such as Harper's Bazaar, Vogue, Elle, Donna, Mondo Uomo Glamour, Femme, Amica, Sette, and have been featured in museums and private collections all over the world. Gastel was born in Milan in 1955 and is descendant in a lineage of an ancient Italian family, the Viscontis. His uncle, the famous Italian film director, Luchino Visconti, first introduced the young artist to the world of art and cinema. Giovanni started to look for work as an actor, playing in performances and then looked to literature and poetry. He had intentions to dedicate his life to literature and did not give up his passion for such mediums even after he began pursuing photography full-time. | | | | |
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| | Flowers for Lisa #30, 2016 (Detail)
©Abelardo Morell/Courtesy of Edwynn Houk Gallery, New York | | | | | | | 9 March - 29 April 2017 | | | | Opening Reception with the Artist: Thursday, 9 March, 6-8pm | | | | | | | | | | | | | Edwynn Houk Gallery is pleased to present an exhibition of recent work by Abelardo Morell (American, b. Cuba, 1948), which marks the artist's third one-person show at the gallery. The exhibition consists of 20 large-scale photographs from his series "Flowers for Lisa," which is comprised of variations on the theme of floral still lifes. "Flowers for Lisa" is titled after and dedicated to Morell's wife of over 40 years, Lisa McElaney. The artist will be present at the opening reception on Thursday, 9 March from 6-8pm. In 2014 Abelardo Morell made a photograph of flowers for his wife's birthday. What started as an ordinary bouquet, set up in a vase in the artist's studio, became the impetus for an investigation into the depiction of floral arrangements throughout the history of art. Morell shot the same bouquet many times, rearranging it over and over in the same vase, and photographing it repeatedly. After making over 20 photographs of the various arrangements, Morell digitally compiled the multiple exposures, letting the computer software try to make sense of the chaos of imagery to form one image. The resulting photograph, "Flowers for Lisa, 2014" is a demonstration of the passage of time that challenges the very definition of a still life (a picture consisting predominantly of inanimate objects). This single picture captures the transformation of freshly cut flowers into bending, wilting stems. Eventually losing their petals, they form puddles of color that twist into the wood veneer of the artist's work table, dissolving and disappearing before our eyes. | | |
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| | | Wilhelm von Gloeden, Courtesy Galerie David Guiraud | | | The Arcadian Shepherds | | | | Les bergers d'Arcadie | | | | | | | 10 March - 13 May, 2017 | | | | Opening: Thursday, 9 March, 5pm | | | | | | | | | | | | | Galerie David Guiraud is proud to present, with the complicity of baudoin lebon, an exceptional collection of photographs by Wilhem Von Gloeden, Guglielmo Plüschow and Vincenzo Galdi, recently found in the archives of the Galerie Texbraun, in Paris. • Pioneers in the history of photography Two expatriated German aristocrats in Italy and a young Italian model, initiated to the art of photography, these are the pioneers of the masculine and homo-erotic photography at the turn of the 19th and the 20th century. The images by Von Gloeden and Plüschow have deeply influenced the history of photography, they are marked by their knowledge of greek and roman antiquity. The authors set their first models in archeological sites and immortalised sublimes mediterranean skies and landscapes, settings of heroic stories. The male nudes that they made wore ephebe’s accessories, aureoled with flowers and dressed with unchaste clothes, which all evoke the texts by Virgile and the Idylles by Théocrite. The models are young workers from Rome or peasants and fishermen from Sicily. It is the first oeuvre exclusively devoted to male nudes (portraits, nudes and outside compositions). | | | | |
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| | | © BRYAN ADAMS, Sir Ben Kingsley, London 2010 | | | | | | | until 20 May 2017 | | | | | | | | | | | | | World-famous of course in his own right as a musician and composer, Bryan Adams has established a formidable reputation for himself over the past decade as a photographer of international repute. His meteoric rise in the world of photography is owed above all to his rare talent for capturing a timeless elegance and subtle depths in his images that is as visually enticing as it is thought-provoking. His oeuvre to date has garnered prestigious awards and captured the imagination of gallery-goers around the world. The works selected for this exhibition focus on his portraits of famous personalities from the worlds of entertainment, fashion and the arts. Perhaps the best known of all Adams’ photographs, they are also amongst the most captivating. Conveying the ever changing moods and trends associated with fame in our modern world, they reveal an openness between the photographer and each of his subjects – always with an ironic awareness that the photograph is a staged event and an event of self-staging. They speak to us of beauty and desire, but also of world-weariness and rebellion. The palpable sense of trust is perhaps only made possible by the fellow star and friend behind the camera. The resulting works are highly intimate and intensely enjoyable studies with plenty to say about the nature of both celebrity and humanity. | | | | |
