| Paris Photo 2018 | | | | | | | | | | | | | | Nick Brandt: Bus Station with Elephant in Dust, 2018 © Nick Brandt Courtesy EDWYNN HOUK GALLERY, NEW YORK | | | | | Paris Photo 2018 Grand Palais | Avenue Winston Churchill | 75008 Paris
Wed November 7 : by invitation only
Thu-Sat November 8-10 : 12 pm - 8 pm
Sun November 11 : 12 pm - 7 pm
www.parisphoto.com | |
| | | Paris Photo announces 149 galleries and 31 art book dealers representing 28 countries. The selection includes specialist dealers showcasing historic and rare work, like the 47 rare and vintage prints by Bauhaus artist Florence Henri (ATLAS London) or a retrospective solo show by Chargesheimer » (Julian Sander Cologne), an overview of Ute Mahler » Werner Mahler » works (Galerie Springer Berlin), works by cutting edge galleries promoting innovative young artists, and major international galleries highlighting today’s most significant artists working with image-based art like Richard Avedon » , Daidō Moriyama » (Hamiltons London) or Isabel Muñoz » (Esther Woerdehoff Paris). Another highlight will be a pre-release of 7 photographs from the series This Empty World by Nick Brandt » (Edwynn Houk Gallery) previewing their exhibition starting in New York February 21, 2019; in London at February 6, 2019 (Waddington Custot + Atlas Gallery); in Berlin February 15, 2019 (Camera Work); and in Los Angeles February 28, 2019 (Fahey/Klein).
Welcomed this year are 25 new galleries (compared to 2017) including 17 first-ever participations, testifying to the vivacity of the market and the increasing interest for image-based art. Returning galleries include Rosegallery (Santa Monica), Cécile Fakhoury (Abidjan), Feldbush Wiesner Rudolph (Berlin) with two solo shows of Thorsten Brinkmann » and Daniele Buetti » , Keith de Lellis (New York), Patricia Conde (Mexico) and after a long absence Priska Pasquer (Cologne) and Goodman (Johannesburg/Cape Town), the latter with a series of vintage photographs from the recently deceased David Goldblatt » .
Discover and rediscover leading artists through a viewing of an artistic ensemble with 27 solo shows: South African Santu Mofokeng » (Carlier Gebauer, Berlin); Steve Kahn » with an ensemble of conceptual works (Casemore Kirkeby, San Francisco); Michel Journiac » with the iconic series 24 Hours in the Life of an Ordinary Woman (Christophe Gaillard, Paris); Ari Marcopoulos » presents American subculture (Frank Elbaz, Paris/Dallas); Mao Ishikawa » the emergence of female photographers in 1960s Japan (NAP, Tokyo); the American feminist artist Joan Lyons » , until now little presented in Europe (Steven Kasher New York); vintage works by Ralph Gibson » (Paci, Brescia/Porto Cervo); landscapes by Lynn Davis » (Karsten Greve, Paris/Cologne); and projects by Axel Hütte » (Nikolaus Ruzicka, Salzburg), Barbara Probst » "Exposures" always composed by a group of photographs (Kuckei + Kuckei, Berlin), Erez Israeli » (Crone, Vienna). Katalin Nador » (ACB Budapest); Antti Laitinen » (Anhava Helsinki); Gerard Rondeau » (Baudoin Lebon Paris); Richard Mosse » (Carlier Gebauer Berlin); Erik Madigan Heck » (Christophe Guye Zurich); Barbara Hammer » (Company New York); James Nachtwey » (Contrasto Milan); William Wegman » (Huxley-Parlour London); Bastiaan Woudt » (Jackson Atlanta); Ugo Mulas » (Lia Rumma Milan / Naples); Guy Bourdin » (Louise Alexander Porto Cervo); Erwin Olaf » (Magda Danysz, Paris); Silvana Reggiardo » (Melanie Rio Fluency Nantes); Yojiro Imasaka » (Miyako Yoshinaga New York ); Jorma Puranen » (Purdy Hicks London ); Evangelia Kranioti » (Sator Paris); | | | | |
| | | | | | | | | | | | | | | | | | | | | | Isabel Muñoz
from Metamorfosis, 2016
© Isabel Muñoz, courtesy Galerie Esther Woerdehoff | | | | | | | In addition to this selection of recent works at Paris Photo Prismes section, Esther Woerdehoff will also present Isabel Muñoz The Anthropology of Feelings / Fragments at the Paris gallery until Nov 30th. | | | | | | | | | | | | |
Série Maras, 2005
Tirage numérique
0,6 x 0,45 m
© Isabel Muñoz |
Série 9 Gods, 2016
Tirage platine couleur
1,10 x 1m
© Isabel Muñoz |
Série Metamorfosis, 2016
Tirage platine couleur
1,2 x 1,47 m
© Isabel Muñoz |
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| | | | | | How not see a network of close interconnexions between several worlds in Su dance, Shiite rituals, Peul scari cations. The reduction of photography to the documentary form prevents access to a universe, that of a human community which turns sacri ce into the supreme act of knowledge. The exuberance and pleasure experienced in the solitude of pain pay tribute to the dead and the gods. Serenity and ecstasy are at the end of the journey of abandonment and violence.
If it is true that these "transmitters" are recognisable for their excess and that they show appearances which we consider grotesque, this is the price at which the body rises. We cannot access the other world without disincarnating ourselves in ours. Because they accept to become an instrument of higher powers; by offering themselves to them, Isabel Muñoz’s subjects can rejoin their ancestors, whether real or mythical.
Photography captures them when they come back to life. Which is why they must leave the ancient world. Contrarily to stereotypes, everything takes place as if an interior force guided them inescapably to their fate. Indeed, the body suffers too much from dancing, from leaving too many marks on the esh. But this does not matter; out of habit and auto-persuasion, they no longer react to the pain they impose upon themselves. Being stronger than this pain is an essential step in the creation of another me, puri ed through being deprived of sensitivity. Impassiveness de nes and reveals the pathway to the indescribable. The long-awaited moment arrives when no feelings haunt them when they are freed from all thoughts. The battles led against themselves, and the rest of the world; this stubbornness to dominate their carnal outer layer leads them to sometimes take morbid paths. Masochism is indissociable from ecstasy. | | |
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Ruby Holden, pawnbroker, Henderson, Nevada, December 17, 1980
Photograph by Richard Avedon
Copyright © The Richard Avedon Foundation
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Alberta Tiburzi in Paco Rabanne, 1966
Archival pigment print
51 x 36 5/6 in.
Unique in this format
© Hiro |
| | | | | | The principal highlight of Hamiltons presentation at Paris Photo this year will be Richard Avedon and photographs from his In The American West series, in celebration of Hamiltons’ renewed partnership with The Richard Avedon Foundation.
For more than fifty years, Avedon’s portraits have filled the pages of the finest magazines, galleries and museums worldwide. His stark imagery and brilliant insight into his subjects’ characters made him one of the most celebrated portrait photographers of all time. As Avedon’s reputation grew from early in his career, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves.
Throughout his life Avedon maintained a unique style all his own. Famous for their minimalism, Avedon portraits are often well lit and in front of white backdrops. When printed, the images regularly contain the dark outline of the film in which the image was framed.
