| | | |  | | | | Guido Guidi: Millenovecentonovanta-duemilasei, 1990–2006 (01) © Guido Guidi, 2017 | | | Il deserto rosso now | | | | Photographic Reactions to Antonioni’s Classic Film | | | | | | | 1 September, 2017 - 28 January, 2018 | | | A Look at the Collection:
Francesco Neri » Trophy and Treasure | | | | 1 September - 17 October, 2017 and 9 November - 28 January, 2018 | | | | Openings: Thursday, 31 August, 7:00 p.m. | | | | | | Cultural Award of the Deutsche Gesellschaft für Photographie | | | | 21 October – 5 November, 2017 | | | | Presentation of the Cultural Award: Saturday, 21 October, 7 p.m. | | |  | | | | | | | | | | | | | |
| | | | | | | | | |  | | | | Dana Lorenz: Re-Writing Pictures, Muna, 2017 © Dana Lorenz | | | | | Il deserto rosso now | | | | Photographic Reactions to Antonioni’s Classic Film | | | | | | | 1 September, 2017 - 28 January, 2018 | | | Opening: Thursday, 31 August, 7:00 p.m.
A project by Die Photographische Sammlung/SK Stiftung Kultur in collaboration with the Academy of Visual Arts Leipzig, Linea di Confine, Rubiera, and Osservatorio Fotografico, Ravenna | | | | Works by more than thirty artists are being presented within the scope of this German-Italian project that examine the influential film “Il deserto rosso“ (1964) by Michelangelo Antonioni (1912-2007). Internationally, the director counts among the filmmakers whose influential bodies of work are highly admired by artists and photographers. "Il deserto rosso" (Red Desert), which was shot in the industrial region around Ravenna and whose innovative coloration is particularly striking, provides a wide variety of artistic stimuli, especially for a photographic examination. | | | | | |  | | | | Mako Mizobuchi: Farbige Gefühle, 2016 © Mako Mizobuchi, 2017 | | | | | | The artists participating in the "Il deserto rosso now" project are associated with the Academy of Visual Arts Leipzig (the classes taught by Prof. Joachim Brohm and Anna Voswinckel) as well as with the photography initiatives Linea di Confine in Rubiera und Osservatorio Fotografico in Ravenna. In 2013, the first participants set out in search of traces in the northern Italian landscape around Ravenna, which continues to be characterized by industrial sites, for the purpose of visiting Antonioni's former locations, not only in a concrete respect but under atmospheric circumstances as well. The industrial backdrop in the film is the visual soundtrack, so to speak, accompanying the emotional, melancholy moods of the protagonists, in particular the young married woman Giuliana. Sounding out the psychogram of Giuliana and creating contemporary images that lend expression to her fears, her loneliness, and her sense of loss in the modern world and furthermore translate it into a universal language are threads that take effect in the photographic series and film contributions in the exhibition.
"Il deserto rosso" was the first film Antonioni made in which he discovered color as a multilayered aesthetic element. Thus the series currently on display repeatedly reflect on coloration as an artistic, corresponding, and symbolic visual material up to the point that it becomes absolute in the form of an image.
The fact that the narrative is subject to different representational conditions in photography and film is a media-reflexive issue that is pursued in the exhibition not only in spatial installations in the area of film and projection. By bringing in auditory and textual forms of expression, for example, photographic series also reflect on the various narrative possibilities and achieve independent results. | | | | | |  | | | | Alessandra Dragoni: Zu viel Sonne für Antonioni (Troppo sole per Antonioni), 2016 © Alessandra Dragoni | | | | | | Several artists have chosen the photobook as a further medium of expression. The thematic focal points are wide-ranging and include topographic explorations of the industrial landscape and urban space, portraits, and representational detail studies.
