| | | | | | | | | | | | | | 10-13 September 2020 during Art Week Berlin. | | | | | | VIP Preview (by invitation only): Thursday, 10 September, 14-22h
Friday, 11 September, 14-20h (VIP 12-14h)
Saturday,12 September, 14-20h (VIP 12-14h)
Sunday, 13 September, 13-18h (VIP 11-13h)
Tickets are available here | | | | | | | | | | | | | In order to celebrate photography in real life again – photo basel joins POSITIONS Berlin Art Fair. The fairs (which combined boast far over 100 international exhibitors), will be located at acclaimed Tempelhof Flughafen Berlin and run parallel to the renowned Berlin Art Week, the Gallery Weekend Berlin and the Berlin Biennale. photo basel/berlin’s inaugural edition awaits over 20 international galleries, exhibiting more than 50 artists (and over 200 photographic positions).
More information: www.photo-basel.com/berlin
Exhibitor list: Galerie &CO119 - Paris, France» Artco Galerie – Aachen, Berlin, Cape Town» Bildhalle - Zürich, Switzerland & Amsterdam, The Netherlands» Baudoin Lebon gallery - Paris, France» BLOW UP PRESS - Warsaw, Poland» Chrysalid Gallery - Rotterdam, The Netherlands» Dix9 - Hélène Lacharmoise - Paris, France» DOROTHÉE NILSSON GALLERY - Berlin, Germany» FABIAN & CLAUDE WALTER GALERIE - Zürich, Switzerland» Galerie 94 - Baden, Switzerland» GOWEN CONTEMPORARY - Geneva, Switzerland» Galerija Fotografija - Ljubjana, Slovenia» ISSP Gallery - Riga, Latvia» Katharina Maria Raab – Berlin, Germany» Galerie Koschmieder - Berlin, Germany» Migrant Bird Space – Berlin, Germany» Mironova Gallery – Kyiv, Ukraine» Galerie–Peter–Sillem - Frankfurt, Germany» Photon Galerija - Ljubljana, Slovenia & Vienna, Austria» Per van der Horst Gallery - Taipei City, Taiwan» | | | | | | | |
| | | | | | | | | | | | | | | Roger Ballen: SMOKED OUT, 2020 | | | | | | | | | | | | | | | |
Roger Ballen: FLATTENED, 2020 |
Roger Ballen: Bound, 2018 |
| | | | | | Roger Ballen: "ROGER THE RAT"
"I cannot remember when I put this rat mask on for the first time... I am unsure whether I am a rat or human. Perhops my mother was a rat and my fother a human. I think I am a bit of each..." Roger Ballen
Throughout his career, Roger Ballen has pursued a singular artistic goal: to give expression to the human psyche-to explore visually, the hidden forces that shape who we are. ln 60 black and white photographs a persona, Roger the Rat is created by Ballen, that is fundamentally archetypal even mythological,a half human,half animal character that has the capability to profoundly lodge itself in the mind of those viewing these images.
Roger Ballen unveils a selection of uncanny photographs so completely different from his previous work, yet still with the unmistakable Ballenesque aesthetic. ln true style to Roger Ballen, the photographs reveal a range of emotions from the comic to the tragic at the sametime making a profound statement about the human condition.
Produced in Johannesburg South Africa over a five-year period from 2015 to 2020, Ballen creates and documents a quasi-person who lives an isolated life outside the mainstream of society surrounding hirnself with rats and mannequins that he collects from various locations. Friendless and deranged, "Roger the Rat" constructs a fantasy world with many of the lifeless figures communicating with them as if they were alive.
Roger Ballen (born 1950 in New York City) and living in South Africa since 1982 is one of the most important and original art photographers working today. | | | | |
| | | | | | | | | | | | | | | Lin Zhipeng: Uncontrollabe Rolling, 2018 | | | | | | | | | | | | | | | |
Luo Yang: Jin Jing & Liuliu, 2018 |
Yafei Qi, 2020 |
| | | | | | Migrant Bird Space presents Chinese photographers Luo Yang, Lin Zhipeng (aka No. 223) and Yafei Qi who focus on a young Chinese subculture that defies imposed expectations and stereotypes. The conflicted, hedonistic youth behind their lenses stand for the photographers’ own generation in urban China: playful, provocative and daring, often imbued with a dark, repressed mysticism.