In 1979 Avedon began working extensively on a commission from the Amon Carter Museum of American Art to create a series of portraits of ordinary people living in the west of the United States. Over the course of five summers, he traveled the "American West" by car, finally producing a series of studio images of drifters, carnival workers, and working-class Americans. In The American West is now recognised as one of his most intimate, moving bodies of work. | | | | |
| | | | | | | | | | | | | | | (Hargesheimer, Karl-Heinz) Chargesheimer, Im Ruhrgebiet, ca. 1956. | | | | | | | | | | | | | | | |
(Hargesheimer, Karl-Heinz) Chargesheimer,
Konrad Adenauer (1876 - 1967), Politiker, 1956. |
(Hargesheimer, Karl-Heinz) Chargesheimer, Untitled (Lightgraphic Negative), 1948 - 53. |
| | | | | | Chargesheimer is not a photographer It is vision that has defined the arts throughout history. Mastery of technique is, of course, required to reach the spiritual level of creativity, but more as a springboard than a crutch. Hockney, Christenberry, Penn, Michelangelo and Chargesheimer all used multiple mediums to render their ideas.
The photographic medium is tricky though. Where in painting and sculpture the artist has the luxury of time to contemplate the development of the artwork and it’s meaning, the photograph requires a sort of hyper-compression that happens at the moment when the photograph is taken. All of the consideration must occur at that very moment. Maybe photography is just deceptive, pretending to be a simple technique that all of us can take part in because our mobile phone allows us to. The sheer number of photographs out there are a witness to that very hypothesis. But a photograph is just a photograph.
Vision is a characteristic, a badge reserved for the artists, such as Chargesheimer. - Julian Sander (from the Feroz Paper Vol.3) | |
| | Chargesheimers work was daring, challenging and bold. His search for expression enabled him to expand his visual vocabulary beyond the singular medium of Photography. By the end of his life, Chargesheimer had worked in Theater, acted in a film, worked for major magazines, and of course created cameraless works that are the result of painting with chemicals on glass and/or photo paper. His oeuvre is complex. For this very reason, Galerie Julian Sander will present a broader look into the artists work including examples of Documentary Work, Portraits, rare Nudes, Experimental and Cameraless work as well as a Mechanized Light Drawing Machine called a Meditation Mill. | | | | |
| | | | | | | | | | | | | | Thorsten Brinkmann, "El Curtaisse", 2018
Archival Pigment-Print
Edition 5 +2 AP, 127 x 95 cm
©Thorsten Brinkmann / courtesy FeldbuschWiesnerRudolph Gallery | | | | | | | | | | | | | | | | | |
Thorsten Brinkmann, "Van Barre", 2018
Archival Pigment-Print
Edition 5 +2 AP, 163 x 124 cm
©Thorsten Brinkmann
courtesy FeldbuschWiesnerRudolph Gallery |
Thorsten Brinkmann, "Bowlini", 2018
Archival Pigment-Print
Edition 5 +2 AP, 100 x 75 cm
©Thorsten Brinkmann
courtesy FeldbuschWiesnerRudolph Gallery |
| | | | | | | With his atmosphere-filled narratives, Thorsten Brinkmann effortlessly moves between various genres, playing with images that have been carved into our collective memory. The artist creates his works from a growing collection of found objects: discarded household objects, secondhand clothing, leftover things from middle-class domestic culture, and all types of bulky refuse. The humorous self-portraits, the still lifes and striking draperies he has photographed as well as his paradisical landscapes allude to compositions by old masters from the 16th, 17th and 19th centuries. His works are represented in renowned collections, such as the Museum der Moderne, Salzburg, the Fotomuseum Winterthur, the Gemeentemuseum, The Hague, Kunsthalle Bremerhaven and the Falckenberg Collection, Hamburg. | | | | | | |
| | | | | | | | | | | | | | Denis Darzacq
Hyper n°20
2008
Digital C-Print
130 x 100 cm
Edition de 8 | | | | | | | | | | | | | | | | | |
Denis Darzacq
Emilie Hasboun, 2015
Inkjet print
200 × 148 cm
Edition de 5 |
Denis Darzacq
Contreformes No. 6, 2017
Digital pigment print
200 × 150 cm
Edition de 5 |
| | | | | | | Best know for his images that capture the poetic expressionism of bodies in motion, Denis Darzacq’s varied series all share a preoccupation with duality and incongruity — nature and culture, digital versus human, creation versus consumption. His popular "La Chute" (2005-2006) and "Hyper" (2007-2009) documented dancers flying and falling in unusual contortions, mirroring the anxiety of a generation caught at the sociopolitical crossroads of the times. While a later iteration, "Act" (2008-1011) invited young people with disabilities to express freedom from limitations by performing in a similar manner. More recently with "Doublemix" (2014-2015) and "Contreformes" (2017), a new formalism has emerged but the photo/sculpture experimentations are still as much a commentary about consumerism and life in the digital age as they are about aesthetics. With an allegorical sensibility and collaborative spirit, Darzacq fluently alternates between documentary and abstraction capturing the cultural consciousness of a world in flux. | | | | |
| | | | | | | | | | | | | | | © Ute Mahler: Chauffeur, Minsk, 1981, Vintage Print | | | | | | | | | | | | | | | |
© Ute Mahler, Julia, 1979
Modern Print, 150 x 100 cm |
© Werner Mahler, Gran Canaria #02, 1994
Vintage Print, 45 x 30,5 cm |
| | | | | | | The programme of the gallery is focusing on classic and contemporary photography and comprises a group of international artists whose works form insightful dialogues. Besides four to six exhibitions in Berlin and the participation in national and international art fairs, our activities are completed by support service for private and public collections. The gallery was founded in 1991 in Frankfurt (Main) as Springer & Winckler Galerie. In 1998 it moved to Berlin into the legendary spaces of Rudolf Springer. Since 2012 the gallery is run by Heide and Robert Springer as GALERIE SPRINGER BERLIN, a name full of tradition. | | | | |
| | | | | | | | | | | | | | Lac de Migouélou, France, 2014, 2014
Pigment Print
100cm x 125cm
© Claudius Schulze / Robert Morat Gallery | | | | | | | | | | | | | | | | | |
Untitled 5, 2014
Pigment Print
100cm x 150cm
© Andrea Gruetzner / Robert Morat Gallery |
figure, ground#084, 2016
Pigment Print
130cm x 110cm
© Bill Jacobson / Robert Morat Gallery |
| |
| | | | | | Robert Morat Gallery focuses on the presentation of emerging and mid career positions in contemporary photography. Founded in Hamburg in 2004, the gallery has since moved to Berlin, showing alternating exhibitions by represented artists and a program of book launches and artist talks. | | | | | | | | |
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Viktoria Binschtok
Cheap Vapes & Power Drink, 2018
2 dig. c-prints, custom-made frames,140 x 120 cm
courtesy by KLEMM'S |
Viktoria Binschtok
Plant & Pattern, 2018
2 dig. c-prints, custom-made frames, ca. 140 x 120 cm
courtesy by KLEMM'S |
| | | | | | A two-artist dialogue to contemplate the pictorial fabric
that has determined our lives over generations. | | | | | | | | | | | | |
Jan Groover
Untitled (1070), 1981
Platinum-palladium contact print
25,4 x 20,3 cm
courtesy by KLEMM'S, Berlin and Janet Borden, New York |
| | | | | | For the 2018 edition of Paris Photo, we are pleased to present works by the artists Jan Groover and Viktoria Binschtok.
Linked to her concept of "networked images", Viktoria Binschtok has conceived our Paris Photo booth and chosen works by Jan Groover that come into dialogue with the connected, but fragmented image culture of the last century. A conscious and authorial selection process plays an integral part in both artists' practices—from the layered material design of the booth, to Groover's subjective, but highly aestheticized vision, to Binschtok's own articulation of today's self-reflective image landscape beyond the actual photograph. Visual nets are simultaneaously cast and called into question, opening up a space to contemplate the pictorial fabric that has determined our lives over generations.
