| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 9 – 16 February 2022 | |
|
| |
|
| |
| |
| | | | The bi-annual Foam Talent Call is a search for exceptionally talented photographers between 18 and 40 years, from all across the world. Upcoming Foam Magazine #61: "Talent" will feature the 20 artists selected for issue 2022, who will also take part in the accompanying Talent International Exhibition Programme this year.
Cover Foam Magazine #61 Talent. Image: Paintings, Dreams and Love
© Yushi Li, courtesy of the artist
|
| | |
|
|
| |
| |
|
| |
| |
|
| |
| |
| | From the series Double Portrait, 2021
© Cemre Yeşil, courtesy of the artist. | | | | | | | | 11 February – 20 May 2022 | | | | | | | | | | | | | | | Foam presents the exhibition Double Portrait by Cemre Yeşil at MAQAM in Amsterdam West. The project examines the relationship between mother and child through different lenses. It deals with topics such as identity, loss, and memory. The work questions the traditions of portraiture and explores the psychological aspects of photography.
"Just as I can feel myself feeling myself through the sense of touch, I see myself seeing myself through the photographic skin. The portraits of my mother, suddenly act as mirrors that reflect an image of myself without my presence. This is a non-double portrait becoming a double portrait. Lurking behind the body of the mother I perceive the ‘non-sitter’ who is absent in the final image."
- Cemre Yeşil
With her intimate, raw work, Yeşil wants to take a candid look at motherhood and break through its clichés. Double Portrait shows the complex relationship between mother and child and the unfolding development of motherhood itself. It is also a visual response to the unimaginable death of any individual’s mother. Double Portrait invites the viewer to remember what it means to be held and to experience what it means to hold someone else, regardless of cultural norms related to gender. The work speaks of something universally understood emotionally, but a feeling that is almost impossible to articulate. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| | | | | | | | © Supratim Bhattacharjee, Indien |
| | | | | | | | | |
|
| |
| |
|
| |
| |
| | | Arne Svenson, A Beautiful Day No. 34 + No. 61, 2020 | | | | | | | | ... until 19 March 2022 | | | | | | | | | | | | | Robert Klein Gallery is pleased to present a new series of color photographs by New York City–based photographer Arne Svenson titled "A Beautiful Day". Featuring images taken by Svenson from his apartment windows in Tribeca during the height of Covid-19 lockdowns, the exhibition is available online and in-person at Robert Klein Gallery from January 15 - March 18.
Whether he is photographing sock monkeys, expansive landscapes, or unaware New Yorkers, photographer Arne Svenson looks beyond his subjects to seek out universal truths in the images he captures.
The works on view in "A Beautiful Day" are a natural continuation of Svenson’s controversial series "The Neighbors," in which he photographed residents of a floor-to-ceiling glass apartment through their windows. Although their identities were obscured—"I was not photographing these subjects as specific, identifiable personages, but more as representations of humankind, of all of us" Svenson said—the opening of the show at Julie Saul Gallery in 2013 came with a lawsuit against Svenson that claimed invasion of privacy among other charges.
Svenson fought these claims later that year and again in 2015: "Defending myself against these charges was one of the greatest challenges of my life, but given censorship as the alternative, I had no choice," he said.
Now in "A Beautiful Day," Svenson’s vantage point is the same, but his lens is focused elsewhere: Through two windows, one facing North and one facing West in his Tribeca studio.
Although he hadn’t planned to continue focusing his lens on anonymous subjects, the onset of Covid-19 made the project "a necessity" for him. Not many passersby came through the neighborhood during city-wide mandates to stay at home, but for this reason exactly, the visual stories told by those Svenson photographed are compelling. A man walks by reading a thick book; someone pauses to snap a picture of a tree blooming with white flowers; a pair of stick-thin legs pause in a ballet class-ready first position.
Of both series, Svenson emphasizes, "My aim remains the same: to capture those seemingly banal behaviors in which we all engage and to reveal the wonder, mystery, and beauty of them." | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Matthias Schaller: Tiziano V, from the series: Leiermann
pigment print with artist frame, 2010-2018
130 × 100 cm, Edition 3 + 2 E.A.
© Matthias Schaller, VG Bild-Kunst, Bonn | | | | | | | | 11 February – 26 March 2022 | | | | Opening: Friday, 11 February, 10am-6:30pm | | | | | | | | | | | | | BECK & EGGELING is presenting the exhibition "Leiermann" (Organ-Grinder) with the series of the same name by photo artist Matthias Schaller. Parallel to the exhibition, the NRW-Forum of the Museum Kunstpalast is showing "Portrait", a wide-ranging overview of Matthias Schaller's photo-series.
