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| PHOTOGRAPHY INTERNATIONAL | | March 2024 | |
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| | | Studio Targets I from the series High Visibility Blaze Orange 2021 © Jaclyn Wright | | | | | | | | | | | | | ... until 22 May 2024 | | | The 20 portfolios are also on view in the digital exhibition Foam Talent Digital. Discover the work in a truly multi-medial way, inviting you to look, listen and interact with the inspiring stories of Foam Talent 2024-2025.
www.foam.org/talent-2024 » | | | | | | | | | | | | | Foam is excited to present twenty exceptional artists in the Talent 2024 - 2025 group exhibition. The artists’ works signify a bold, new direction in photographic art. The talents were selected during the biennial Foam Talent Call, for which an astounding 2,500 photographers from over 106 countries submitted their work. The exhibition emphasizes the role of photography as a powerful medium for storytelling, cultural critique, and personal expression. In a time of increasing polarization, this year’s talents challenge the viewer to reflect on the viewpoints of others and invite empathy.
At the heart of the exhibition lies the exploration of urgent societal issues, where artists introspectively examine both themselves and the world. The topics of interest range from migration to the danger of internet algorithms, and from questioning gender roles to a reflection on the impact of colonialism. Looking to broaden the medium of photography, this year’s talents present us with innovative approaches, from embroideries on photos and the use of photogrammetry to the use of Artificial Intelligence. The selection celebrates photographers who dare to push the boundaries of creative expression.
In addition to the physical exhibition, Talent 2024-2025 is accompanied by a digital exhibition on the online platform Foam Explore, as well as Foam Magazine #65 TALENT which will be entirely devoted to this new generation of talents. In 2025, the exhibition will travel internationally. As part of the Talent program, the selected artists are invited to participate in various networking activities, mentoring, with the opportunity to have their work added to the prestigious collection of the Deutsche Börse Photography Foundation. | | |
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| | | | | | | | La Musa, La Habana, 2019 © Leysis Quesada Vera |
| | | | | | | | | | | | Thu 21 Mar 19:00
22 Mar – 2 Jun 2024 | | | | | |
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| | Michael Schäfer: 2021_57, Nr. 15, 2021-2023, gerahmt 49,5 x 68,5cm, inkjet prints
© Michael Schäfer | | | | | | | | 23 March – 19 May 2024 | | | | Opening: Saturday, 23 March 2024 6pm | | | | | | | | | | | | | | For 20 years, Michael Schäfer has been working with press images, which become the starting point, subject and material of his digital photographic works. With a subtle hint of irony, he scrutinises these visual worlds and points to the power of visual role-playing games and systems. In the field of tension between construction and deconstruction, the artist uses subtle montages and stagings to address contemporary themes. | | |
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| | Daniel Wagener: "opus incertum"
Exhibition view at the Chapelle de la Charité, Arles © Armand Quetsch / CNA | | | | | | | Luxembourg Photography Award 2023 | | | | ... until 16 June 2024 | | | | Exhibition organized in collaboration with Lët’z Arles a.s.b.l. | | | | | | | | | | | | | "Opus incertum" – a term borrowed from Roman masonry, which consists of building walls from small blocks, broken tiles, and a variety of bricks - is an in-situ installation created by Daniel Wagener in response to the call from Lët'z Arles for the 2023 edition of the Rencontres internationales de la photographie, in Arles' iconic Chapelle de la Charité.
The artist was confronted with a religious building, a place of worship steeped in memory, history, religious iconography, baroque workmanship, gold, stucco, fake and real marble, and symbols. He chose to react through extreme contrast and built a system of prefabricated shelves, industrial racks, crossing the main nave from left to right, filled with images of contemporary "construction sites", urban views, traces of buildings from the past and present. This modular unit for storing images obstructed the view of the altar and, by replacing the object of worship, became the artistic interface of a new cult of consumption. Through his exhibition the artist questions the nature of the icon in our contemporary society and encourages us to reflect on the place of the spiritual and its intersection with the material.
