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| PHOTOGRAPHY INTERNATIONAL | | 29 Jun – 6 Jul 2022 | |
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| | | | | | | | The 53rd Rencontres d’Arles de la Photographie will again present a wide variety of 40 exhibitions with more than 160 artists.
Every summer, the festival seizes a condition, demands, criticizes, rebels against established standards and categories and shakes up the way we look at things. Photography captures our existence in all its aspects, but it has not always mirrored the incredible richness and diversity of the artists.
A long process of recognizing women photographers has been underway for about 40 years. Continuing its commitment, this year many venues of the festival will host shows reflecting the influence and creativity of female artists, from historic figures to forgotten or poorly known positions and today’s emerging young talents. |
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| | PACIFICO SILANO
PAGES OF A BLUEBOY MAGAZINE, 2012
Installation of 100 individual framed prints
21,6 x 28 cm each, total installation: 290 x 225 cm (114 x 90 inch)
Edition of 3 plus 1 artist's proof | | | | | | | Summershow | | | | | | | | 25 June – 3 September 2022 | | | | | | | | | | | | | What could be more simple and more complex, more obvious and more profound than a portrait?
- Charles Baudelaire
The human urge to immortalize its likeness is as old as the emergence of civilization: the Ancient Greek immortalized important figures in marble and stone, where Ancient Egyptian portraiture flourished from about 5,000 years ago. Before the invention of photography, painting, sculpting, and drawing were the only ways to record someone’s appearance.
However, portraits have always been more than just a record. Expressing the individual identity of the model, they capture a personality rather than a person. Traditionally, portraits have been used to display the sitter’s wealth, power, importance, virtue, beauty, taste, or learning.
Soon after its invention in 1839, photography triggered a shift in the long-standing tradition of capturing the human image, and grew into the most important medium of traditional portraiture. Starting with pictures taken for pragmatic or sentimental reasons, portrait photography has evolved from a means for self-presentation into a multifaceted genre that shows engagement, empathy and experimentation - a transformation that still continues today.
With The Portrait, The Ravestijn Gallery brings an ode to the portrayal of the human image. From traditional and documentary to more surprising and unconventional ways of representing likeness, and from honest and revealing to more elusive interpretations of the genre. Included are works by Blommers & Schumm (NL), Fake Shamus (US), Inez & Vinoodh (NL/US), Michael Bailey-Gates (US), Robin de Puy (NL), Patrick Waterhouse (UK), Koos Breukel (NL) and Pacifico Silano (US), Asger Carlsen (DK). | | |
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| | Francesca Woodman
Face, Providence, Rhode Island, 1975-1976
Courtesy The Woodman Family Foundation / Artists Right Society (ARS)
Bildrecht / Verbund Collection, Vienna | | | | | | | Photographs and Performances of the 1970s from the Verbund Collection, Vienna | | | | | | | | 4 July – 25 September 2022 | | | | | | | | | | | | | The Rencontres d’Arles is delighted to present, for the first time in France, the exhibition A Feminist Avant-Garde. Photographs and Performances of the 1970s from the Verbund Collection, Vienna, with over 200 works by 71 female artists.
The exhibition title refers to "an" Avant-Garde, one containing a multitude of feminist movements, diverse in age, nationality, and culture. Feminisms are also considered in intersectional terms because some of those female artists have experienced, and continue to experience, multiple forms of discrimination, including racism, classism, and gender. The exhibition is divided into five themes: women’s reduction to "wife, mother, and housewife"; their resulting feeling of "being locked-up"; the questioning of "dictates of beauty and representations of female bodies"; explorations of "female sexuality"; and debates around "female roles and identities." | | |
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| | | | | | | | | | | | | HEAL A WORLD 160 Years of Photography from the Collections of the Red Cross and Red Crescent | | 4 Jul – 25 Sep 2022 | | | | | | | |
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| | | © Delphine Diallo | | | | | | | | 4 July – 30 September 2022 | | | | Opening: Friday 8 July 18:00 | | | | | | | | | | | | | "My intention is to change the gaze in photography, create a new narrative to empower black women and create new experiences for consciousness to expand. Women are in need for different kinds of narrative. The woman's body should be one of the most respectable places on earth. Without her, we will not be born, nor either feeling unconditional love. So many black women who have been abused, disrespected, betrayed understand the power of healing because they had no other choice to carry on with life. For centuries, the Patriarchal society transformed the black woman body as an object. i want to bring a great new vision of black female archetypes: the explorer, the queen, the goddess, the innocent, the sage, the mother, the caregiver, the ruler, the lover, the spiritual warrior, the magician, the everywoman, so many others. It is the birth of the divine feminine within me (and within all of us ) that comes through our families and ancestors, an energy which was once oppressed."