Jan Groover and Viktoria Binschtok fuse gestures, signs, and surfaces in their works of photographic details, revealing a heightened sense of the world at large in their meticulous and aesthetic compositions. Both artists’ oeuvres link to the intricacies of visual culture in their respective times – one far off from the digital world of images, the other constantly reflecting on it. | | | | |
| | | | | | | | | | | | | | Clare Strand, "Information Source #7",
from the series: "The Discrete Channel with Noise" (2017),
Hahnemuhle black and white photograph with gridded Acetate sheet
overlaid and red ink handwritten numbers, 25,4 x 20,3 cm (detail) | | | | | | TIMM RAUTERT » is also featured in the exhibition
SHEGO/HEGO/EGO - COLLECTION MCEVOY FAMILY
at PARIS PHOTO 2018 - SALON D'HONNEUR
RECEPTION AND BOOK SIGNING AT PARIS PHOTO 2018
THURSDAY, NOVEMBER 8, 2018, 5 PM:
TIMM RAUTERT » Germans in Uniform, Steidl Verlag Göttingen | | | | | | | | | | | | | | | | | Timm Rautert, from the series "Manhattan Mirror", 2012,
sixty black and white photographs, gelatin silver prints, 35,2 x 24 cm each (image size), 40,6 x 30,6 cm (sheet size),
variable installation on eighteen boards with five artificial stones and five mirrors | | | | | | TIMM RAUTERT and CLARE STRAND
MAIN SECTION BOOTH A28
PARROTTA CONTEMPORARY ART will present Timm Rautert
the series Manhattan Mirror (2012) and new works from the exhibition Mirror and Glass (2017) and
the series Signs of a Struggle (2002) and Discrete Channel with Noise (2018) by
Clare Strand and her Men Only Tower (2017).
Gallery artist EDMUND CLARK » is featured at
ARTIST TALKS BY THE EYES Friday, November 9, 2018, 3 PM
RECEPTION AND BOOK SIGNING AT PARIS PHOTO 2018
THURSDAY, NOVEMBER 8, 2018
4 PM: EDMUND CLARK » My Shadow's Reflection, Here Press London
4.30 PM: YANN MINGARD » Everything Is Up in the Air, Thus Our Vertigo, GwinZegal, Guincamp
5 PM: TIMM RAUTERT » Germans in Uniform, Steidl Verlag Göttingen | | | | |
| | | | | | | | | | | | | | SUN YANCHU 孙彦初
CONTINUING OFFSPRING
2017
145 x 98cm - Unique
Photograph and mixed media | | | | | | | | | | | | | | | | | | Sun Yanchu takes on the photographic medium as the raw material for experimenting on the image and endlessly drawing out the web of his obsessions as an artist. In the beginning he alters his own prints, from the Obsessed series (2011), later working with photos gathered in flea markets. With his recent series and book "Ficciones", he subjects photos to plastic experiments of all kinds, mixing gold leaf, water color, acrylic, even soy sauce, aging and altering the original content of these unknown photographs. Often small in size, they become a pretext for starting a story or a tale that develops beyond the restricted frame of the drawing, creating with paintbrush or pen doubly fictious landscapes and narratives collected from discarded histories and anonymous family albums.
Sun Yanchu also experiments with darkroom chemicals and photographic papers in the tradition of Chinese ink painting in his ongoing body of work "Developer Paintings" 2013-18. An accomplished darkroom printer as well as painter, Sun Yanchu works with brush and intuition to control the chemicals, temperature, light exposure and developing process to bring out the unique effecst found in his developer paintings. The artist says the process of this creation and the results after development - the layers of black ink and color gradation effect - very much resemble traditional Chinese painting and calligraphy, which the artist has been exposed to since childhood. Sun Yanchu’s ‘Developer Painting’ works are a mixture of his passion for both traditional Chinese painting and the modern western invention of photography. | | | | | |
DONG WENSHENG 董文胜
201212
30.4 x 31.3cm - Edition of 8
Silver gelatin print, watercolor |
CAI DONGDONG 蔡东东
PICKING FRUIT 2016
63 x 126cm - Edition of 3
Silver gelatin print, Rope |
| | | | | | With a background in photography and image production theory, Cai Dongdong’s practice reaches beyond photography to become a topology of the image. In Cai’s installations, the photograph may serve strictly as a reference point or a gateway towards the story Cai is constructing or reconstructing.
In a small group of works titled "Obstacle", Cai Dongdong (b. 1978) creates a rigidity with sculptural elements in the photographic surface blocking the desired flow of human interaction presumed to exist in the subject and narrative depicted in the ‘real’ photograph. This intrusion and manipulation by the artist of both the physical photograph and conceptual image underscores a malleability of meaning and construction in not just the photographic image but in the reality we construct for ourselves based on desire and real life circumstance.
Dong Wensheng (b. 1970) names among his influences traditional Chinese art, porcelain and poetry, as well as physics, Nietzsche, and Robert Rauschenberg. His work echoes Freud’s observation that the uncanny is "nothing new or alien, but something which ... has become alienated from [the mind] only through the process of repression". Dong Wensheng constructs intimate, mystical poems for the world of his photographs, reflected in his real yet elusive images. He introduces into his witchcraft of photography a pessimistic or even morbid mentality of traditional Chinese intellectuals, and makes them become the core spirit of his artworks. In his photographs, these elements keep repeating: the growing moss, stones, rivers, human bodies, tattoos, skulls, sacrificial earthenware in tombs, artificial pines, etc. He is like a stage artist, allowing these props to take on a new role. | | |
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Daniele Buetti, "Are You talking to Me - P. ", 2018
Pigmentprint, cut, mirror mounted, framed, 133 x 103 cm
©Thorsten Brinkmann
courtesy FeldbuschWiesnerRudolph Gallery |
Daniele Buetti, "Are You talking to Me - G.J. ", 2018
Pigmentprint, cut, mirror mounted, framed, 133 x 103 cm
©Thorsten Brinkmann
courtesy FeldbuschWiesnerRudolph Gallery |
| | | | | | | | | | | | | | | | | | | | | | Daniele Buetti, "Looking for Love - Louis Vuitton, ...", 2008-2018, Pigmentprint, framed, 92 x 76 cm
©Thorsten Brinkmann / courtesy FeldbuschWiesnerRudolph Gallery | | | | | | Daniele Buetti is one of the most important artists in recent years to explore the topic of lifestyle and media codes. He has become known by his working over of fashion advertisements, e.g. with super models like Claudia and Naomi, Giselle and Kate suffering a transfiguration to „Nike", the trademarks of the products they advertise visible as growthlike identifications on their skin.
Due to such forceful subjects, Buetti explores the topic of our goods and consumption-happy society in a much larger context visualized through his important installations, photograph panels and illuminated boxes. His most recent series „Don‘t talk to me" is based on photographic collages with mirrors referring to the selfie as the contemporary type of portrait in eras of smartphones and social platforms besides the arthistoric quotes of classic portraits and the symbolic motive of the window guiding the view into a mental space outside the image.