Invited by the CNA/Pomhouse for the now traditional return of the arlesian exhibitions to Luxembourg, making the work accessible to the Luxembourg public who did not have the opportunity to visit Arles, the question arose of how to install opus incertum in this new setting. The easy copy-and-paste solution was quickly abandoned. A new in-situ installation was conceived, with the generous support of the CNA, enabling us to rethink the scenography and produce new images.
Once again, we find ourselves in an emblematic location, a kind of ind… | | |
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| | | Rozafa Elshan: Point de départ 3, Arles, 2023. | | | | | | | Luxembourg Photography Award Mentorship 2023 | | | | ... until 7 July 2024 | | | | Exhibition organized in collaboration with Lët’z Arles a.s.b.l. | | | | | | | | | | | | | Today, let us take from our pocket a little piece of paper folded in two to find therein a few words of encouragement scribbled in pencil. – Approach the centre of the platform, position yourself dear guest and read aloud the invitation addressed to you.
HIC HIC SALTA! in 1 - 2 - 3 seconds; HERE NOW JUMP! on the platform set up upon the ground so that you may at last, weightless, exist in a brief present moment. Let us hush into this silence to rid ourselves of our dear personality and to create therein a poem.(1) Let us descend the rising current of all life in a single and unique inscription. The boards laid on the ground forming a horizontal invite to get as close as possible to things so as to experience, with the body, the event which, once secured, as soon escapes us.
At the scale of a tiny flake, leaning into the slope towards sensitive matter, it insists by shifting gesture upon a kind of verification. Let’s jump, let’s dance and slice this space-time so that we may populate and tighten the surface to which we cling. For the occasion of this exhibition and by means of a search through permanent passage, the guest empties once more their daily pockets so as to show to us their footholds upon this stage. By way of each leap, harried and constantly jostled, he passes the faces of a crowd to afterwards reject them outright (2). He would repeat this movement right to the bottom of the bag to weigh nothing in the end (3). Yet despite all efforts to strip away, something constantly looms in the palm of their hand.
In 1 - 2 - 3 seconds, we can try to situate this something by laying it down in the middle of the floor. Dvora’s laces, the sound of a thou… | | |
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| | | Akesa in Chair, 2023 © Nick Brandt Petero by Cliff, Fiji, 2023 © Nick Brandt | | | Nick Brandt » The Day May Break, Chapter 1 – 3 | | | | 23 March – 15 August 2024 | | | Opening: Saturday, 23 March, 6:45 – 9 pm
Prof. Dr. Theo Pagel will speak at the opening on Saturday, March 23 at 7pm,
Zoo Director / Chairman of the Board Cologne Zoo, Chair of the Reverse the Red Committee.
Opening hours: 24 March – 5 May:
Wed - Fri, 4 – 7 pm, Sat 11 am – 3 pm and b.a.
(closed 29 & 30 March)
Opening hours: 5 May – 15 August
by appointment only +49 (0)177 3202913 | | | | | | | | | | | | | Nick Brandt's "The Day May Break" is an ongoing global series portraying people and animals that have been impacted by environmental degradation and destruction.
"Chapter One" was photographed in Zimbabwe and Kenya in 2020, "Chapter Two" in Bolivia in 2022. The people in the photos have all been badly affected by climate change, from extreme droughts to floods that destroyed their homes and livelihoods.
The photographs were taken at several sanctuaries and conservancies. The animals are almost all long-term rescues, victims of everything from habitat destruction to wildlife trafficking. These animals can never be released back into the wild. As a result, they are almost all habituated to humans, and so it was safe for human strangers to be close to them, photographed in the same frame at the same time.
The fog is symbolic of a natural world now rapidly fading from view. Created by fog machines on location, it is also an echo of the smoke from wildfires, intensified by climate change, devastating so much of the planet. However, in spite of their loss, these people and animals are the survivors. And therein still lies possibility.
"SINK / RISE", the third chapter of "The Day May Break", focuses on South Pacific Islanders impacted by rising oceans from climate change. The local people in these photos, photographed underwater in the ocean off the coast of the Fijian islands, are representatives of the many people whose homes, land and livelihoods will be lost in the coming decades as the water rises. Everything is shot in-camera underwater.
