| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 9 — 16 October 2024 | |
|
| |
|
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
| |
| | 2024 © Benita Suchodrev
Fine Art Print
34 x 51 cm
Edition 8+2 AP | 2023 © Benita Suchodrev
Fine Art Print
26 x 39 cm
Edition 8+2 AP |
| | | | | | | | 11 October 2024 – 26 January 2025 | | | Opening: Thursday, 10 October, 7pm
"There’s a certain madness and magic to it all: the neurotic flicker of neon lights, the dissolution of the self in a trance to a sinister beat or acting out bliss with a stranger on a shabby couch in a smoke-filled room. Beneath the party facade, these moments speak to a deeper part of the human condition: the endless longing to feel physically and spiritually free."
– Benita Suchodrev | | | | | | | | | | | | | In the labyrinth of Berlin club culture, labels and limitations disappear. For over 30 years, Berlin has been a space of possibility in which quite a few people have invented a new life, a new identity. Berlin's nightlife, with its ever-evolving club culture, mirrors the city’s constant transformation. In the extensive series "Le bal infernal", which spans over 16 years, photographer Benita Suchodrev combines her aesthetic roots in portrait and social documentary photography and uses her unmistakable visual language to present people and moments that represent an essential part of Berlin's past, present and future.
Like a dreamlike dance, this hellish ball takes place in a universe all of its own. The high-contrast, impressive shots are reminiscent of film classics of excess such as Federico Fellini's La Dolce Vita from 1960 and thus combine beauty in the dark, freedom, collectivity and solitude. A wind of scandal, wickedness and vice blows around the characters who, far from other realities in daylight, allow and embrace debauchery. As in Dante's Divine Comedy, as witnesses to the spectacle captured by Suchodrev's camera, we encounter elements of an inferno, always associated with sinfulness, as well as a state of heavenly paradise.
When Benita Suchodrev moved to Berlin in 2008, she was immediately drawn to the city’s vibrant nightlife and to the rich variety of social groups within that milieu. It was here that she began documenting the unique energy of the city’s nightlife through her lens.
"My life in Berlin is inseparable from this body of work. I discovered the city in the process of taking these photographs," says Suchodrev.
Her long-term study has evolved over time, capturing the essence of a city that never sleeps. On 10 October 2024, the exhibition Le bal infernal will open at Fotografiska Berlin, including works from Suchodrev’s archives, as well as new works being shown for the first time.
Suchodrev is interested in the moments in which authenticity becomes tangible, in which the pose fades and the mask crumbles or reveals itself as the momentary truth. She shoots intuitively, often capturing moments from the hip to avoid altering the natural flow of events by pointing her camera too deliberately.
"To really enjoy a party, I need my camera. I get a rush when I photograph people being authentic and having a good time," she explains.
For Suchodrev, each subject has a story, and her photos reflect the hidden narratives behind every fleeting expression or glance. Each shot offers the chance to imagine the untold stories behind the faces. Whether it’s the choice to hide behind a mask or strip away all pretense, break social barriers, or embrace hedonism, Benita Suchodrev’s long-term study Le bal infernal captures the fleeting moments and unique characters that define the soul of Berlin. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | | | | | © Natalie Strohmaier, Germany
National Awards 1st Place, Germany, Shortlist, Open Competition, Creative, 2024
Sony World Photography Awards |
| | | | 10 Jahre SWPA im Willy-Brandt-Haus | | | | | | | Thu 10 Oct 19:00
11 Oct 2024 – 19 Jan 2025 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Carina Linge
Die Übersetzerin (Tableau C.L.), 2024
C-Print on Dibond
100 x 150 cm
© Carina Linge | | | | | | | | 12 October – 16 November 2024 | | | | Opening: Friday, 11 October, 6-9pm | | | | | | | | | | | | | Atmospherically and symbolically charged photographs, presented in multi-part image tableaux, are characteristic of Carina Linge's artistic approach. With her latest works, the Leipzig-based artist continues her series of psychogram-like portraits of selected female artists. She also takes a look at herself.