Magnificent mirrors, reflecting parts of the interior, characterize the image subject of Matthias Schaller's photographic series "Leiermann". These mirrors, however, have long since passed their heyday. They still hang in Venetian palazzi with a worn patina, cracks and traces of decay.
One looks in vain for the presence of man in these photographs. No one's reflection can be seen, and the rooms in which the mirrors hang seem abandoned. This is the leitmotif of Matthias Schaller's artistic strategy and poetics: the absence of the human subject. The significance of the mirror as a testimony to disappearance and memory has a special role to play here.
In the series "Leiermann", Matthias Schaller alludes to the decline of Venice, whose heyday in the 17th and 18th centuries was characterized by wealth and the Arts were highly valued and promoted. During this period, a culture emerged whose legacy is still relevant to us today, but which came to an end with the founding of the Republic of Italy under Napoleon. The art of mirror manufacturing on the Venetian island of Murano was in demand beyond the country's borders and enjoyed a certain monopoly. The complex and costly process of making mirrors from a compound of polished glass and sheets of tin and mercury was a protected secret and the pride of the city of Venice. The mirrors are still a reminder of this glamorous period and its grandiose… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Dawin Meckel
Pindar Street, 2017, aus der Serie "Die Wand", 2017/2018
© Dawin Meckel/OSTKREUZ | | | | | | | In Search of Europe | | | | | | | | 11 February – 12 June 2022 | | | | The exhibition can be visited as part of guided tours or on the "Open Saturdays" on 26 February, 2 April and 11 June. Dates and further information for the visit: here | | | | | | | | | | | | | "CONTINENT – In Search of Europe" shows photographs by the 22 members of the Berlin-based agency OSTKREUZ examining the European living space and its people. The groups of work were specially created for the exhibition over the past eight years. They explore the question of how the European continent and its population’s coexistence may be shaped and evolve in the future. Personal, social and political aspects of togetherness are taken into account from a perspective that is critical while remaining empathetic. The images transport their viewers to various regions of the continent – be it the South of France, the Norwegian forests, the banking district of London, industrial areas of Sicily, the German-Polish border or the rivers of Europe.
While many of the works focus on entire towns or religious communities, some photographers also portray the fate of individuals. The diverse realities of life in Europe is reflected in the thematic range of the presented works. They deal with the pressing issues of our time: Questions of identity, security, migration and integration as well as humanism, democracy and freedom of opinion. Time and again, the artists’ gaze circles back to the past and European history – often under the influence of personal experience and family memories, which serve as a starting point for their photographic research.
The focus of all 21 photographic positions is on images of people and their surroundings. The presentation thereby not only provides visual impetus for the current debate on Europe’s past and future, but can also be understood as a declaration of love for the continent. The exhibition is a collaboration of the Deutsche Börse Photography Foundation with the OSTKREUZ … | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | | | | | | Lilly Lulay: Am Muttertag 1976, 2021, aus der Serie: Lesson I: The Algorithmic Gaze, 2020–2021 |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Konstantin Weber, squares, 2020 | | | | | | | New German Photography | | | | | | | | 11 February – 1 May 2022 | | | | | | | | | | | | | With the exhibition "gute aussichten 2020/2021: New German Photography", the House of Photography at the Deichtorhallen Hamburg is presenting the winners of the renowned award for new graduates in photography. Eight prize winners were selected by a jury for the 17th edition of "gute aussichten".
Every edition of "gute aussichten" is a seismograph whose oscillations reflect the diverse echoes of current social and political as well as aesthetic and media discourses. The selected photographers can be viewed through the lens of Brigitte Kronauer’s novel "Das Schöne, Schäbige, Schwankende". In Kronauer’s view, characters portrayed in literature must go through the three stages of development referenced in the title of her novel: the beautiful, the shabby, and the wavering. Applying this to photography, the artists featured in gute aussichten break down their models and subjects into numerous possible realities, all of which reveal the beautiful, the shabby, or the wavering.
Sophie Allerding, who studied at the Hamburg University of Applied Sciences and the Royal Academy of Art in The Hague, explores the physical connections of myths in the Brazilian Amazon rainforest in her work "Leuchtende Augen".
In "Ataxia/Ataraxia", Leon Billerbeck, who lives in Leipzig, searches for ways to confront and deal with his father’s neurological illness.