"Faced with a seemingly impossible task, Nick Brandt has created a profoundly original body of work, one that represents an entirely… | | |
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| | Untitled 648, 2023 © Cindy Sherman Untitled 659, 2023 © Cindy Sherman
Courtesy the artist and Hauser Wirth | | | | | | | | 29 March – 4 August 2024 | | | | Opening: Thursday 28 March 6pm | | | | | | | | | | | | | Cindy Sherman is considered to be one of the most important American artists of her generation. Her ground-breaking photographs have interrogated themes around representation and identity in contemporary media for over four decades.
In this new body of work, the artist collages parts of her own face to construct the identities of various characters, using digital manipulation to accent the layered aspects and plasticity of the self. Sherman has removed any scenic backdrops or mise-en-scène–the focus of this series is the face. She combines a digital collaging technique using black and white and color photographs with other traditional modes of transformation, such as make-up, wigs and costumes, to create a series of unsettling characters who laugh, twist, squint and grimace in front of the camera. To create the fractured characters, Sherman has photographed isolated parts of her body–her eyes, nose, lips, skin, hair, ears–which she cuts, pastes and stretches onto a foundational image, ultimately constructing, deconstructing and then reconstructing a new face.
The exhibition is accompanied by a catalogue by Hauser & Wirth Publishers. | | |
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| | | | Man Ray » LIBERATING PHOTOGRAPHY | | | | 29 March – 4 August 2024 | | | | Opening: Thursday 28 March 6pm | | | | | | | | | | | | | "To be totally liberated from painting and its aesthetic implications" was the first avowed aim of Man Ray (United States, 1890-1976), who began his career as a painter. Photography was one of the major breakthroughs of modern art and led to a rethinking of notions of representation. In the 1920s and 30s, the photographic medium came to the forefront of the avant-garde movement, and Man Ray soon made a name for himself with his virtuosity. As a studio portraitist and fashion photographer, but also as an experimental artist who explored the potential of photography with the people around him, Man Ray was a multi-faceted figure. Considered one of the 20th century’s major artists, close to Dada and then Surrealism, he photographed Paris’ artistic milieu between the wars.
EXHIBITION
Curated from a private collection, the exhibition explores the artist’s extensive social contacts while presenting some of his most iconic works. In addition to providing a dazzling who’s who of the Parisian avant-garde, the works also highlight the innovations in photography made by Man Ray in Paris in the 1920s and 30s.
ARTIST
He took his first photographs in New York in the 1910s, but it was in Paris that his career took off. Even before opening his studio in Montparnasse in 1922, Man Ray worked for a year in his hotel room. The photographer's reputation grew, and before long, the artist's studio was flourishing. Fashion photographs alternated with portraits of the artistic figures of the day who had made Paris’ no… | | |
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| | | Phin Sallin-Mason, Puzzled, 2024 © ECAL Phin Sallin-Mason | | | | | | | PHOTO BOOTH
Hector Codazzi » Carla Corminboeuf » Yves Möhrle » Léo Paschoud »
Cyriane Rawyler » Phinn Salin-Mason » Noé Vercaemst | | | | 29 March – 2 June 2024 | | | | Opening: Thursday 28 March 6pm | | | | | | | | | | | | | Four portraits taken by a machine and printed in just a few minutes! This is the experience offered by the photo booth since its invention in 1924. It was an immediate success, particularly with the proliferation of identity documents requiring a portrait complying with specific standards (bare head, uniform background, neutral expression, etc.).
Few people are unfamiliar with the experience of the "Photomaton", the name of the photo booth often found in train stations. Automated, self-service, available 24/7, socially neutral and, above all, less expensive than a portrait taken by a professional–and less intimidating as well–this photographic process popularized the experience of having a portrait taken, quickly, anywhere and inexpensively. The precursor of the Polaroid and the selfie, formed from the words "photo" and "automaton", this unmanned process, a veritable photographer's automaton, offering four unique prints, fascinated artists. In 1929, André Breton and his Surrealist friends were already interested in this image box.
Exhibition
Photo Elysée, which showcases a wide range of techniques from the history of photography, acquired an automated photo studio a few years back. Since then, the museum has offered the public the opportunity to photograph themselves and, if they wish, to leave their portraits, thus creating a collective archive (over 2,000 snapshots have been collected to date).