Profound emotional worlds become visible in Carina Linge's perfectly staged still lifes and body paintings. Sensual beauty meets a great melancholy and fragility, which not only relates to the protagonists in their individual situations, but can also be felt on a higher level. Losses, changes and the challenges of new phases of life are tangible in many different ways.
A vintage car without a license plate waits in a garage. A red thread leads the viewer to an old photograph. A number of aging toy building blocks are placed on a flowered sofa, while a human skull lies on the floor below. Tracing hidden childhood memories and family histories, many of the photographic motifs are small emotional journeys through time that lead us back to the people portrayed and situate them socially. Carina Linge translates the personal states and dispositions into intuitively readable images full of enigmatic references and socio-political allusions. The subconscious and long forgotten also come to light: a figure disappears ghost-like into the darkness, moths as symbols of the psyche appear in surprising places. Time and again, clues point to perceived connections that mingle with the hopes, longings and needs that characterize human existence, identities and relationships.
In Carina Linge's work, literary quotations and art historical references are also subliminal evidence that love and death have always moved people universally. Classic elements of ba… | | |
| |
|
|
| |
| |
|
| | | | | | | | | | | | | | Sat 12 Oct 17:00
12 Oct – 9 Nov 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Unshowable Photographs © Ariella Aïsha Azoulay |
| | | | | | | | Bristol Photo Festival 2024 | | | Wed 16 Oct
16 Oct – 17 Nov 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| | | | | | | Akosua Viktoria Adu-Sanyah
THE ULTIMATE [LOVE FOR TECHNOLOGIES OF LOATHING] 2017, 2023-2024
PERFORMATIVE SCANOGRAPHIES, C-PRINTS, PHOTOGRAPHIC OBJECTS |
| | | | | | | | Bristol Photo Festival 2024 | | | 16 Oct – 31 Dec 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Ruth Medjber: Her, Allure (2024), | | | | | | | | 15 – 19 October 2024 | | | Exhibition Premiere and Gala Launch: 6.00pm on Wednesday 16 October
Artist Talk: 1pm on Saturday 19 October | | | | | | | | | | | | | Photo Museum Ireland is delighted to present the premiere of Ruth Medjber’s Her, Allure (2024), a visual journey through the landscapes and moments that have shaped her life. In 2024 Medjber was commissioned by Peugeot to create a unique body of work responding to the theme of ALLURE. The work presents a series of evocative and striking images, featuring rich colours and dynamic compositions. Medjber has a talent for conveying deep emotions and compelling narratives, simultaneously intimate and powerful.
For Medjber, ALLURE is more than a fleeting feeling—it is a force that has propelled her across Ireland, guiding her to pivotal places in her life. This photographic odyssey reflects on the paths she has taken—choices defined by a restless curiosity and a rejection of convention. In this new work, we see Medjber’s interpretation of ALLURE as an ancient energy, a nomadic instinct that urges us to move, to seek, and to connect.
‘ALLURE embodies my yearning for a life fuelled by the freedom to wander, to remain ever-dynamic and in motion.’
— Ruth Medjber | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | Chi Yin Sim, Shifting Sands #1, Malaysia, 2017
© Chi Yin Sim | | | | | | | 25 Years of Art Collection Deutsche Börse | | | | | | | | 10 October 2024 – 9 March, 2025 | | | | Visiting the exhibition is possible as part of regular guided tours and on the "Open Saturdays". | | | | | | | | | | | | | The exhibition is a highlight of the Foundation’s annual programme celebrating the 25th anniversary of the Art Collection Deutsche Börse. From 10 October 2024, the Deutsche Börse Photography Foundation will present the exhibition "Look at Us. 25 Years of Art Collection Deutsche Börse".
The collection of contemporary photography was established in 1999, it currently comprises more than 2,300 works by around 160 artists from 35 nations. Comprehensively showcasing new acquisitions from the last two years, "Look at Us" illustrates the ways in which these works enrich the body of the collection and enter into a dialogue with previously acquired groups of works. In reference to the guiding principles of the anniversary year – cooperation, dialogue and diversity – multifaceted visual languages and narratives by both emerging and established artists join forces in the exhibition. Each artistic position offers its own perspective on the central theme of the Art Collection Deutsche Börse, the "conditio humana" – the exploration of the conditions of human existence and its position in the world. The artists investigate how the medium responds to questions of identity and community – ranging from personal experiences as well as cultural and historical contexts to questions of belonging and social inequality. Furthermore, they address the complex relationship between humans and nature, be it in the form of human interventions in natural habitats or the reciprocal impact of urban landscapes on individuals and the community.