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| | | | | | | Simon Roberts: Olymplad 02, Equestrian Jumping Individual, Greenwich Park, London, 2012
Courtesy Flowers Gallery London |
| | | | | | | | | | | Thu 9 Mar 19:00
10 Mar – 22 Apr 2017 | | | | | | |
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| | | | | | | | © Glenn Sloggett - Inflatable man, 2016 |
| | | | | | | | | | | Wed 15 Mar 18:00
8 Mar – 8 Apr 2017 | | | | | | |
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| | | | | | | | © Jane Brown - Bowling club, wheat belt, Victoria, 2014 /16 |
| | | | | | | | | | | Wed 15 Mar 18:00
8 Mar – 8 Apr 2017 | | | | | | |
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| | | | | | | | | | | | | Thu 9 Mar 15:00
10 Mar – 13 Mar 2017 | | | MIA Photo Fair, the international photography and moving image art fair of Italy, will stage its 7th edition in Milan from Friday, March 10th to Monday, March 13th, 2017 at The Mall - Porta Nuova. The VIP opening will take place on Thursday, March 9th. | | |
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| | Marcelin Flandrin (1889-1957), Maroc, c. 1930. 12 épreuves argentiques d'époque. Tampon "Éditions Mars - Photo Flandrin" ou crédit imprimé du photographe avec légendes manuscrites à la mine de plomb aux versos. 228. Muhammad Sadiq Bey (1832-1902)
Arabie Saoudite, 1880. La Mecque, Médine, lieux saints de l'Islam et pèlerinage.
Important set composed of 3 panoramas and 9 albumen prints. | | | Orientalist Photographs | | | | | | | Auction: Wednesday, March 15th, 2017 at 14:00 | | | Specialist :
Antoine ROMAND
Assisted by François Cam-Drouhin
3, rue Crespin du Gast 75011 Paris
Tel. : + 33 0 (6) 07 14 40 49 - Email : antoine@antoineromand.fr
Public exhibitions at the Hôtel Drouot - Salle 2
Tuesday, March 14th from 11 am to 18 pm
Wednesday, March 15th from 11 am to 12 am
Phone during the auction : + 33 0 (1) 48 00 20 02
Online Catalogue : www.gros-delettrez.com
Bid live www.drouotlive.com | |
| | | | | | Gros & Delettrez Auctioneers Drouot Richelieu - Salle 2
9, rue Drouot; 75009 Paris
T +33(0)6-07144049
www.gros-delettrez.com
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| | Robert Frank
„Paris“ (Dächer). 1946
Vintage. Silbergelatineabzug. 17,8 × 27,9 cm (27,6 × 35,2 cm) (7 × 11 in. (10 7/8 × 13 7/8 in.)).
Schätzwert: EUR 10.000–15.000 | | | Modern and Contemporary Photographs | | | Consignments now welcome
Photography Auction / May 31st 2017 in Berlin | | | | | | | | | | | | | | | | |
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| | | | | | | | Detail from 'Berwick, England, 1991 / La Spezia, Italy', 2016, from the series 'Beloved Curve', 2015 - 2016 © Sarah Fishlock |
| | | | Autobiography as Memory | | | | | | 9 Mar – 23 Mar 2017 | | | FOCUS Photography Festival Mumbai takes place every two years, in the month of March. In March 2017, this theme will explore how photographs and photographers have used the medium to construct and shape history, underpinning socio-political narratives and building geographies as well as retelling our very own personal stories. Since the birth of the medium we have used photography and its archives to revisit the past and talk about the present, to challenge what we think we remember, to deconstruct the grand pillars of history and extract new stories from the margins.
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| | | | | | | | | | | | | Thu 9 Mar
10 Mar – 14 May 2017 | | | Presenting works made by more than 60 artists from across the country, Garage Triennial of Russian Contemporary Art captures the zeitgeist of some of the most active and influential creative figures of the past five years, offering insight into the diversity of social tendencies that constitute the underexplored Russian art scene. | | |
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| | | | | | Magnum Photos's 70th anniversary | | | | | | 7 – 12 Mar 2017 | | | | | | |
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© 8 March 2017 photography-now.com
Ziegelstr. 29 . D–10117 DE . Berlin . Editor: Claudia Stein + Michael Steinke . contact@photography-now.com . T +49.30.24 34 27 80 |
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