The artist, Christian Marclay, invited by the museum to immerse himself in the Photo Elysée collections in 2021, chose to explore these thousands of faces recorded by the museum's Photomaton. With him, ECAL photography students explored, scanned and metamorphosed the preserved prints. The idea of the project was to… | | |
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| | | Vues et données_2023 © HEAD | | | | | | | | 29 March – 2 June 2024 | | | | Opening: Thursday 28 March 6pm | | | | | | | | | | | | | The View & Data exhibition is the result of a research project revolving around the question of data, headed by artist-photographer Aurélie Pétrel and philosopher Fabien Vallos, in collaboration with two schools, the HEAD Geneva and the ENSP Arles.
This research analyzes the implications of the concept of "data" in the fields of art, contemporary photography and theory. It can be summed up in two main points: first, that data alone cannot produce any system whatsoever of representation of the world; and second, that it is preferable–according to Catherine Malabou's theories–to attempt to give it plasticity. This means granting it the possibility of a form rather than a value.
The final phase of the project is the exhibition, which brings together everything that has been produced, collected and conceived of as part of the research. It should be seen as a form and an image. As a form, it is that of a sort of "container" in which Aurélie Pétrel and Fabien Vallos have deposited works, objects and comments. As an image, it represents the plasticity of the data and the infinite number of possible links between all of the elements present.
The structure of the exhibition, conceptualized and produced by Dieudonné Cartier, includes works by Aurélie Pétrel, some 50 objects collected by Aurélie Pétrel and Fabien Vallos, and over 100 commentaries produced in collaboration with students in the Fig. Laboratory at the ENSP Arles and the Visual Arts CCC Master's Program at the HEAD Geneva. All this work has been brought together in a catalogue published for the occasion.
Exhibition with the support of the BNP Paribas Switzerland Foundation and the Federal Office of Culture (FOC). | | |
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| | Zofia Kulik
Self-portrait with a Flag II, 1992
Silver gelatin print
150 x 150 cm
© Zofia Kulik / Courtesy: Persons Projects | | | | | | | | 22 March – 28 July 2024 | | | | Opening: Thursday 21 March 7pm | | | | | | | | | | | | | "Zofia Kulik – Rhythms of Power" is the Polish artist’s first survey exhibition in Austria. Besides large-format photographic works and the self-portrait The Splendour of Myself, the presentation includes parts of Kulik’s diploma project that were created between 1968 and 1971, towards the end of her studies at Warsaw Academy of Fine Arts.
For decades, Kulik has been archiving thousands of photographic negatives and compiling a huge collection of visual phenomena. The motifs are organised into more than 250 different categories, ranging from images of models in various poses to themes such as skulls, bones, vegetables, flowers, dogs, fabrics, buildings, postcards, masks, explosions or cities – to name just a few.
In the darkroom, Kulik employs an analogue process of multiple exposure to combine hundreds of single images from this archive into complex, multi-layered compositions. Sketches and stencils serve to illustrate her working method.
Zofia Kulik organises her visual materials like a choreographer of mass gatherings – controlling the rhythm as she arranges single images into rows, circles and other geometric figures; often determined by the rules of symmetry, they define a world order in the manner of a mandala or join together in a serial arrangement to create an ornament.
Kulik’s artworks were shown in the 2023 edition of Les Rencontres de la photographie in Arles, at documenta 12 in Kassel in 2007, and at the 47th Venice Biennial in 1997. Her work is also represented in leading international museums, including Tate Modern, London; Centre Pompidou, Paris; Moderna Museet, Stockholm; and MoMA, New York.
Curated by Nathalie Hoyos and Rainald Schumacher | | |
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| | | © Margaret Courtney-Clarke | | | | | | | | 22 March – 28 July 2024 | | | | Opening: Thursday 21 March 7pm | | | | | | | | | | | | | Margaret Courtney-Clarke is a multi-award winning Namibian photographer. The exhibition at the Francisco Carolinum presents works from over 40 years of work and shows what the artist first brought into the public eye: South, West and North African indigenous women in their domestic environment.