The themes of the exhibition The artists explore how photography supports the questioning and manifestation of identities in different yet always highly personal and therefore touching ways. Whether it is in the depiction of t… | | |
| |
|
|
| |
| |
|
| | | | | | | | Self Evident 3 © Ingrid Pollard |
| | | | | | | | | | | | 12 Oct 2024 – 19 Jan 2025 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Dirk Reinartz, Hamburg, St. Georg, 1981 | | | | | | | PHOTOGRAPHS FROM A DISTANT LAND | | | | | | | | 9 October 2024 – 3 March 2025 | | | | | | | | | | | | | The years around 1980 were a period of profound upheaval in Germany, characterized by fundamental innovations and great fears for the future. The first Macintosh computer from Apple and the first cell phone from Motorola came onto the market, and from 1984 it was even possible to send the first emails. Young people listened to the music of the Neue Deutsche Welle, played Pac-Man or tried their hand at Rubic’s Cube. Punks increasingly shaped the centers of the cities, while series such as “Dallas” and “The Denver Clan” or a new format such as “Wetten, dass…?” attracted millions to their television sets.
This pop and fun culture was contrasted by a general sense of doom caused by the global arms race, the increasingly visible destruction of the environment and rising unemployment. Germany was divided and East and West were suspicious of each other during the Cold War, despite numerous attempts at rapprochement. In 1982, 500,000 people demonstrated in Bonn against the NATO Double-Track Decision and formed human chains for peace. The Green Party “Die Grünen” were founded as a new party in 1980 and Joschka Fischer became Hesse’s environment minister in 1985 wearing sneakers. The Helmut Kohl era began and at the same time a large number of new social movements formed with the aim of fundamentally changing society.
Forty years later, this time seems like a distant land, but many of the developments that originated around 1980 reach right up to the present day. With works by Angela Neuke, Barbara Klemm, Christian von Alvensleben, Martin Langer, Ingolf Thiel, Asmus Henkel, Mahmoud Dabdoub, Gerd Danigel, Hans-Martin Küster snd Wilfried Bauer, the exhibition “Deutschland um 1980. Fotografien aus einem fernen Land” presents ten different and concise perspectives on this period. The photographers take a highly individual look at the developments in Germany at the time: as freelance actors, as reportage photographers commissioned by newspapers and magazines or as photo artists. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Installation view: Gerry Johansson In Plain View, Large Glass 2024 | | | | | | | | ... until 2 November 2024 | | | | | | | | | | | | | There are several common denominators found throughout Gerry Johansson’s work that become apparent with even casual viewing. Some of those shared characteristics are obvious at first glance, for instance; the physicality of several of Johansson's books and exhibition print sizes, the apparent use of traditional analog materials; while other traits like the sense of stillness, the seeming perpetual daylight, and the camera's steady almost drone-like orientation to the world set an underlying commonality. Perhaps a trait most recognizable is his choice of working primarily in black and white.
The "America" photographs began when Johansson's parents sent him to New York after finishing his schooling in Varberg Sweden. Those early pictures inspired by the energies of the city (and the pulse of jazz!) might appear as an artist finding their voice through exploring a loosened documentary style tangential to Garry Winogrand, or perhaps more closely Ray K. Metzger, yet the year 1962 places Johansson right in their midst, not successor. The few examples included here taken with a small-format 35mm camera, are characterized by a tonal scale that allows shadows to swallow some detail and highlights to succumb to atmospheric fog: a grouping of men riding a ferry on New York's Hudson River are reduced to simple silhouettes against a fading Manhattan skyline; a maintenance worker on a ladder contrasted with New York's most famous landmark, the Empire State Building, emphasizing the dizzying verticality of the city through a patchwork of shadow and light. Though authentic and drawn directly from the real world, there is a dreamlike quality to these works that evolved into the "translucid clearness" that signifies Johansson's practice today.