Delphine Diallo is a Brooklyn-based French and Senegalese visual artist and photographer.
She graduated from the Académie Charpentier School of Visual Art in Paris in 1999 before working in the music industry for seven years as a special effect motion artist, video editor and graphic designer. In 2008, she moved to New York to explore her own practice after giving up a cooperate Art Director role in Paris. Diallo was mentored by acclaimed photographer and artist of Peter Beard who was impressed by her creativity and spontaneity before offering her to collaborate for the Pirelli calendar photo shoot in Botswana. Inspired by new environments on this trip, she decided to return to her father's home city of Saint-Louis in Senegal to start her own vision ques… | | |
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| | Katharina Sieverding
Stauffenberg-Block, 1969
Digitaldruck, 252 x 356 cm
© Katharina Sieverding, VG Bild-Kunst
© Foto: Klaus Mettig, VG Bild-Kunst | | | | | | | | | | | | | ... until 18 September 2022 | | | | | | | | | | | | | "EUROPEAN TRAILS" presents European woman photographers as well as woman artists working with photography. Essentially, the exhibition is concerned with questions of origin, memory and identity. The own personal history and its transfer and artistic transcending into current social and political situations become a mirror of a general discussion about conditions of living and the balance of power between individuals as well as in society as a whole. With strong photographic images and installations, the exhibition presents works of outstanding contemporary women artists, whose conceptions are significant contributions to a contemporary debate in and about Europe.
The conception of the exhibition, as well as the selection of the works, took place long before the outbreak of the Russian war against Ukraine on 24th February 2022, which caused new, dramatic developments and movements of escape in Europe. It was not predictable that we are now forced to experience the exhibition’s context against such a background. | | |
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| | | | | | | Göran Gnaudschun: aus der Serie Das bessere Leben, Mbark, 2020
Courtesy Museum Europäischer Kulturen, Berlin, VG BildKunst, Bonn 2022 |
| | | | Migration | Zuhause | Erinnerung | | | | | | | Thu 30 Jun 19:00
1 Jul – 25 Sep 2022 | | | | | |
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| | | | | | | Helena Lea Manhartsberger und Laila Sieber: aus der Serie Wo man die Stille hören kann
© Helena Lea Manhartsberger und Laila Sieber |
| | | | | | | | | | | | Thu 30 Jun 19:00
1 Jul – 21 Aug 2022 | | | | | |
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| | Vol de l'avion Prince Henri
© [s.n.], Fonds HISABC Vues aériennes (collection du CNA) | | | | | | | | ... until 1 January 2023 | | | | | | | | | | | | | As part of the "our archive - your story" project and on the occasion of the tenth anniversary of the exhibition space Waassertuerm + Pomhouse, the CNA presents "Stëmme vun der Schmelz" in homage to the former industrial site and its workers.
140 years after the foundation of the first fully integrated steelworks (including blast furnaces, steel- and rolling mill) in the country, the time seems right to look back on this pivotal era in the Grand Duchy’s history; to let the memories of this period live again through the words of the people who witnessed it, to archive and retell these stories.
In this exhibition, you will get to know 19 witnesses who were kind enough to share their experiences of everyday life in and around the steelworks with us – reminiscences of a time when Dudelange was hailed as the ‘Forge du Sud’.
Guided along by the laborers who worked here, you will be able to embark on a multimedia tour of a landscape shaped for more than 100 years by this organism made up of steel and iron, discover the many different jobs and professions involved, and find out what really went on at Dudelange’s "Schmelz".