Another focus of the artist is on the dark history of those people who historically lived in the Namib and Kalahari deserts. The long-term relationships and friendships she has built over the years not only grant her access to intimate portraits of embattled but resilient peoples, but also speak in detail to the big social justice issues of our time - persistent droughts, climate change, environmental degradation and the impact of the extractive industry in a resource-rich but water-scarce country.
Courtney-Clarke's acclaimed project Caged reflects the constraints of socio-economic and political forces by documenting fences, pens and cages that limit, protect and demarcate Namibia's individuals and places in various ways. Her ongoing quest to advocate for the neglected and overlooked is pragmatic in vision to highlight injustices, but poetic in formulation. Margaret Courtney-Clarke reveals her ingenuity and resilience, drawing attention to the ordinary in extraordinary circumstances.
Curator: Virginia MacKenny, Emeritus Associate Professor of Fine Arts, University of Cape Town, South Africa. | | |
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| | | | | | | Sadness (Ellen Terry), 1864
by Julia Margaret Cameron,
Albumen silver print,
The J. Paul Getty Museum, Los Angeles, 84.XZ.186.52; |
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| | Uralkali Potash Mine #1, Berezniki, Russia, 2017 photo
© Edward Burtynsky, courtesy Flowers Gallery, London | | | | | | | | ... until 6 May 2024 | | | | | | | | | | | | | This exhibition marks the largest exhibition ever mounted in the 40+ year career of world-renowned photographic artist, Edward Burtynsky, who has dedicated his practice to bearing witness to the impact of human industry on the planet.
Curated by Marc Mayer, former Director of the National Gallery of Canada and Musée d’art contemporain de Montréal, the exhibition features 94 of Burtynsky’s large-format photographs as well as 13 high-resolution murals, and an augmented reality (AR) experience.
A centerpiece of the exhibition is the immersive film presentation of In the Wake of Progress (2022). A never-before-seen element in this exhibition, referred to as the “Process Archive,” will also showcase Burtynsky’s navigation through each of the technological shifts in the photographic medium that have occurred over recent decades. The exhibition reveals Burtynsky’s lifelong observation of humanity’s incursion into the natural world and the environmental consequences of industrial processes.
Edward Burtynsky: “I have spent over 40 years bearing witness to how modern civilization has dramatically transformed our planet. At this time, the awareness of these issues presented by my large format images has never felt more urgent. I am grateful to be mounting the largest exhibition of my career at Saatchi Gallery in London, UK and I hope the exhibition experience will continue to provide inflection points for diverse conversations on these issues and move us all to a place of positive action.”
We acknowledge the support of the Canada Council for the Arts | | |
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| | | | | | | Silk moths leaving their stringed cocoons. Digitized scan of glass plate negative, attributed to Misha Mendelevich.
Circa 1930s–1950s. Courtesy State Silk Museum, Tbilisi. |
| | | | Photographic Encounters at the State Silk Museum, Tbilisi | | | | | | | Thu 21 Mar 18:00
22 Mar – 7 Jun 2024 | | | | | |
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| | Joe Conzo » | | | | | | | | | | | | Conzo A Look Back at the Bronx, 1977-84 | | Fri 22 Mar 18:00 22 Mar – 21 Apr 2024 | | | | | | | |
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| | Jefferson HAYMAN
The American Spring
Ed 4 of 12
25,5cm | | | | | | | | ... until 6 April 2024 | | | | | | | | | | | | | | | David Guiraud Gallery first showcased Jefferson Hayman in France in 2016 and has since organized three solo shows in the Marais district, while regularly featuring his work at the Art Elysées fair in Paris. The connection between the gallery and the contemporary artist is longstanding and reflects a commitment for the long term.
Jefferson Hayman stands out as an original artist in the landscape of contemporary photography. His work is characterized by simple and delicate images of characters, objects, or landscapes, printed using a variety of both modern and ancient techniques (silver gelatin, platinum, cyanotype, pigment), revealing his admiration and knowledge of the Pictorialist movement of the early 20th century.