Buetti's works have been exhibited worldwide in numerous museums and galleries, including the Museo Nacional Centro de Arte Reina Sofia, Madrid, Haus der Kunst, München, Fotomuseum Winterthur, Kunsthalle zu Kiel, Kunstmuseum Bern, Migros Museum für Gegenwartskunst, Zürich, Kunsthalle Baden-Baden, Hayward Gallery, London, Museum der Moderne, Salzburg, and ZKM, Karlsruhe. The artist lives and works in Zürich, Switzerland. | | | | | | |
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Untitled (Swimming Pool), Düsseldorf, 2008
Lightjet print
88.9 x 66.9 inches (225.8 x 170 cm)
© Andreas Gefeller, Courtesy of Atlas Gallery | | | | | | | | | | | | | | | | | |
Florence Henri
Composition, 1931
Gelatin silver print, printed 1977
Signed, titled, dated, editioned on verso
Edition 5 of 9, 11.8 x 9.2 inches (30 x 23.6 cm) |
Anchovies, 1993
C-print
40 x 50 inches
© Richard Caldicott
Courtesy of Atlas Gallery |
| | | | | | For Paris Photo 2018, Atlas Gallery will exhibit 47 rare and vintage prints by Bauhaus artist- photographer Florence Henri (1893-1982).
The spatial and psychological ambiguity evoked by Henri’s complex compositions will be reflected in the selection of other works on show in the Atlas stand, which include contemporary artists Andreas Gefeller, Kacper Kowalski, Richard Caldicott and John Messinger.
Founded in 1994, Atlas Gallery is one of the leading international galleries dealing exclusively in photography. The gallery embraces photography in all its forms: from classic vintage photography, photojournalism and fashion to experimental and art photography. The gallery has extensive holdings of work by 20th-century masters, as well as representing a diverse range of contemporary photographers. | | | | |
| | | | | | | | | | | | | | Untitled, San Francisco, 2014, 2014
c-print
82.5 x 109.8 cm
© Pieter Hugo
Courtesy of Stevenson, Cape Town and Johannesburg | | | | | | | | | | | | | | | | | |
Avenue du President Leopold Sedar Senghor, Dakar 2017
Pigment ink on cotton paper
135 x 90cm
© Guy Tillim
Courtesy of Stevenson, Cape Town and Johannesburg |
Dimpho Tsotetsi, Parktown, 2014, 2014
Silver gelatin print
Image size 76.5 x 51 cm; Paper size: 86.5 x 61 cm
© Zanele Muholi
Courtesy of Stevenson, Cape Town and Johannesburg |
| | | | | | | STEVENSON has an international exhibition programme with a particular focus on the region. In addition to exhibiting gallery artists, it has brought the work of people like Francis Alÿs, Rineke Dijkstra, Thomas Hirschhorn, Glenn Ligon and Walid Raad to South Africa, often for the first time. The gallery opened in 2003, and has spaces in Cape Town and Johannesburg. | | | | | | |
| | | | | | | | | | | | | Florence Henri
Self-Portrait, 1938
Gelatin silver print, printed 1975
Signed on front, titled, dated, editioned on verso
Edition 6 of 9 14.3 x 19 inches (36.5 x 48.5 cm) | | | | | | 47 rare and vintage prints by Bauhaus artist
Florence Henri (1893-1982). | | | | | | | | | | | | | | |
Florence Henri
Portrait Composition (Nelly/Petro Van Doesburg), 1929/30
Gelatin silver print, printed 1977
Signed, titled, dated, editioned on verso
Edition 8 of 9
15.5 x 11.8 inches (39.5 x 30 cm) |
Florence Henri
Portrait Composition, 1937
Gelatin silver print, printed 1977
Signed, titled, dated, editioned on verso
Edition 9 of 9
11.6 x 8.6 inches (29.7 x 22 cm). |
| | | | | | For Paris Photo 2018, Atlas Gallery will exhibit photographs by Bauhaus artist Florence Henri (1893-1982). Having featured in major exhibitions worldwide, this will be the first time in many years that such a large body of her work is available for sale.
Although originally trained as a painter under Fernand Léger, Henri turned to photography after enrolling at the Bauhaus school of art, design and architecture in Dessau in 1927 where she encountered the latest art movements - Constructivism, Surrealism, Dadaism and De Stjil. Encouraged by Hungarian constructivist and New Vision photographer László Moholy-Nagy (1895-1946), and his wife, Lucia Moholy (1894-1989), Henri quickly became one of the most celebrated photographers associated with the Bauhaus.
Between 1928 and the late 1930s, Henri produced her most celebrated works, often using mirrors to manipulate reality to create multifaceted works that expanded the conventional spatial planes and, in doing so, the identity of her subjects. Henri used mirrors for portraits of friends – including Jean Arp, Nelly Van Doesburg, Robert and Sonia Delaunay, Wassily Kandinsky, and Margarete Schall - as well as self-portraits. Henri left the Bauhaus in 1929 and returned to Paris to open a studio and school of photography where she taught renowned photographers Gisèle Freund, Ilse Bing and Lisette Model. During this time Henri produced many still life collages, sensual female nudes and a major series of photomontages based on prints she obtained on a trip to Rome. Henri gave up photography and returned to abstract painting in the 1960s.
The spatial and psychological ambiguity evoked by Henri’s complex compositions will be reflected in the selection of other works on show in the Atlas stand, which include contemporary artists Andreas Gefeller, Kacper Kowalski, Richard Caldicott and John Messinger. | | | | |
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Moriyama Lip Bar, 2018
Vinyl wall paper, 4 custom-made hanging lamps
45 sq meters
Interior: © Daidō Moriyama ; Image: © Hamiltons Gallery, London | | | | | | | Daidō Moriyama will attend Paris Photo this year in honour of the installation and will be in conversation with Simon Baker and Akio Nagasawa as part of the fair programme on Friday 9th November from 2pm - 2:45pm. | | | | | | | | | | | | |
Daidō Moriyama, 2018
Vinyl wall paper, 4 custom-made hanging lamps
45 sq meters
Interior: © Daidō Moriyama ; Image: © Hamiltons Gallery, London |
| | | | | | Daidō Moriyama is one of the few living modern masters of photography from Japan and the most celebrated photographer to emerge from the Japanese Provoke movement of the 1960s. Hamiltons will present Moriyama at Paris Photo, both on the stand and in a special installation in PRISMES. The work exhibited on the stand has been produced exclusively for Hamiltons’ booth at Paris Photo as a silkscreen on canvas.
Hamiltons’ "Lip Bar" installation in Prismes, available in an edition of 3, will replicate Bar Kuro, a small bar in Shinjuku. Moriyama frequented the bar for years and was familiar with its owner "Mama" (a term used in Japan for female owners of these minute bars). Mama, an eccentric lady, has an unusual way of treating her customers –not as politely as might be expected from a host. Her personality and unique approach to hospitality has become part of the experience at the bar attracting many visitors, particularly an artistic crowd. Mama herself is a contemporary artist and she organized a festival in 1999 in the district called "GAW" (Goldengai Art Waves), inviting artists to display their work. This festival became a local success - it’s 8th edition in 2013 is the most recent. In September 2005, Mama asked Moriyama to take part and he chose to cover her bar with his lip image and the Lip Bar was created. | | | | |
| | | | | | | | | | | | | | Barbara Probst
Exposure #127, Brooklyn, Industria Studios, 39 South 5th St, 04.13.17, 6:02 pm
2017
Ultrachrome ink on cotton paper
2 parts 142 x 112 cm/56 x 44 inches each
Edition of 5
courtesy: Kuckei + Kuckei Gallery, Berlin | | | | | | | | | | | | | | | | | | | | | Barbara Probst
Exposure #123.4, Greenport, N.Y., Silversands Motel, 1400 Silvermere Road, 04.03.17, 3:32 pm,
2017
Ultrachrome ink on cotton paper
3 parts 60 x 60 cm/24 x 24 inches each
Edition of 5
courtesy: Kuckei + Kuckei Gallery, Berlin | | | | | | Kuckei + Kuckei Gallery from Berlin is pleased to announce a solo show of recent works by New York based German artist Barbara Probst.