Between the virtual and the real, the artists’ quest is for an up-to-date and three-dimensional meaning of Hong Kong. Over a one and a half decade-long timeline, they attempt to record for posterity the lifeblood of the city as experienced from the ground up by some seldomdocumented subcultures and what it meant for an extensive range of their young subjects. | | | | |
| | | | | | | | | | | | | | | Luzia Simons: Stockage 187, 2020, Scanogram, Lightjet/Diasec, 142 x 200 cm, Edition of 6 | | | | | | | | | | | | | | | |
Luzia Simons: Blacklist 01, 2013, 40 x 29 cm, Edition of 6 |
Luzia Simons: Blacklist 06, 2015, 40 x 29 cm, Edition of 6 |
| | | | | | Luzia Simons: from the series Stockage, Blacklist and Lustgarten
Luzia Simons has spent the last few years investigating floral iconography and adopting an artistic stance on the subject. Beyond L'art pour l'art, Simons stages her flowers in a unique combination of material precision, beauty and vanitas. The technique she chooses for her works is extraordinary: for her tulip arrangements with series title Stockage she does not use a camera, but a special scanner with which she can achieve an incomparable spatial image depth. The representation of the tulips oscillates between extreme closeness and great distance, creating fantastic, illusionistic images.
In her series Lustgarten the artist goes one step further and places all kinds of exotic creatures together with her flower arrangements. With a certain wink of the eye, she thus stages small dialogues of hidden insects and small reptiles - all of them artificial - that have been added to the ephemeral compositions and suggest supposed life.
In her series Blacklist, Simons refers with the structured arrangement of objects in front of a neutral background to the natural scientist Maria Sibylla Merian (1647-1717). In numerous, similarly arranged studies, Merian created the "Metamorphosis Insectorum Surinamensium", which is one of the pioneering works of entomology. Luzia Simons reconstructs the fragile creatures with petals in Blacklist. With the metamorphosis into plant life, the insect-like is alienated and thus turned into a playful and light environment. | | | | |
| | | | | | | | | | | | | | | Radenko Milak and Roman Uranjek: NO 55 (JACK DELANO), 2020 | | | | | | | | | | | | | | | |
Roger Ballen: Face Off, 2007 |
Boris Gaberščik: Fort Forno V, Bale, 2019 |
| | | | | | Roger Ballen (1950) is one of the most important photographers of his generation. He was born in New York but has been living and working in South Africa for over 30 years. Over the past thirty years his distinctive style of photography has evolved using a simple square format in stark and beautiful black and white. In his earlier works his connection to the tradition of documentary photography is clear but through the 1990s he developed a style he describes as 'ballenesque'. In 2009, he presented his work for the first time in Ljubljana at Galerija Fotografija with world premiere of "Boarding House" and Retrospective 1982 – 2004 in Jakopič Gallery. In his recent series he has employed drawings, painting, collage and sculptural techniques to create elaborate sets. Ballen has invented a new hybrid aesthetic in these works but one still rooted firmly in photography. Ballen has been the creator of a number of acclaimed and exhibited short films that dovetail with his photographic series’. The collaborative film "I Fink You Freeky", created for the cult band Die Antwoord in 2012, has garnered over 125-million hits on YouTube.
DK (1970), who signs his works only with his initials, attained his artistic and photographic knowledge at academies in München and Köln. He has been predominantly working from Ljubljana and was an important part of its alternative scene, its documentarist and occasional performer. He became known for his classic portraits of members of Metelkova. He is also a member of the multimedia artistic collective Strip Core. In his 20-year career of exhibiting, DK has become recognizable for his unexpected series in a wide range of different photographic genres, many of them also demonstrating social engagement.
Boris Gaberščik (1957) was born in Ljubljana, Slovenia. He graduated at the department of Biology, University of Ljubljana, Slovenia, and has been working as a freelance photographer since 1986. Since 1985 he had many solo exhibitions. His works are internationally recognized and included in many museum and private collections. In 2018 he received a Prešeren Foundation Award, the highest national award in the field of arts, selected and granted by the Prešeren Foundation.