Hayman pays homage to the entire early 20th-century American photography movement, drawing inspiration from it in the treatment of light and the composition of his images. His views of New York are captivating, transporting us to 1920 in Alfred Stieglitz and Edward Steichen's Gallery 291, surrounded by masterpieces of modern photography. Jefferson Hayman's gaze upon the clouds is another connection to A. Stieglitz and his series "Equivalents."
Despite this, Jefferson Hayman is indeed a contemporary artist, born in 1969 in the United States. While his contemporaneity may not be evident in the approach to his shooting or darkroom printing, it resides in the subjects and themes he addresses. Presenting the mask of Darth Vador or a skateboard in a classic treatment creates a sense of anachronism. This likely contributes to the notion of nostalgia and a chosen suspended time in Hayman's work. The sensitivity of an era, his era, is composed within the prints of this artist.
Yet, Hayman's artistic proposition goes beyond. Thank… | | |
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| | Thomas Boivin
Ménilmontant, 2014
Gelatin silver print, printed by the artist
© Thomas Boivin
Courtesy Les Douches la Galerie, Paris | | | Thomas Boivin »
Ici - Belleville, Ménilmontant, Place De La République | | | | ... until 6 April 2024 | | | | | | | | | | | | | Since 2010, Thomas Boivin has been pursuing his photographic work in the northeast of Paris, wandering around his home, strolling the streets, always favoring beautiful light. Portraits of passersby or residents he meets in multicultural neighborhoods and with whom he often establishes a dialogue, urban landscapes that bring out neglected corners, and his own black and white prints, with their subtly balanced shades of gray, have become his signature. Embracing the Paris of Brassai, Marcel Bovis or Robert Doisneau, Thomas Boivin doesn’t indulge in nostalgia either but prefers to draw inspiration from the contemporary American scene, where Mark Steinmetz and Judith Joy Ross, portraitists extraordinaire, are notorious among his influences. When he’s not photographing friends and family, or leaving the house, Thomas Boivin explores still lifes, echoing a pictorial tradition that also reflects his pronounced taste for simplicity and beauty.
How did you become a photographer?
Shortly after studying illustration at the Art Décoratifs de Strasbourg, I bought a digital camera – but quickly switched to a Leica - and got into the habit of taking walks with my camera or in the middle of my days, hunched over a drawing table. It wasn’t long before photography took over.
Did you immediately choose to photograph in black and white?
It was initially a rational choice: about a dozen years ago, black and white film was still cheap, and I didn’t have much money. At the time, it was possible to order film directly from the United States by the hundreds, without the trouble of customs fees. In any case, I was attracted to the idea of developing film by myself, and black and white film easily… | | |
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| | Marvin E. Newman
Untitled (woman serving soda and hot dogs), 1966
Archival pigment print, printed later
© Estate Marvin E. Newman
Courtesy Les Douches la Galerie, Paris | | | | | | | | ... until 6 April 2024 | | | | | | | | | | | | | Marvin E. Newman, who passed away on September 13, 2023, photographed everything from street photography to advertising and sports commissions, nightlife and fashion. Les Douches la Galerie, which had the pleasure of presenting his first solo show in France, in 2018, wanted to pay tribute to him, a few months after his death, with this exhibition of photographs taken in color, mainly in New York.
This city, where he was born in 1927, was undoubtedly one of his favorite playgrounds, along with Chicago, where he settled to study at the Institute of Design (ID) between 1949 and 1952, alongside Harry Callahan and Aaron Siskind. An inquisitive man, open to the world and never taking himself too seriously, Marvin E. Newman was above all a storyteller. Through his work, the history of American photography from the post-war years to the present day unfolds before our eyes. | | |
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| | | | | | | | songs without lyrics 2023, performance based video work |
| | | | | | | | | | | | Fri 22 Mar 17:00
23 Mar – 23 Jun 2024 | | | | | |
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| | | | | | | Jana Bauch: Ronnie, 2021, aus der Serie Y-Topia, 2021–2023
© Jana Bauch |
| | | | | | | | | | | | Fri 22 Mar 18:00
22 Mar – 23 Jun 2024 | | | | | |
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| | | | | | | Helmut Newton. American Vogue. Paris, 1974
© Helmut Newton Foundation |
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| | Christopher Anderson, Canada (1970)
from the series Family Trilogy, 2020
| | | | | | | | | | | | | | | | ... until 14 April 2024 | | | | | | | | | | | | | Christopher Anderson naturally began photographing his family after his son Atlas came into the world in 2008. When his daughter Pia was born, he continued the fatherly attempt to stop time and not let a single moment of this new life slip away. Marion features throughout these albums, as a woman, mother, and partner. As a documentary photographer, Christopher Anderson had never considered these personal photos as a ‘series’, but his opinion changed when war photographer Tim Hetherington pointed out that “They’re all about the passage of time.” Christopher Anderson began seeing his family pictures in a new light and realised that they may well be his best work. Pia, Son and Marion were published as three separate books, forming a unique and moving intimate family trilogy.