Barbara Probst "Exposures" are always composed by a group of photographs. At first glance they appear mysteriously connected, yet without revealing their secret. Closer observation reveals that they all portray the same scene and have been taken in the same second, but from very different angles. For Probst this fragmentation of the instant into a series of images is the tool for exploring the many ambiguities inherent to the photographic image. In her work the relationship of the photographic instant to reality is intensified in two distinct ways, whereby the captured moment acquires an almost unsettling quality: on the one hand, Probst abandons the single-eyed gaze of the camera and divides it into various points of view. On the other hand, she multiplies and diversifies the short moment of the shot. Thanks to a radio-controlled release system she can simultaneously trigger the shutters of several cameras pointed at the same event or subject from different angles and various distances. From each angle the gaze of the camera gives us a different view of the same reality, thus revealing all its subjectivity. | | | | | | | | |
| | | | | | | | | | | | | | The Mouth of Krishna # 748, 2017
Pigment print on Japanese paper and gold leaf
0,16 x 0,255
© Albarrán Cabrera, Courtesy Galerie Esther Woerdehoff | | | | | | | | | | | | | | | |
'Northern Roads' - Plate No.2, 2018
Tirage platine-palladium
0,4 x 0,6 m
© Jens Knigge, courtesy Galerie Esther Woerdehoff |
Islande, 2015
Tirage à encres pigmentaires sur papier Rag bright smooth, contrecollé, caisse américaine
0,8 x 1 m
© Maia Flore, courtesy Galerie Esther Woerdehoff |
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| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Antoine d'Agata © Florent Drillon | | | | | Paris Photo 2018 - Book sector | | | Book sector publishers and specialized art book dealers are reunited in the center of the Fair, recognized for their role in the continuing narrative of photography and the advancement of its artists. One of the Fair’s most animated sectors, visitors are offered an important selection of limited and rare editions and may attend book launches and over 200 signature sessions with renowned artists.
See the 2018 publishers & art book dealers... » | | | Paris Photo 2018 - Booksignings | | | | | | The Book Signing programme brings together the most renowned artists working in the medium of photography. Visitors have the unique opportunity to meet over the course of the 4 days of the fair more than 250 artists who will sign and dedicate their published works.
MEET YOUR FAVORITE ARTISTS AT THE FAIR WITH OVER 250 SIGNATURE SESSIONS.. » | | | | | | |
| | | | | | | | | | | | | | | | The 2018 Paris Photo–Aperture Foundation PhotoBook Awards | | | NORTH CORRIDOR - LEVEL 0 | | | Initiated in November 2012 by Aperture Foundation and Paris Photo, The PhotoBook Awards celebrate the photobook’s contribution to the evolving narrative of Photography.
THE 3 LAUREATES WILL BE ANNOUNCED NOV.9 AT 1PM AT PARIS PHOTO
Three prizes will be awarded in the following categories
• First PhotoBook,
• PhotoBook of the Year
• Photography Catalogue of the Year | | | PhotoBook of the Year - Shortlist
Laia Abril On Abortion | Dewi Lewis Publishing, Stockport, England
Nina Berman and Kimberly Stevens | An autobiography of Miss Wish | Kehrer Verlag, Heidelberg
Dawoud Bey Seeing Deeply | University of Texas Press, Austin
Sophie Calle Parce que | Éditions Xavier Barral, Paris
Alexandra Catiere Behind the Glass | Chose Commune, Paris
Masahisa Fukase , Simon Baker, and Tomo Kosuga Masahisa Fukase | Éditions Xavier Barral, Paris
Sohrab Hura Look It’s Getting Sunny Outside!!! | Ugly Dog (Self-published), Delhi, India
Raymond Meeks Halfstory Halflife | Chose Commune, Paris
Carmen Winant My Birth | Self Publish, Be Happy Editions, London
Daisuke Yokota Inversion | Akio Nagasawa Publishing, Tokyo | | | The initial jury made the selection from nearly 1,000 titles and was made by Lucy Gallun, associate curator in the Department of Photography at the Museum of Modern Art, Kristen Lubben, executive director of the Magnum Foundation, Yasufumi Nakamori, former curator and head of the department of photography and new media at the Minneapolis Institute of Art (Mia), Lesley A. Martin, creative director of Aperture Foundation and publisher of The PhotoBook Review and Christoph Wiesner, artistic director of Paris Photo.
The final jury welcomes Federica Chiocchetti, Hervé Digne, president of Manifesto and the Odeon Circle, Kevin Moore, curator, Azu Nwagbogu, director of the Fondation des artistes africains (AAF), Batia Suter, artist.
The winner for the First PhotoBook category will receive a $10,000 prize.
The winners of the other two categories will each receive a commemorative award.
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| | | | | | | | | | | | | | | Alain Laboile » »Homeschooling«, 2015 (from the book »Summer of the Fawn«, 2018) | | | | Kehrer Verlag | Book signings | Stand SE6 | | | | Since 1995, Kehrer Verlag specializes in books in the fields of photography and art. Its authors have included leading photographers such as Sarah Moon, Saul Leiter, Christopher Anderson, Thomas Ruff, Rinko Kawauchi, Harry Callahan, and Charles Fréger as well as numerous emerging artists. | | | | | | | | | | | | | | | | | | Thursday, November 8
Joachim Hildebrand » Wild West 2pm
Oliver Krebs » Signal & Noise 2pm
Benita Suchodrev » 48 Hours Blackpool 2pm
Thomas Wrede » Sceneries 3pm
Frederik Busch » German Business Plants 3pm
Ruth Stoltenberg » Schengen 3pm
Matthieu Gafsou » H+ 4pm
Guido Guidi » Le Corbusier 5pm
Friday, November 9
Laurent Chéhère » Flying Houses 3pm
Philip Volkers » Dust to Dawn 3pm
Clément Chapillon » Promise Me A Land 4pm
R. J. Kern » The Sheep & the Goats 4pm
Saturday, November 10
Demetris Koilalous » Caesura 2pm
Eugenio Grosso » Kurdistan Memories 2pm
Ada Bligaard Søby » The best is yet to come 2pm
Alain Laboile » Summer of the Fawn 3pm
Dotan Saguy » Venice Beach 3pm | | | | | | |
| | | | | | | | | | | | | | Benita Suchodrev
"48 HOURS BLACKPOOL"
Texts by Matthias Harder, Helmut Newton Foundation
and Benita Suchodrev
Hardcover 30 x 24 cm
160 pages
120 duotone illustrations
German / English | | | | | | | Book Signing PARIS PHOTO | | | Thursday 8 November 2018, 2pm
Booth SE 06 / KEHRER | | | | benitasuchodrev.com | www.kehrerverlag.com | | | | | | | | | | | | |
© Benita Suchodrev |
© Benita Suchodrev |
| | | | | | "Benita Suchodrev transforms the street into a stage. She makes something visible that most of us overlook: the face in the crowd." (Dr. Matthias Harder, Helmut Newton Foundation)
"Seaside resorts are normally places of rest and contemplation; in 48 Hours Blackpool Benita Suchodrev shows us something very different. In the chaos laid bare by the rough winds of Brexit England, everyone and everything are stirred up by the storm. Benita Suchodrev's camera is the Eye of the hurricane." (Michael Biedowicz, DIE ZEIT)
From sunrise to sunset, on the famous promenade and surrounding alleys in the resort town on the Irish Sea, the Russian-American-Berliner Benita Suchodrev lets life unfold before her camera. Relying on her intuition, during a couple of summer days the photographer documents her encounters with strangers. Her manner is daring and swift, always capturing the 'decisive moment.' Like all her documentary and portrait work, housed in private collections in Berlin, Moscow, and New York, the high-contrast black-and-white photographs in 48 Hours Blackpool are intense and devoid of sensationalism. Suchodrev’s debut book is a sociocultural study rich in authenticity and poetry; a contemporary but timeless journey of discovery through bingo parlors, hot dog stands, and burlesque theaters where wacky types, moms and pops, kids and seagulls go to play. | | | | |