Dive into this fascinating subject by coming face to face with contemporary witnesses – our "Stëmmen" (voices) – in the first part of this exhibition, housed inside the base of the water tower. The portraits of these former steelworks employees were taken between 2019 and 2021, during our interview sessions, by Luxembourg photographer Armand Quetsch, who captures our witnesses and their personal souvenirs of the steelworks in his series "D’Stëmmen an hir Gesiichter" (The Voices and their F… | | |
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| | Deana Lawson, Chief, 2019
© Deana Lawson
Courtesy of Sikkema Jenkins & Co., New York; David Kordansky Gallery, Los Angeles | | | | | | | | | | | | | 30 June – 25 September 2022 | | | | | | | | | | | | | The exhibition "Deutsche Börse Photography Foundation Prize 2022" shows works by this year’s finalists, Deana Lawson, Gilles Peress, Jo Ractliffe and Anastasia Samoylova.
The influential prize, which has been awarded in partnership with Deutsche Börse Group since 2005, is one of the most prestigious international awards for contemporary photography. It recognises photographic exhibitions and publications that have made a significant contribution to the medium. It has also established itself as a signpost for developments in photography, recognising outstanding, innovative and critical work that pushes the boundaries of the photographic medium and highlights its influence and relevance on the cultural landscape.
All four artists address some of the most pressing issues of our time but take different approaches to visual storytelling. Jo Ractliffe’s work from South Africa shows new ways of visualising conflicts and their consequences, as does Gilles Peress’ footage of the streets of Northern Ireland. Deana Lawson’s depiction of the "Black Experience” creates a new iconography, while Anastasia Samoylova’s exploration of the effects of climate change in Florida highlights the discrepancy between idealised images and the reality of rising floods. On 12 May 2022, the £30,000 award was given to Deana Lawson for her exhibition "Centropy” shown at Kunsthalle Basel. The exhibition "Deutsche Börse Photography Foundation Prize 2022” is curated by Katrina Schwarz from the Photographers’ Gallery, London and is on display until 25 September at The Cube, Eschborn. | | |
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| | | Untitled, from the series 70’s Lifestyle, 1975–1978 © Samuel Fosso | | | | | | | | | | | | | 30 June – 25 September 2022 | | | | | | | | | | | | | The exhibition "New Works" presents recent acquisitions for the Art Collection Deutsche Börse from the past 24 months. It shows how these artistic positions expand and at the same time deepen the curatorial concept of the collection, which currently comprises over 2,200 photographs by around 150 artists from 30 nations.
The displayed bodies of works by the ten newly added artists contain references to essential characteristics of the Art Collection: They reflect the represented spectrum of visual languages as well as its cross-generational focus. Young artists’ works, among them Verdiana Albano’s "surrounded" series on the Chinese megacity of Chonqing, enter into a dialogue with established positions in the history of photography, such as Walker Evans’ iconic images on life in the US in the 1930s. Alongside the acquisition of new artistic positions, the body of works by artists already represented in the Collection is also regularly expanded, as in the case of Samuel Fosso. His early self-portraits laid the groundwork for his approach of self-staging, which was already represented in the Collection by his works from a later period.
Each new acquisition enriches the Art Collection with a fresh perspective on its central theme, the "conditio humana", while at the same time tying in with the existing work groups. In his photographs of the Black community in 1980s New York, African American photographer Jamel Shabazz for example adds a new facet to observing people in public spaces. This is also true for Tom Wood’s scenes of everyday encounters in England from the same period.
The photo and video work "Sub Rosa" by Sylvain Couzinet-Jacques shows the interactions of adolescents at a monumental relic of fascism in Madrid, which they have taken over as their meeting point and retreat. In their series "Small Town", Ute and Werner Mahler also document how urban and spatial design may or may not promote personal interaction. Cristina de Middel chooses a different form of narrative for real events in her project "The Afronauts". In her fictional documentary about Zambia’s visionary but unsuccessful 1964 space programme, she combines documents from the mission’s archive with staged photographs. Young British artist Maisie Cousins’ play with staging is also central to her work, in which she creates opulent and colourful versions of still lifes from food scraps and waste. | | |
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| | | | | | | | | | | | | curated by Wiebke Hahn | | 30 Jun – 5 Jul 2022 | | | | | | | |
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| | MARINA BERIO (b.1966, USA)
series Family Matter, 2008/2013
Gum bichromate prints
with the artist’s blood
25,8 x 25,8 cm | | | | | | | | | | | | | 1 – 30 July 2022 | | | | | | | | | | | | | For the last exhibition before summer break, Miranda Salt, gallery director, proposes a selection from the gallery inventory with works by eight contemporary artists whose practise is influenced by the legcy of first woman photographer, Anna Atkins (1799-1871, English), amateur botanist and watercolorist who published in 1843 the first book to be illustrated by photographs, entitled Photographs of British Algae, cyanotype impressions. Atkins presented the algae like a herbarium and reproduced them as photograms in cyanotype. Each copy of Anna Atkins’ album is composed of more than four hundred plates, all made on chemically hand-prepared paper.