Radenko Milak (1980) was born in Travnik, Roman Uranjek (1961) was born in Trbovlje, both cities were part of the former Yugoslavia. Uranjek was the founding member of the Slovenian art collective IRWIN and a member of the Neue Slovenische Kunst (NSK). The two artists started working together on their joint project "DATES" in 2014, after realizing that both of them tied their artistic work to the domain of cultural and political activism using artistic means. | | | | |
| | | | | | | | | | | | | | | Patrik Fuchs: Nistkasten 14, 2011 | | | | | | | | | | | | | | | |
Sandro Livio Straube: Schneekirche, 2019 |
Zak van Biljon: flowerfield, 2019 |
| | | | | | Kostas Maros photographic work seeks to give visibility to the most elusive of things: sentiments and feelings. By capturing andexamining the subliminal allure of unconventional and often unknown places, and the people who inhabit them, Maros’ work evokes notions of mystery and curiosity within the viewer. At thesame time Kostas Maros’ conceptual photographic documentations ofvenues and its occupants is deeply personal yet universally relatable.
Sandro Livio Straube’s photographs are deeply enthralling precisely because of their depiction of seeming conventionality. Straube expertly turns his gaze towards objects and places that initially strike the viewer as ordinary. However, with closer examination it becomes clear that these objects and places are firsthand witnesses of timelessness, the quiet beauty of imperfection and durability.
Patrik Fuchs’ photographic imagery is deeply rooted in the Swiss way of living. He visually investigates the effects of urbanity and transitional periods on traditional buildings and objects. With a strikingly straight forward style, Fuchs isolates his objects from their surroundings and creates a vast catalog of visual indexicality.
The artistic works of South African photographer Zak van Biljon explore themysterious technical and visual world of infrared light. Due to van Biljon’s usage of the unique infrared technique and due to his controlled staging of light, van Biljon’s photographs depict organic material in electric pinks and vibrant reds. These unconventional visual effects prey upon our perception of representations of nature. | | | | |
| | | | | | | | | | | | | | | Edward Burtynsky: Natural Order #013, 2020, Archival pigment print, 121 x 163 cm, Ed. 6 | | | | | | | | | | | | | | | | | | | | Edward Burtynsky: Natural Order #020, Archival pigment print, 121 x 163 cm, Ed. 6 | | | | | | Edward Burtynsky: "NATURAL ORDER"
During this time spent in isolation and while reflecting on this historic moment and the gravity of these events, I have taken the opportunity to once again turn my lens to the natural landscape as subject matter.
The result is this new series, made during the time of year when the cycle of renewal exerts itself on the Earth. From the frigid sleep of winter to the fecund urgency of spring, these images are an affirmation of the complexity, wonder and resilience of the natural order in all things. I find myself gazing into an infinity of apparent chaos, but through that selective contemplation, an order emerges — an enduring order that remains intact regardless of our own human fate. These images are all from a place called Grey County, Ontario. They are also from a place in my mind that aspires to wrest order out of chaos and to act as a salve in these uncertain times. | | | | |
| | | | | | | | | | | | | | | Anna Rùn Tryggvadottir: Video "Hringvelli /Thingvellir Turning", 2018 | | | | | | | | | | | | | | | |
Ode.an+O. II, 110 x 110 com, 2012 © Sascha Weidner Estate |
© Susa Templin |
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| | | | © Miriam Tölke, Foliage, 2020, 25.5 x 29.5 cm, Collage, Unique piece
AND: Edition 5 & 2 AP as Archival Pigment Print on Hahnemühle Photo Rag, 20 x 30 cm / 60 x 80 cm | | | | | | | | | | | | | | | |
©Douglas Mandry, from the series »Monuments«, Roseg, 2020
Unique piece, Lithography on used Geotextile
87,3 x 118 cm (print), Courtesy of Bildhalle |
©Werner Bischof Estate ©Magnum Photos, Meiji Shrine, Tokyo, Japan, 1951, Various Sizes, Baryt Print, Signed by Marco Bischof, director of Werner Bischof Estate and son of the photographer, Courtesy of Bildhalle |
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| | | | | | | | | | | | | | | Robert Voit: Aequilibrium IV (Mount Fuji), 2019. C-Print, 125 x 155 cm, kaschiert, gerahmt, Ed. 6 + 2 | | | | | | | | | | | | | | | | | | | | Barbara Klemm: Roden Crater, Arizona, USA, James Turrell, 2004. Gelatin silver print, signed, 30 x 40 cm | | | | | | Barbara Klemm’s (*1939) photographs congenially model light and landscape. Heinrich Wefing wrote about these photographs that they are "studies of the elementary principles of all photography, of light and dark, depth and breadth, of the intensity of light and the density of shadows, all of them almost abstract compositions". Barbara Klemm is considered one of the most important contemporary German photographers. She has worked for the Frankfurter Allgemeine Zeitung since 1959 and became the newspaper’s editorial photographer for politics and culture in 1970. Barbara Klemm received numerous awards for her work. Barbara Klemm is so far the only woman to have received the Leica Hall of Fame Award (2012).