Overall, the exhibition is of great documentary and poetic variety. It pursues the interaction between various media and once more demonstrates the relevance of existing materials and inspiration for the development of new tendencies in artistic photography. | | | | | |  | | | | Allegra Martin: Wie ich von Deinem Hunger nichts wissen kann (Come nulla posso sapere della tua fame), 2016 © Allegra Martin | | | | | | | The group exhibition's first station was at Linea di Confine in Rubiera in October of last year. "Il deserto rosso now" is now being presented in Cologne in modified form. It will be accompanied by the catalogues "Die Straßen, die Fabriken, die Farben, der Himmel, die Menschen - In Referenz 'Il deserto rosso'" (German/English/Italian) (Fotohof, Salzburg) and "Red Desert Now! The legacy of Antonioni in contemporary Italian photography" (English/Italian) (Linea de Confine). | | | | |
| | | | | | | | | |  | | | | Francesco Neri: At home, Faenza 2.4.2011, C-Print © Francesco Neri, 2017 | | | A Look at the Collection:
Francesco Neri » Trophy and Treasure | | | | 1 September - 17 October, 2017 and 9 November - 28 January, 2018 | | | | Opening: Thursday, 31 August, 7:00 p.m. | | | | | |  | | | | Francesco Neri: Mom, Faenza 23.11.2014, C-Print © Francesco Neri, 2017 | | | | | | | One may view the individual photographs by Francesco Neri (*1982 in Faenza) as "trophies" or as "treasures". In his series, the photographic image shows itself in all of its cultural value. Neri presents it in a multitude of ways-as object, as a means of communication and document, as memento, as composition, as reproduction and transformation, and finally as an independent work of art. | | | | | |  | | | | Francesco Neri: Dad’s retirement day, Sant’Orsola Hospital, Bologna 15.12.2009, C-Print © Francesco Neri, 2017 | | | | | | | Produced in the home of his grandparents, the series, of which about 30 exhibits have been selected for the exhibition, allows personal insight into the private and professional life of Francesco Neri's family. The areas of medicine (father and grandfather were physicians) and hunting play a particular role. There is hardly a photograph that does not exhibit traces of these activities. The images include both sensitive interiors in the manner of a classic still life as well as landscape photographs and views of nature. The portraits of his parents, which the photographer takes in everyday situations - observing them casually, as it were - testify to great closeness. Francesco Neri's photographs cast light on the metaphorical strength of the moment; the blurring of profession, family, and personal interest; as well as the entanglement of historical dimensions through the medium. | | | | | |  | | | | Francesco Neri: Painted Mallard, Faenza 9.2.2011, C-Print © Francesco Neri, 2017 | | | | | | | The exhibition will be accompanied by a catalogue (Verlag Snoeck). | | | | | | |
| | | | | | | | | |  | | | Duane Michals : Selfportrait
© Duane Michals, Courtesy Galerie Clara Maria Sels, 2017 | | | | | | Cultural Award of the Deutsche Gesellschaft für Photographie | | | | 21 October – 5 November, 2017 | | | Presentation of the Cultural Award: Saturday, 21 October, 7 p.m.
The artist (*1932 in McKeesport, Pennsylvania), who is still highly active, has been working with the medium of photography since the 1950s. After studying graphic design in Denver and New York, he produced his first photographs during a trip to Russia, and photography would be an important means of artistic expression for him from then on. Duane Michals selects different forms of photographic presentation, whereby the element of the serial-narrative is assigned particular importance. It became apparent early on that the term “photograph“ alone does not do justice to his complex approach with the imaginatively staged production of images. Because he is time and again concerned with the staging and heightening of impressions of reality that go beyond what is concretely documentary. Thus the sequences that Michals creates constitute an independent form of visual narrative, of photographic “stage play.“ He has also been including texts in his visual works since the 1970s, mostly written by hand on the white edges of the images; simple lyrical lines that prove to be just as profound as his photographs. Duane Michals's themes are interpersonal relationships, magic and illusion, time and memory, religion, love, and sexuality. | | | | | |  | | | Duane Michals : UpsideDown
© Duane Michals, Courtesy Galerie Clara Maria Sels, 2017 | | | | | | | The exhibition will be presenting the following series from different creative phases of the artist: The Fallen Angel (1968), Dr. Heisenberg's Magic Mirror of Uncertainty (1998), The Theatre of Real Life (2004), as well as recent photographs of still-life motifs from the 2000s. The lenders are the Galerie Clara Maria Sels, Düsseldorf; KOLUMBA, Cologne; as well as the Lehmbruck Museum Duisburg and the City of Duisburg. | | | | | | unsubscribe here
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