What I find refreshing about Johansson's work is the sense one feels of his enjoyment of moving through an unfamiliar landscape and simply taking in what is before him. The work seems formed not in the mind first, but through the physical footsteps he takes and directness at which he looks.
- Text by Jeffrey Ladd
Gerry Johansson, born 1945 in Örebro, lives in Höganäs, Sweden. Johansson studied graphic design in Gothenburg in the late 1960s. His work has been exhibited at distinguished museums and institutions internationally, including the Kunsthalle Rostock in Germany; Museum of Modern Art in Bogota, Colombia; Hasselblad Center in Göteborg and the Moderna Museet in Stockholm, Sweden. Johansson has produced a large number of books including the recently published "Spanish Summer" and "American Winter", both MACK and was awarded the Swedish Arts Grants Committee’s Award and the prestigious Lars Tunbjörk Prize. | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | Sohrab Hura. Untitled from The Songs of Sparrows in a Hundred Days of Summer.
Inkjet print. 2013–ongoing.
Courtesy the artist and Experimenter, Kolkata and Mumbai |
| | | | | | | | | | | | 10 Oct 2024 – 17 Feb 2025 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Pascal Sébah, Constantinople et le vieux port | | | Galerie Miranda & baudoin lebon | | | | fall partnership | | | | | | | 8 – 26 October 2024 | | | | Rare prints from the 19th century by ‘orientalist’ photographer Pascal Sébah (1823-1886, Armenian-Syrian), founder of a legendary photography studio in the Pera neighbourhood of Constantinople, in dialogue with contemporary images by German photographer Patrick Bienert (1980, German), from his Armenia series produced for Louis Vuitton as part of its Fashion Eye collection of photo books. | | | | | | | | | | | | | SÉBAH, Pascal (works proposed par baudoin lebon)
Born in 1823 to an Armenian mother and a Syrian catholic father, Pascal Sébah worked particularly in Constantinople and Cairo. Sébah is a leading figure in orientalism in photography. In 1857, he opened a photographic studio in Constantinople on Sokaği Street, where the Austrian Post Office was located and which was an extension of Post Street. He called his studio “El Chark Photographic Company”. This main street in the Pera district being very commercial, he quickly opened a new studio at 232 Grand Rue de Pera. In 1860, he moved to 439, next to the Russian embassy, and employed a Frenchman named A. Laroche to run the workshop. Early on, Sébah's skills as a photographer earned him a reputation in Istanbul, and in 1859 the Société Française de Photographie in Paris awarded him a medal for his work.
Sébah's career coincided with the growing interest of Europeans in the "Orient", exotic and fascinating. Constantinopole photographers, such as the Abdullah Brothers and then Sébah, sold images of the ancient ruins of the surrounding area, portraits and local people in traditional costumes, to the city's tourists. Sébah became known for his well-organized compositions, careful lighting, great attention to detail and the excellent quality of printing by his technician, A. Laroche. Sébah worked in collaboration with the painter Osman Hamdi Bey (1842-1910). He photographed models dressed in rich costumes and the painter then used the photographs as the basis for his famous orientalist oil paintings. Sébah presented the album Popular Costumes of Turkey at the Vienna Universal Exhibition of 1873, which earned him a gold medal awarded by the organizers. That same year, Sébah opened a branch in Egypt. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Olivier Jobard, Sima et mon plus jeune fils, Léon, en week-end en Normandie, Veulettes-sur-Mer, 29 avril 2023 © Olivier Jobard / MYOP |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Val Telberg
Untitled, c. 1948
Vintage gelatin silver print, printed by the artist
© Estate Val Telberg / Courtesy Les Douches la Galerie, Paris | Val Telberg
Sabrina’s Awakening, c. 1940-50
Vintage gelatin silver print, printed by the artist
© Estate Val Telberg / Courtesy Les Douches la Galerie, Paris |
| | | Val Telberg » An American Surrealist in Paris | | | | ... until 10 November 2024 | | | Exhibition organized as part of the partnership between
the CPGA, the Centre Pompidou and the Association André Breton. | | | | | | | | | | | | | Exhibition organized as part of the partnership between the CPGA, the Centre Pompidou and the Association André Breton.