| | | | | | | | | | | | | | | | | | | | | | Laurie Simmons, How We See/Tatiana (Pink), 2015
Pigment print, 70 x 48 inches (177.8 x 121.9 cm), Edition of 5, 2 APs
Courtesy of the artist and Salon 94, New York. | | | SHEGO/HEGO/EGO - MCEVOY FAMILY COLLECTION | | | Paris Photo Exhibition: SALON D'HONNEUR | | | | | | There is something about a private collection that forces the collector to think about who he or she is—both as a collector and, indeed, as a person. The result can yield something like comprehensiveness: a constellation of themes—for example, music, literature, fashion, politics, cosmology, and photography itself— that approximate the personality of the individual who brought them together. shego/hego/ego, a minimalist poem by Emmett Williams, repurposed as an artwork by Natalie Czech, is a handy solution to the quest for consistency between such realms. But who among us, if we were collectors, would not reveal an inner complexion at once methodological yet prone to exceptions? We all suffer from the dual impulses to categorize primly and then to venture out of bounds, to break our own rules. The McEvoy Family Collection has been guided by certain acknowledged interests (Nion McEvoy has been a poet, a publisher, a drummer, a meditation teacher, and a lawyer) yet has also been susceptible to poetic leaps and sheer mischief. So if you take a certain set of rational themes and rename them according to certain artworks that embody those themes, you get something closer to what the lifeblood of any collection is all about. Instead of music, literature, etc., you get "music today", "Moyra reading", "how we see", "I am a man", "fourth dimension" and, ultimately, "pictures pictures" because this is (mostly) a photography collection, after all.
- Kevin Moore Independent Curator, New York | | |
| | | | | | | | | | | | | | | Diana Markosian / Magnum Photos - ‘Over the Rainbow’ Havana, Cuba. 2018 © Diana Markosian, Courtesy of the Elliott Erwitt Havana Club 7 Fellowship | | | | | | | Over The Rainbow - Elliott Erwitt Havana Club 7 Fellowship | | | Paris Photo Exhibition: Grand Palais - BOOTH A23 | | | THE ARMENIAN-AMERICAN PHOTOGRAPHER DIANA MARKOSIAN HAS BEEN AWARDED THE THIRD "ELLIOTT ERWITT HAVANA CLUB 7 FELLOWSHIP"
Over the Rainbow is a project blending fantasy-inspired studio portraiture and video along with documentary images to create a multi-layered portrait of a Cuban girls’ transition into womanhood. Widely celebrated in Latino culture, the quinceañera is a gender-specific tradition, wherein girls dress like princesses, inviting guests to celebrate their 15th birthday and transition into womanhood with a lavish party. The display of wealth is important, even in communist Cuba, where the tradition has transformed into a performance, with an emphasis on photo and video shoots. Girls hire photographers to create images of themselves posing in elaborate — and sometimes risqué — ensembles against fantastical backdrops. The images, a symbol of luxury and wealth, offer a different view of Cuba, allowing girls to live out a fantasy and perceived ideal of femininity. Only for one day, but documenting it forever. Diana Markosian is an Armenian-American artist whose work explores the relationship between memory and place. Born in the former Soviet Union, her family immigrated to the United States when she was a child, leaving her father behind. In 2010, she received her master’s degree from Columbia University’s Graduate School of Journalism. Her images can be found in publications like National Geographic Magazine, The New Yorker and The New York Times. In 2016, she became a Magnum nominee. | | |
| | | | | | | | | | | | | | | Album – XI, 2018, 75 x 75 cm © Baptiste Rabichon, Résidence BMW | | | | | | | LAUREATE OF THE BMW RESIDENCY | | | Paris Photo Exhibition: BMW Art | | | Baptiste Rabichon uses photography in a way that gives new meaning to the idea of a material-carrying content. His work proposes a set of sensations and impressions. His discourse is constructed through the use of complex manufacturing tools and protocols, mixing new technologies and old techniques; an experiment in which fantasy coincides with admiration for the great ancestors.
As a good gardener, that is to say craftsman, the artist strives to use the best processes: film and digital, focusing on one single occupation, the need to provide a new sensibility for our époque, an animistic resolution, living forms of matter.
Beauty appears here in the form of a loving union; a reconciliation between beings, objects and plants. | | |
| | | | | | | | | | | | | | | YVES MARCHAND ET ROMAIN MEFFRE. Paramount Theater, Brooklyn, NY, USA, 2008 JPMorgan Chase Art Collection © Yves Marchand et Romain Meffre, avec l’aimable autorisation de la galerie Polka | | | This Must Be the Place - The JPMorgan Chase Art Collection | | | Selected Works from the 19th Century to the Present | | | Paris Photo Exhibition: J.P. Morgan | | | | | | | Marking our eighth year as official partner of Paris Photo, J.P. Morgan Private Bank is proud to return and exhibit significant works from the JPMorgan Chase Art Collection. This Must Be The Place features iconic photographs, as well as recent acquisitions. Curated by Director and Chief Curator Dr. Charlotte Eyerman, the exhibition reflects the Collection’s diversity — from pioneering early photography to contemporary explorations of new media.
Working in a broad range of photographic techniques, styles and media across 150 years of international photographic history. | | |
| | | | | | | | | | | | | | | © Kourtney Roy | | | | | | | Go to the Extra Mile : Pernod Ricard | | | Paris Photo Exhibition: Pernod Ricard space, D1. | | | For its 9th photo campaign, Pernod Ricard continues to put the people behind the Group’s success center stage with the help of Canadian photographer Kourtney Roy, the artist of the 2018 Carte Blanche.
Despite being far more used to self-portraits, Kourtney has risen to the challenge, going so far as to personally select the 18 employees who joined her for a week-long photo shoot in Nevada. This series and its retro and poetic atmosphere illustrates perfectly the models’ inner strength and their determination to surpass themselves in their everyday lives.
This exhibition is presented in the Pernod Ricard space, D1. | | |
| | | | | | | | | | | | | | | © Tomas Munita - Cockfight in the countryside near Vinales, Cuba. | | | The New York Times: HardTruths | | | Paris Photo Exhibition: The New York Times space, J13. | | | | | | | The New York Times’s photo exhibition, ‘Hard Truths,’ showcases deeply personal and revealing images, each capturing social and political upheaval from across the world, including Venezuela, Iraq, Syria, the Philippines, Cuba and Iran. The collection reveals the commanding insight of five of the Times’s finest photojournalists, Meridith Kohut, Newsha Tavakolian, Daniel Berehulak, Tomas Munita and Ivor Prickett, who, in many cases, have risked their lives to bring back vivid eyewitness accounts from the world’s front lines.
The exhibit was organized by David Furst, The Times’s award winning international picture editor, and Arthur Ollman of the Foundation for the Exhibition of Photography as a way to recognize the news organization’s embrace of photography — which has resulted in Pulitzer Prizes four years running — and to engage audiences in a different setting, the cool quiet of the gallery.