Since 1997 Robert Voit (*1969) has been travelling to Japan almost every year for several weeks with his camera. In its cultural juxtaposition of aesthetics, consumption and technology, the Munich photographer, who completed his studies at the Düsseldorf Art Academy as a master student of Thomas Ruff, finds the motives for his large-format photographs. In his latest visually stunning and detailed works, he is on the track of the magic of Fujiyama. After many years of documentation in the destroyed Fukushima, he sets a positive counterweight with this group of works. | | | | |
| | | | | | | | | | | | | | | Zuzana Pustaiova: "Siblings", 2019, 21 x 30 cm in 30 x 40 cm, Mixed Media auf Digitaldruck. | | | | | | | | | | | | | | | |
Beat Presser: "Les Fruits de Mer", 1991, 88 x 88 cm
Silbergelatineprint auf Barytpapier. |
Kirk Sora: "Poison Ivy 45", 2019, 80 x 80 cm
Pigmentdruck auf Baumwollpapier. |
| | | | | | As a special highlight, there will be a book signing by Beat Presser on Friday from 6 p.m. to 7 p.m. and on Saturday from 3 p.m. to 4 p.m.
He will sign and sell his books "Aufbruch ins Jetzt", "Vor der Klappe ist Chaos" und "DHAU - Beatus Piratus auf Sindbads Spuren". | | | | |
| | | | | | | | | | | | | | Nomi Baumgartl for Stella Polaris Ulloriarsuaq: Mountains of the Sea I, 2012
180 x 120 cm, FujiFlex Lambda Print mounted on Dibond with Museumsglass | | | | | | | | | | | | | | | |
Oliver Lieber: Mask United Kingdom of Great Britain
and Northern Ireland Military 1915, 2018
100 x 125 cm, Fotoprint on AluDibond |
Thomas Heinser: West Marin 9493, 2019
135 x 108 cm, Archival Pigment Print custom framed |
| | | | | | Stella Polaris is the Latin name for the North Star, a significant point of reference for diverse cultures since the beginning of time. In the language of the Intuits of Greenland this fixed star in the northern sky is called Ulloriarsuaq. Under both names, "Stella Polaris* Ulloriarsuaq", an international photographic art project has originated, that captures Greenland’s disappearing ice through global warming. The project team including renowned German photographer Nomi Baumgartl (initiator of the project), Sven Nieder(photographer), Yatri N. Niehaus (film director), and Laali Lyberth (coordinator for Greenland) document the fragility of the world of ice during the polar night.
Born in the Ruhrgebiet, Germany and based in San Francisco, California, Thomas Heinser combines the precision of a commercial photographer and the specificity of a fine artist to his portraits of people and aerial photographs of intentional and unintentional man-made landscapes. In his aerial series of California, he documents the destruction of nature. Seen from the birds eye view, his pictures create an abstract aesthetic of the real and poignant damages to the California landscape.
The Stuttgart photographer Oliver Lieber shows in his series Respiration 18 gas masks from various European countries and generations. The masks were used in diverse capacities and functions - to protect the population and for military operations, but also for firefighting und in mining. He is especially interested in the conflict between the safety feature and the aura of menace these masks all exude. | | | | | | unsubscribe here
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© 5 Jun 2019 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
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