2024 will mark the centenary of one of the most fascinating and influential artistic movements of the 20th century. A hundred years ago, indeed, André Breton published the Surrealist Manifesto. The Centre Pompidou, which is preparing to celebrate this anniversary with a major exhibition, "Le Surréalisme d’abord et toujours"", has launched a call for projects - "A Surrealist Season in Paris" - to which Les Douches la Galerie has decided to respond.
This will be an opportunity for the public to (re)discover a unique experimental work, composed mainly of superimposed images of characters in motion that present a dreamlike weightlessness associated with surrealism. The works of Val Telberg, who also created paintings, sculptures, and films, are part of numerous international public collections, including that of the Centre Pompidou. Four of his photomontages were, in fact, exhibited during the collective exhibition "Corps à Corps – Histoire(s) de la photographie".
Curator: Françoise Morin | | |
| |
|
|
| |
| |
| | Man Ray
RAYOGRAPHIE, 1922
Gelatin silver print mounted on cardboard,
printed later c. 1958-60
© Man Ray Trust, ADAGP
Courtesy Les Douches la Galerie, Paris | Man Ray
Revolving Doors, Mime, 1973
Wool tapestry, weaved under the artist's supervision by
Frédérique Bachellerie et Peter Schönwald from Atelier 3
© Man Ray Trust, ADAGP
Courtesy Atelier 3 / Les Douches la Galerie, Paris |
| | | | | | | | ... until 10 November 2024 | | | | | | | | | | | | | "Revolving Doors" is a series of works created by Man Ray early in his career in the United States around 1916-1917, before he moved to Paris in 1921 and became a central figure in the Dada and Surrealist movements.
This series accompanied Man Ray throughout his long career: initially created as a series of colored paper collages around 1916, it was exhibited in New York at the Daniel Gallery in 1919 and later featured in the 1935 edition of the Surrealist magazine Minotaure. The series was reproduced using stencils and published as lithographs in 1926 by Surrealist editions, and again in 1972 by publisher Luciano Anselmino, which served as inspiration for tapestries created in 1973 by Frédérique Bachellerie and Peter Schönwald.
"Revolving Doors" perfectly illustrates Man Ray’s avant-garde and experimental spirit, known for his significant contributions to the Dada and Surrealist movements. Created within the context of the Dada movement, which rejected the artistic and social conventions of the time, Revolving Doors embodies this spirit of rebellion in search of modernism, challenging traditional notions of art and beauty. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| | | | | | | Umbo
Aus der Mappe "3 Umbo. 1927-1930. 10 Photographien", 1927–1930
Staatsgalerie Stuttgart, Graphische Sammlung
erworben 2022 aus Mitteln der Museumsstiftung Baden-Württemberg
Sammlung Dietmar Siegert
© VG Bild-Kunst, Bonn 2024 |
| | | | New Photography Acquisitions from the Siegert Collection | | | | | | | Fri 11 Oct 18:00
12 Oct 2024 – 23 Feb 2025 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Future Perfect © Zosia Promińska | | | | 9th session at L'Appartement | | | | For its ninth exhibition session, L’Appartement presents four installations that reveal the increasingly blurred boundaries between the real and the virtual, the private and the public. In Les Chambres, Zosia Promińska delves into the intimate spaces of very young models who work for Polish agencies while awaiting the opportunity to become international models. In Le Cinéma, Amandine Kuhlmann explores the effects of social media on identity by parodying influencers, while in Le Salon, Jack Latham exposes the behind-the-scenes of social media by documenting the illegal market of click farms. In Le Couloir, Tamara Janes & Natalia Funariu use artificial intelligence to create childlike faces drawn in the snow, questioning the omnipresence of technology in our daily lives and homes. | | | | | | | | ... until 3 November 2024 | | | | | | | | | | | | | | To succeed in the international fashion capitals, models must be at least 16 years old. However, specialised Polish agencies identify children with potential from an early age and place them under contract. Former professional model, Zosia Promińska documents this reality in Future Perfect. In the privacy of her children’s bedrooms, she photographs these pre-teens who dream of a career in fashion and makes them pose as models. The photographer arranges for them to be dressed by top Polish fashion designers. Echoing the domestic past of L’Appartement – Espace Images Vevey, the installation highlights the commercialisation of young people by an industry that pushes these children to grow up too fast, luring them into a falsely perfect future. | | |