This exhibition is presented in The New York Times space, J13.
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| | | | | | | | | | | | | | | Max Pinckers »Red Ink« - Leica Oskar Barnack Award 2018 | | | LEICA OSKAR BARNACK AWARDS | | | Paris Photo Exhibition: Leica space, D28 | | | | | | | Paris Photo hosts for the third consecutive year the Leica Oskar Barnack winners and the Leica Newcomer Prize, awarded respectively to Belgian photographer Max Pinckers and Russian photographer Mary Gelman.
This international award created in 1979 after the centenary the birth of Oskar Barnack, pays homage to the eponymous inventor of the 1914 Leica 24 x 36 camera. The laureates were selected from among 12 finalists: Ernesto Benavides, Vanja Bucan, Turi Calafato, Daniel Chatard, Stephen Dock, Samuel Gratacap, Stéphane Lavoué, Elsa Stubbé, Christian Werner and Kechun Zhang. | | |
| | | | | | | | | | | | | | | How far is a lightyear? © Simon Lehner | | | Carte blanche Students 2018 | | | Paris Photo Exhibition: Booth F1 | GARE DU NORD | | | | | | Paris Photo, Picto Foundation, and SNCF Gares & Connexions partner to organize a platform in promotion of the discovery and exposure of outstanding young talent within masters or bachelor programs in European schools for photography and the visual arts.
Four student projects, selected by a jury, will be presented in a large format exhibition in Paris’ Gare du Nord train station (Oct 4 – Nov 12) and in a dedicated space at Paris Photo. Their work will also be the highlighted in a round-table discussion on emerging art and the art market. | | |
| | | | | | | | | | | | | | | | Paris Photo 2018 - The Platform | | | PARIS PHOTO, AUDITORIUM - LEVEL 1 | | | The Platform is an experimental forum. Each day will open with a focus on the theme of the collection led by invited collectors followed by a series of conversations following different axes.
Conversations - PROGRAMME »
THURSDAY 8 NOVEMBER
SHEGO/HEGO/EGO - MCEVOY FAMILY COLLECTION
Paris Photo Exhibition: SALON D'HONNEUR | | | | | | |
| | | | | | | | | | | | | | | The Artists Talks by the Eyes - André Penteado 2017 | | | Paris Photo 2018 - Artist Talks by The Eyes | | | PARIS PHOTO, BALCON D’HONNEUR, LEVEL 1 | | | | | | Organized by The Eyes magazine, the Artist Talks put into perspective the link between the artist and the book. In an intimate and friendly atmosphere, each artist shares with the public his editorial project and its realization in a set format of 10 minutes, followed by Q&A. In all 34 artists selected by the editorial board of The Eyes magazine, are invited to participate to one of the 3 sessions of 45 minutes organized each day at Paris Photo.
11 sessions of 45 mns / 34 artists
Every day from Thursday 8th to Sunday 11th at 2pm/3pm/4pm » | | |
| | | | | | | | | | | | | | | | | | | | | | | | | | A PPR OC HE 2018 | | | AN INNOVATIVE ART FAIR DEVOTED TO THE PHOTOGRAPHIC MEDIUM
Second edition, Paris | | | Thu 8 November : 11am-2pm Press preview | 2-9pm upon invitation
Fri 9 November : 11am-1pm upon invitation | 1-7pm public by reservation
Sat 10 November : 11am-1pm upon invitation | 1-7pm + 7pm-10 pm public by reservation
Sun 11 November : 11am-1pm VIP, upon invitation | 1-5pm public by reservation | | | | | | Le Molière 40, rue de Richelieu, Paris 1e
Free entrance upon reservation
www.approche.paris
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| | | | | | | 14 contemporary a ppr oc h e s to the photography medium will be shown over the 4 days period of Paris' international photography event. Connoisseurs and collectors will be invited, by reservation only, in the intimacy of a private mansion of Paris' first arrondissement. | | | David De Beyter » » Galerie Cédric Bacqueville
Juliana Borinski » » Secteur a ppr oc he
Marie Clerel » » Galerie Binome
Marianne Csaky » » Inda Gallery
Bruno Fontana » » Galerie des petits carreaux
Emmanuelle Fructus » » Un livre une image
Vittoria Gerardi » » Galerie Thierry Bigaignon
Alice Guittard » » Double V Gallery
Louis-Cyprien Rials » » Galerie Eric Mouchet
Maya Rochat » » Seen Fifteen Gallery
Daniel Shea » » Webber Gallery
Thomas Sauvin » and Kensuke Koike » » Secteur a ppr oc he
Ruth van Beek » » The Ravestijn Gallery | | | INTERVENTION: My-Lan Hoang Thuy
BOOK SIGNING Saturday 10 Nov 3-5pm
Ruth van Beek » How To Do The Flowers, Art Paper Editions & Dashwood Books, 2018
David De Beyter » Damaged Inc., RVB Books, 2018
Daniel Shea » 43-35 10th Street, First Edition, Kodoji Press, 2018
Maya Rochat » A rock is a river, Self Publish, Be Happy, 2017
Thomas Sauvin » and Kensuke Koike » : Both artists sent the same set of images to three publishers - Skinnerbooks (Italy), TheM éditions (France) and Jiazazhi Press/Library (China), and gave them carte blanche to make a book each. Discover the result of these three collaborations with the artists.
COLLABORATION EXCEPTIONNELLE Aurélie Pétrel / Galerie Ceysson & Bénétière &
Maya Rochat / Seen Fifteen Gallery Unseen project in the Molière's front window | | | | |
| | | | | | | | | | | | | | Untitled (Figure 19) 2018
Unique piece – 17×14 cm
Collage with archival inkjet print and painted paper.
© Ruth van Beek
Courtesy The Ravestijn Gallery | | | | | | How to do the flowers, act 1 | | | | | | | | | | | | | | | | | | The situation room (Four figures with blue hair) 2016
Unique piece – 60×80 cm
Collage with archival inkjet print and painted paper.
© Ruth van Beek
Courtesy The Ravestijn Gallery | | | | | | How to do the flowers, act 1
Making books has always been part of Ruth’s practice. As a natural concequence of the destruction of books to collect material, she makes new books that bring order and context within the artist’s oeuvre. Her latest book is an extensive manual book. Hundreds of images and try-outs for collages come together on the pages in unexpected combinations. They provide the viewer with context for the collages, reveal the underlying work proces and at the same time compose a personal guide for making new work. By focussing on the actions and letting go of the original context, Van Beek stimulates the imagination and with that the inconvenience of the viewer. Passive human hands are animated and become activators of the silent objects. With their touching, pinching and caring they help the viewer in their understanding of the material. Objects become characters and abstract forms come to life.
The title "How to do the flowers" is a reference to the origin of large parts of the archive. Books about housekeeping, books that explain to us how to live, how to do the garden, arrange flowers, or hang the curtains. It is a question and at the same time a restriction. This way and no other way should it be done. A compelling guideline, doomed to be violated and therefore produce failures.
For the exhibition How to do the flowers, Act 1, Ruth uses her latest book as a counselor. In the presentation the walls will be the stage and different images will be brought together. The same risks will be taken as in the artist’s studio. Circumstances are created in which playing, searching, intuition and humour can play the leading role. Levitators come together with dramatic flowerarrangements and houseplants covered with snow. Pink figures dance with flowers and black and white ladies hang from the ceiling like green beans.