An only child, it was thanks to her father, chemist John George Children, that Atkins met William Henry Fox Talbot, also a botanist, and began experimenting with the silver salts process. For her publication, she adopted the 1842 invention of another friend, Sir John Herschel, the cyanotype (from the Greek, 'kyanos', or 'deep blue') that exploits the photosensitivity of ferric salts. In delicately annotating each plate by hand, Atkins is also the first photographer to combine text and image.
Today, Atkins’ photograms in cyanotype sit notably in the permanent collections of the New York Public Library, the Royal Society in London, the Linnean Society, the J. Paul Getty Museum, the Rijksmuseum and the Jardin des Plantes in Paris. In 2018, the New York Public Library produced an excellent exhibition Anna Atkins Refracted: Contemporary Works, described as follows: In 1843 Anna Atkins began producing Photographs of British Algae: Cyanotype Impressions, the first book to be printed and illustrated using photography. Today, 175 years later, her landmar… | | |
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| | | | | | | Cao Fei
Nova
2019
Video
97 min. 12 sec.
Courtesy: Vitamin Creative Space, Guangzhou; Sprüth Magers, Berlin/London/Los Angeles |
| | | | | | | | MAM Screen 016 | | | – 6 Nov 2022 | | | | | |
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| | Stephan Gladieu
PYONGYANG BUMPER CAR, 2017
Series: North Korea
Fine art print on Hahnemühle
3 sizes: 50 x 40 cm / 100 x 80 cm / 200 x 160 cm
Edition of 14 | | | | | | | | ... until 28 August 2022 | | | | | | | | | | | | | The thought-provoking and illuminative exhibition features the iconic humanistic portraits by international award-winning French photographer, Stephan Gladieu.
In his extensive series of works, Gladieu’s social documentary photography addresses cultural, social, and political narratives of the present time. Whether in Afghanistan, Namibia, Benin, Congo, or North Korea—and as diverse as the geographic locations and social characteristics of his subjects are—epochal and distinctive is the way Gladieu captures and visualizes global issues. Illustrative of Gladieu’s attraction to substantial facets of human coexistence, THROUGH THEIR EYES presents three of Gladieu’s most extensive recent projects.
Central within Gladieu's oeuvre is his award-winning portrait series, NORTH KOREA. Gladieu traveled to the dictatorially-governed country, which is predominantly sealed off from the rest of the world, in order to engage intensively with the state—but even more so with its population. His portraits, seemingly almost staged and unreal, comment impressively and yet rather humorously on the country shaped by state propaganda and the government’s image of self as projected to the world. | | |
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| | | © Sune Jonsson, Festival La Gacilly-Baden Photo | | | Festival La Gacilly-Baden Photo 2022 | | | | DUE NORTH | | | | | | Baden near Vienna:
The largest outdoor photography festival in Europe will take place
from 9 June until 16 October 2022.
festival-lagacilly-baden.photo | |
| | | | | | | | | | | | | DUE NORTH is an opportunity to highlight the often little-known creative power of artists from Northern Europe who, since the dawn of photography, have maintained an almost carnal connection with the ruggedness of their homeland. For the inhabitants of Denmark, Finland, Iceland, Norway and Sweden, solitude and wild nature are integral to their relationship with the world. They do not exploit the fruits of nature blindly, but try to understand how everything works and observe it with a caring eye. Their knowledge and constant desire to learn more about flora and fauna lead them to be very committed to respecting nature.