| |
|
|
| |
| |
| | | Cash Me Online © Amandine Kuhlmann | | | | | | | | ... until 3 November 2024 | | | | | | | | | | | | | | Cash Me Online is a satirical project combining photography, performance and social media footage. Amandine Kuhlmann creates a hyper-feminine alter ego that she embodies online and during performances to achieve viral fame. She exaggerates her poses, imitates TikTok and Instagram trends and dramatizes her everyday life to make herself noticed. The artist reappropriates videos, drawing on the suggestions of her algorithm and the female stereotypes portrayed by social networks. These caricatured images reveal the ambiguities of virtual profiles, between the objectification of the body and the desire for individuality. Questioning the impact of social media and the monetisation of the self, the installation presents a reflection to a generation obsessed with their physical and digital appearance. | | |
| |
|
|
| |
| |
| | | Beggar’s Honey © Jack Latham | Beggar’s Honey © Jack Latham |
| | | | | | | | ... until 3 November 2024 | | | | | | | | | | | | | The value of a person or information is now measured by the number of ‘likes’ it gets on social networks. Beggar’s Honey reflects how we search for the honey of digital celebrity and reveals behind the scenes of click farms. These clandestine companies aim to artificially inflate content engagement indicators on social media by manipulating algorithms. Going undercover in factories in Vietnam and Hong Kong, Jack Latham photographs the insides of click farms for the first time. The project also shows images posted by people on TikTok and Instagram who have used the services of this illegal marketplace. Latham warns of the dangers of this on democracy and encourages us to question the validity of content with the most ‘likes’.
A production by Images Vevey presented in its world premiere as part of the Mention Reportage by Grand Prix Images Vevey 2019/2020
The Beggar’s Honey project is co-published by Here Press and Éditions Images Vevey in 2023. | | |
| |
|
|
| |
| |
| | | Funny Snow Face © Tamara Janes & Natalia Funariu | | | | | | | | ... until 3 November 2024 | | | | | | | | | | | | | Tamara Janes and Natalia Funariu explore the link between creation and artificial intelligence. The title of their project, Funny Snow Face, comes from a prompt submitted nearly 5’000 times to DALL·E to generate countless images. These funny faces evoke the human act of drawing a head in the snow, formed simply by two dots and a line. The artists take a humorous look at their role in relation to AI. By placing these images on a curtain, they create a dialogue between the material and the immaterial, the domestic and the domotic. The project invites us to reflect on the omnipresence of technology in the home and reminds us of the importance of the personal touch in a world dominated by screens. Presented in Le Couloir de L’Appartement – Espace Images Vevey, the installation highlights childlike gestures and the playful use of technology.
Funny Snow Face is showcased until November 3, 2024, at L’Appartement – Espace Images Vevey.
Tamara Janes’ exhibition ‘Set and setting’ is on view at Photo Elysée | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
|
| |
|
|
| |
|
| | | | | | | | | | | | | | Thu 10 Oct
11 – 13 Oct 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | Installations, Still and Moving images | | | | | | | 16 – 20 Oct 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| | | | | | | | | | | | | | Wed 16 Oct
16 Oct – 17 Nov 2024 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | | | | | | | | | 10 Oct 2024 – 12 Jan 2025 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
|
|
| |
| |
|
| |
|
| | | | | | L'album de Famille des Aixois 2ième Edition | | | | | | | – 30 Nov 2024 | | | This exhibition crosses two photographic sources: those from the archives of the Aix family album collected by Fontaine Obscure and those from the archives of Lebanese families collected in Tyre (Lebanon) by the artist Chaza CHARAFEDDINE (Athar Collection).