To visit A PPR OC HE 2018 please make a reservation by using this link! If you would like to receive the exposé or order a signed copy of Ruth's book please contact the gallery via email here! | | |
| | | | | | | | | | | | | | Confine 64
Silver print.
© Vittoria Gerardi
Courtesy Galerie Thierry Bigaignon | | | | | | La ligne imaginaire | | | | | | | | | | | | | | | | VI 16
15-17
2018
Unique – 18×16×11 cm, 18×15 cm
Plaster, Gelatin Silver Print.
© Vittoria Gerardi
Courtesy Galerie Thierry Bigaignon | | | | | | Vittoria Gerardi offers us both a visual and mental experience of landscape. In her series, "Confine", the Italian artist presents her own perception of the American landscape, and more particularly, that of Death Valley, an arid and hot desert. She uses parts of negatives as fragments of landscapes, to construct symbolic boundaries between matter and time, space and light, to better scar the landscape with an imaginary horizon. Using alternative analog techniques, the artist highlights the violent and extreme elements of the landscape. The synergy between chemicals and the sensitivity of silver paper on the one hand, and the fine line between the factor of chance and taking over in the dark room on the other, results in unique and non-reproducible prints, with very specific tonal qualities. Several pieces from her latest project on Pompeii will be previewed at a ppr oc he. Vittoria looks at the experience of time within the ancient city limits, where past and present rub shoulders. The unreality of this interaction is highlighted through the use of the photography medium and plaster sculpture.
Vittoria Gerardi started exploring photography at the age of 16. She decided to go to New York to study at the International Center of Photography. She studied both traditional and alternative techniques there. In 2016, she moved to London, producing her first series entitled "Confine".
In 2017, Thierry Bigaignon curated her first solo show in Paris. | | |
| | | | | | | | | | | | | | | | | | | | | | | | | | FOTOFEVER PARIS 2018 | | | | | | PREVIEW (VIP & press): Thursday 8 November, 3pm - 6pm
OPENING NIGHT (by invitation only): Thursday 8 November, 6pm - 10pm
PUBLIC OPENING HOURS: Friday 9 November, 11am - 8pm
Saturday 10 November, 11am - 8pm | Sunday 11 November, 11am - 6pm | | | | | | | | | | | | | fotofever returns to the Carrousel du Louvre for its 7th edition!
100 galleries & publishers from 20 countries 2018 exhibitors list
250 artists presented 2018 list of artists
For its 7th Parisian edition, fotofever will present to the 12,000 expected visitors a larger program with 100 exhibitors representing 2/3 solo shows and 250 French and international artists, with always the same ambition to show the diversity of contemporary photography and encourage collection!
60% of foreign galleries with 20 countries represented
60% of exhibitors are foreign galleries with 20 countries represented, most notably Italy with Passagi Arte Contemporanea and Galleria L’Affiche, South Korea with AN Inc., Spain with Fifty Dots Gallery, France with Galerie Goutal et Galerie Photo12, as well as Canada with Youn Gallery.
a focus on Japan
For the 160th anniversary of the Franco-Japanese diplomatic relations, fotofever will honour the fascinating Japanese photographic scene with a programme focused on Japan, and welcomes 10 Japanese galleries such as Einstein Studio, LibroArte, Gallery Suchi and tezukayama gallery.
Japan is also a source of inspiration to numerous non-Japanese artists such as César Ordóñez and his series Ashimoto ("feet" in Japanese), subject of the official 2018 poster. | | | | | | | |
| | | | | | | | | | | | | | | © ANNA MULLER natural color 2003 | | | | | | | | | | | | | | | | | |
© PETER MATHIS Aiguille de la Breva 2012 |
© UWE OMMER The knife thrower 1994 |
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NH@TOKYO, 2016
digital C-type print, 42 x 29 cm
© Daisuke Takakura
Courtesy Tezukayama Gallery, Osaka |
TM@TOKYO, 2016
digital C-type print, 42 x 29 cm
© Daisuke Takakura
Courtesy Tezukayama Gallery, Osaka |
| | | | | | | | | | | | | | | | | | | | monodramatic / unknown staircase - monodramatic - 2017
© Daisuke Takakura
Courtesy Tezukayama Gallery, Osaka | | | | | | | |
| | | | | | | | | | | | | ... more ... Photo - Book - Art Fairs Salon de la Photo | Offprint | Polycopies | Vintage Photobook Fair | AKAA – Africa | | |
| | | | | | | | | | | | | | | Justin Dingwall - Courtesy ARTCO Galerie | | | | | AKAA - Also known as Africa | | | | | | | Three days to share the African energy, hear its hum and feel its vibration, to discover 35 galleries and 150 artists, 40 photographer from 25 different countries inside the beautiful Carreau du Temple.
Opening Hours: Friday: 12pm-7:30pm | Saturday: 12pm-9pm | Sunday: 12pm-7pm | | | | | | | | | | | | | | | | |
| | | | | | | | | | | | Polycopies 2018
a curated bookfair with 48 selected publishers, booksellers and photographers from all continents.
7 - 10 November 2018 | |
| | | | Wed 13 - 21:00 | Thur 11 - 21:00 | Fri 11 - 21:00 | Sat 11 - 19:00 | | | | | | | | | | | | | Since 2014 Polycopies has been organizing a fair with 40 specialized international photography book publishers once a year.
Founded and directed by Laurent Chardon and Sebastian Hau, Polycopies is an non-profit for the distribution and promotion of the photographic edition (books, multiples, paper objects and experimental publishing practices) which becomes a large ephemeral bookshop, a space completely dedicated to photo books, during the week of Paris-Photo
Although Polycopies is first of all a market place, it has also become an important spot to meet with a lively crowd of amateurs, collectors, photographers and publishers of different horizons sharing and confronting their ideas on photography, discussing the practices of publishing, exchanging on discoveries made and favorite books, or even showing their book dummies and new projects. | | | | |
| | | | | | | | | | | | Offprint Paris
Art Publishing Fair
130 independent publishers in art, photography and design, from
19 different countries
8 - 11 November 2018 | |
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Thu 17:00 – 21:00, Fri 13:00 – 21:00, Sat 11:00 – 19:00, Sun 11:00 – 18:00 | | | | | | | | | | | | | To celebrate the tenth edition of Offprint Paris, 130 independent publishers in art, photography and design, from 19 different countries, come together at the Beaux-Arts in Paris.
Entrance pass (valid 4 days): 5 euros
First hour free every day
Free for students and unemployed, upon presentation of card | | | | |
| | | | | | | | | | | | Vintage Photobook Fair 2018
8 - 11 November 2018 | |
| | | | Thur 14-22:00 | Fri 11-20:00 | Sat 11-20:00 | Sun 11-18:00 | | | | | | | | | | | | | | Today, photobook fairs seem to be spreading like wildfire all over the world. But at the same time, there seems to be an increasing focus on the newest books while vintage and out-of-print editions tend to be less and less visible. Paris Vintage Photobook fair has been initiated to offer an alternative to this situation. Some photobook sellers from different European countries have decided to pool their effort in order to draw attention to the vintage and out-of-print photobook, bring out its diversity and specificities, and give it the place it merits in the market as well as in the hands of collectors who value quality photobooks. | | | | |
| | | | | | | | | | | | SALON DE LA PHOTO
the French forum for photographers and photography enthusiasts! More than 150 brands - exhibitions, artists talks
8 - 12 November 2018
La Grande Expo:
F.C. Gundlach » Itinéraires | |
| | | | Thu 10-19:00, Fri 10-19:00, Sat 10-19:00, Sun 10-19:00, Mon 10-18:00 | | | | | | | | | | | | | | | | |
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