It is no wonder that the countries of the North, with their outrageous economic health, are among the most pleasant nations to live. Regularly crippled by frost and cold and accustomed to the great outdoors, they have developed a centuries-old tradition of political consensus, rejection of conflict and social development based on strict conservation of natural resources. In Copenhagen, 40% of the inhabitants cycle to work, in Stockholm the buses run on bioethanol, and in Reykjavik geothermal energy is now commonplace. Some will see the legacy of Lutheranism, others the more distant traces of the Viking tradition. You can't survive in the far north without a certain willingness to adapt. In countries where warmth and light are vital six months out of twelve, the environment is a crucial challenge. So it is understandable that Swedish teenager Greta Thunberg has become the new face of climate change for the world's youth: she knows that melting glaciers and sea ice are not far from home and that it is not a boreal illusion. If your culture is threatened by the effects of global warming, it is your duty to alert the public.
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| | | | | | V edizione Le forme del ritratto | | | | | | | – 24 Jul 2022 | | | | | |
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| | | Alfredo Jaar: Searching for Africa in Life, 1996. Courtesy of the artist | | | | | | | 12 Exhibitions on "CURRENCY" | | | | | | | | EXHIBITIONS until SEPTEMBER 18, 2022 | | | | | | | | | | | | | With twelve exhibitions starting from May 20, 2022, the 8th Triennial of Photography Hamburg will engage the theme of "Currency" from multiple angles and perspectives. From colonial-era photo albums to visual reveries, social documentary and conceptual approaches to photography, the exhibitions explore the polyphonic ways in which photographs are produced, circulated and interpreted. The exhibition parcours through Hamburg was conceived by artistic director Koyo Kouoh and her international team, alongside the curators of the ten participating museums and exhibition venues in Hamburg. The exhibitions will be accompanied by numerous events and a festival lasting several days in June 2022.
At the Hall for Contemporary Art of the Deichtorhallen Hamburg, Koyo Kouoh, Rasha Salti, Gabriella Beckhurst Feijoo and Oluremi C. Onabanjo examine the "retinal age", in which images fundamentally shape acts of seeing and being seen. The exhibition Currency: Photography Beyond Capture weaves experimental modes of portrayal, documentary and multisensory evocation, as entry points into reimagining how knowledge is sought and constructed through the photographic medium.
Two of the triennial’s exhibitions are devoted to photographer Herbert List » The Magic Eye at the Bucerius Kunst Forum presents the first international survey exhibition of his work in more than two decades. The retrospective spans his career from surrealist works to his visions of life in antiquity and extensive pictorial reports of non-European cultures, all the way to the male nudes with which List avowed his own homosexuality. | | |
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| | | | | | open air festival - VISIONS OF THE EAST | | | | | | | – 30 Sep 2022 | | | | | |
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| | Yuki Kihara
Fonofono o le nuanua: Patches of the rainbow (After Gauguin), 2020
Image courtesy of Yuki Kihara and Milford Galleries,
Aotearoa New Zealand. | | | | | | | The Milk of Dreams | | | | | | | | ... until 27 November 2022 | | | | | | | | | | | | | The 59th International Art Exhibition of La Biennale di Venezia, titled The Milk of Dreams, will open to the public from Saturday April 23 to Sunday November 27, 2022, at the Giardini and the Arsenale; it will be curated by Cecilia Alemani and organised by La Biennale di Venezia chaired by Roberto Cicutto. The Pre-opening will take place on April 20, 21 and 22; the Awards Ceremony and Inauguration will be held on 23 April 2022
Read the statement by Cecilia Alemani »
Read the statement by Roberto Cicutto »
THE INTERNATIONAL EXHIBITION
The Exhibition will take place in the Central Pavilion (Giardini) and in the Arsenale, including 213 artists from 58 countries; 180 of these are participating for the first time in the International Exhibition. 1433 the works and objects on display, 80 new projects are conceived specifically for the Biennale Arte.
The artists »
NATIONAL PARTICIPATIONS
The Exhibition will also include 80 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the city centre of Venice. 5 countries will be participating for the first time at the Biennale Arte: Republic of Cameroon, Namibia, Nepal, Sultanate of Oman, andUganda. Republic of Kazakhstan, Kyrgyz Republic and Republic of Uzbekistan participate for the first time with their own Pavilion.
The National Participations » | | |
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© 22 Jun 2022 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
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