The chosen subject is that of portraits of women from the 50s and 70s, just before the civil war in Lebanon. | | |
| | | | | | | |
|
| |
| |
|
| |
| |
| | | © NADIA FERROUKHI | | | Festival La Gacilly-Baden Photo 2024 | | | | WORLD.NATURE.HERITAGE | | | | | | Baden near Vienna:
The largest outdoor photography festival in Europe will take place
from 13 June until 13 October 2024.
festival-lagacilly-baden.photo | |
| | | | | | | | | | | | | WORLD.NATURE.HERITAGE – "Humanity has opened the gates to hell", warned Secretary- General António Guterres in an impassioned speech on the margins of the UN General Assembly in September 2023. UN General Assembly in September 2023 to politicians, entrepreneurs and activists, he warned of the terrible consequences of increasingly extreme weather events. "Our concern is that all climate action will be dwarfed by the scale of the challenge”, as humanity is heading for a temperature rise of 2.8°C.
An appeal to the world that has long been inscribed at the heart of our festival. It is our duty to preserve the poetry of creation for our children. On the fundamental issues of urbanisation, biodiversity, natural resources, environmental pollution and global warming, we will try to use images to provide, if not solutions, then at least food for thought. Therefore, in our seventh festival year, we will be showing the work of the great masters of environmental photography: Nazli Abbaspour, Evgenia Arbugaeva, Yasuhoshi Chiba, Joana Choumali, David Doubilet and Jennifer Hayes, Nadia Ferroukhi, Sacha Goldberger, Richard Ladkani, Lucas Lenci, Luca Locatelli, Pascal Maitre, Beth Moon, Maxime Riché, Sebastião Salgado, Alain Schroeder, Vee Speers, Brent Stirton, Lorraine Turci, David Turnley, Peter Turnley and Cássio Vasconcellos.
"We all need Eden as a horizon," writes Cyril Drouhet in his essay in the festival catalogue. "There was a time when we had a rainbow in our heads: We believed in the future, in progress, our dreams were full of utopias. In the third millennium, this colour has turned grey. But life needs radiant colours like in photography to enchant the world again. That is the cha… | | |
| |
|
|
| |
| |
|
| | | | | | the European Nomadic Biennial | | | | | | | – 24 Nov 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
|
|
| |
|
| | | | | | INTERNATIONAL PHOTO FESTIVAL | | | | | | | – 13 Oct 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
|
|
| |
|
| | | | | | PANSORI: A Soundscape of the 21st Century | | | | | | | – 1 Dec 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | open air festival - Australie & Autres Regards | | | | | | | – 3 Nov 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | FESTIVAL DELLA FOTOGRAFIA ETICA | | | | | | | – 27 Oct 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
|
|
| |
|
| | | | | | See beyound the sea | | | | | | | – 3 Nov 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | | | crédits : Andrej Polukord |
| | | | Mondes impossibles / Impossible Worlds | | | | | | | – 13 Oct 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | Make Voices Be Heard | | | | | | | – 3 Nov 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
|
|
| |
|
| | | | | | Precarious Joys | | | | | | | – 1 Dec 2024 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | Futuri imperfetti | | | | | | | – 30 Nov 2024 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
| |
| | From the series Keepers of the Ocean (2019) © Inuuteq Storch
The Danish Pavilion: Rise of the Sunken Sun by the artist Inuuteq Storch | | | | | | | Stranieri Ovunque - Foreigners Everywhere | | | | | | | | – 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.» | | |
| |
|
|
| |
| |
|
| | | | | | Festival internazionale di fotografia VII Edizione | | | | | | | – 15 Oct 2024 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | 13th ORGAN VIDA: Creeps and Butterflies | | | | | | | – 3 Nov 2024 | | | | | |
| | | | | | | |
|
| |
| |
| |
|
| |
| |
|
| |
© 9 October 2024 photography now UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editors: Claudia Stein & Michael Steinke
contact@photography-now.com . T +49.30.24 34 27 80 |
| |