Kristine Potter’s latest photobook, Dark Waters, focuses on the violence that permeates the territory and popular culture of the USA. She contrasts a series of portraits of women with scenery that appears serene but is in fact views of places with sordid names, such as Murder Creek, Bloody River, and Rape Pond, evoking the domestic violence that allegedly took place there in the past. Drawing on the musical genre of murder ballads from the 19th and 20th centuries, Kristine Potter alludes to the flippant popular glorification of violence towards women that still pervades today’s cultural landscape.
Advertisements generally encourage us to picture Santa Claus as a cheerful chubby man with a bushy white beard and a smart red suit, always smiling and huggable. But what’s he really like? Collector Jean-Marie Donat scoured flea markets all over Europe to compile this extraordinary collection of photographs from the 1930s to the 1970s, in which we see the beloved myth become a nightmare of triviality and awkward clumsiness. This witty series seems most likely to confirm our childhood suspicions: Is Santa Claus just an ordinary man, after all? | | |
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| | PPP - Protest Party Portraits 1995 – 1997
© Jules Spinatsch | | | | | | | Techno Culture in two exhibitions at Photobastei | | | | | | | | ... until 31 March 2024 | | | | | | | | | | | | | For the very first time, Switzerland’s techno culture is finding its way into the museum. To celebrate this multifaceted youth culture, Photobastei is proud to present two major exhibitions.
"TECHNO WORLDS" is supported by the Goethe-Institut. It engages with local and global techno perspectives through the works of visual artists and wages an experiment by showcasing some significant developments of techno and club culture.
"THE PULSE OF TECHNO" is produced by Photobastei, with a focus on Zurich’s techno scene, which took off in the 90s. The city became a European hotspot for electronic music, so much so that the Federal Office of Culture put Zurich's techno scene on the UNESCO Cultural Heritage list of living traditions in 2017.
The two exhibitions include an extensive supporting programme with parties by international and Swiss stars, concerts, workshops, an oral history series on club history: Zurich Calling, panels by the Zurich Bar and Club Commission and conversations with influential figures of the early days. | | |
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| | | | | | | | Art Basel in Hong Kong 2018 © Art Basel |
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| | | | | | Rencontres de la jeune photographie internationale 2024 | | | | | | | 5 Apr – 25 May 2024 | | | | | |
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| | | | | | | Noga Shadmi's series of the kidnapped penetrates the heart.
Keep sharing your images, together we will raise the global awareness and bring them back home. |
| | | | 11th International Photography Festival | | | | | | | 27 Mar – 6 Apr 2024 | | | | | |
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| | | | | | Triennial Exhibition | | | | | | | 22 Mar – 28 Jul 2024 | | | | | |
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| | | | | | Critical Geography | | | | | | | – 21 Apr 2024 | | | | | |
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| | | | | | international festival of photography | | | | | | | – 24 Mar 2024 | | | | | |
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| | | | | | Even Better Than the Real Thing | | | | | | | – 30 Sep 2024 | | | | | |
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| | | | | | Memory is an Editing Station | | | | | | | – 28 Apr 2024 | | | | | |
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| | | | | | Cosmos Cinema | | | | | | | – 31 Mar 2024 | | | | | |
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| | | | | | Ten Thousand Suns | | | | | | | – 10 Jun 2024 | | | | | |
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© 13 March 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 |
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