In "Wahala", Robin Hinsch, who also studied at the Hamburg University of Applied Sciences, questions the mechanisms of exploitation and the conditions of the global extraction of fossil fuels. An earlier series by Hinsch was shown at the Deichtorhallen in 20… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | | Andreas Mader: Rojan and Herveva, 2017
from the series "The Days the Life"
© Andreas Mader | August Sander: Farming Couple, Westerwald, 1912
© Die Photographische Sammlung/SK Stiftung Kultur –
August Sander Archiv, Köln; VG Bild-Kunst, Bonn 2021 |
| | | Photographic Concepts and Treasures | | | | Works from the Collection Part 1 – Portraiture, Landscape, Botany | | | | | | | February 11 – July 10, 2022 | | | | | | | | | | | | | In 2022, Die Photographische Sammlung/SK Stiftung Kultur celebrates the 25th year of its exhibition program in Cologne’s Mediapark, launched in 1997 under the forward-looking title "Comparative Concepts." This anniversary offers an occasion to present many works from the collection in two exhibitions, each with its own focus, enabling Die Photographische Sammlung to provide visitors with a broad overview of its holdings. With over 400 exhibits, the current presentation focuses on the central themes of “Portraiture, Landscape, Botany” as illustrated by the work of 25 historical and contemporary artistic photographers. A second exhibition to follow from September 2 will spotlight the related areas of "Urban Life, Architecture, Industry." Viewers will discover a variety of links between the two presentations.
The portrait genre will be examined first, based on the work of August Sander, whose archive has provided vital inspiration for the institution’s collection and program concept. With his iconic series "Citizens of the Twentieth Century," represented in the current show by over 50 original prints, Sander took the photographic portrait in a new and innovative direction as a method of factual documentary. Compiled in the first half of the last century and consisting of hundreds of images, this work still has a singular standing to this day as an enormously multifaceted oeuvre following a predefined concept that was implemented step by step starting in the mid-1920s. The series reflects fundamental new challenges in dealing with the medium, as well as aspects of the individual and group portrait – considerations that are a core component of Die Photographische Sammlung.
The portraits in the co… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | | © Nadine Ijewere, Joy as an Act of Resistance, 2018
(The New Black Vanguard) | © Campbell Addy, Adut Akech, 2019
(The New Black Vanguard) |
| | | | | | | Photography Between Art and Fashion | | | | | | | | ... until 24 April 2022 | | | | | | | | | | | | | | The New Black Vanguard presents artists whose vivid portraits and conceptual images merge art and fashion photography, and break down long-established boundaries. Their work has been featured widely in fashion and society magazines, advertising campaigns and museums, as well as on their own social networks, re-instilling the contemporary visual vocabulary around beauty and the body with new vitality and substance.These images open up the conversation around the representation of the black body and black lives as subjects. Collectively, they celebrate black creativity and the hybridization of art, fashion and culture in the construction of an image. Seeking to challenge the idea that the black world is homogenous, the works serve as a form of visual activism. This is a perspective often found in this loose movement of emerging talents, who create photographs in very different contexts ¬– New York and Johannesburg, Lagos and London. The results ¬– often made in collaboration with black stylists and fashion designers – present new perspectives on the medium of photography and notions of race and beauty, gender, and power. | | |
| |
|
|
| |
| |
| | | © ECAL /Lisa Mazenauer et Dominique Bartels | | | ECAL - SMELLS LIKE QUEER SPIRIT | | | | l’ECAL/Ecole cantonale d’art de Lausanne dans le cadre du Bachelor Photographie. | | | | Dominique Bartels, Julie Corday, Diego Fellmann, Florian Hilt, Samara Krähenbühl, Angèle Marignac-Serra, Lisa Mazenauer, Marvin Merkel, Inès Mermoud, Basil Pérot, Yolane Rais, Camille Spiller » | | | | ... until 24 April 2022 | | | | | | | | | | | | | It is in the 1980s that Jean Paul Gaultier overturns dress codes and reveals the porous boundary between masculine and feminine. With playfulness, the fashion designer reverses roles, confounds gender and designs silhouettes that unite masculine sensitivity and feminine power. When they were launched, the brand’s perfume bottles also broke with the androgynous fashion of the 1990s. They have become iconic and are the starting point for the photographic explorations carried out here by the ECAL students.
For this research project directed by Florence Tétier and Nicolas Coulomb, the 3rd year Bachelor of Photography class is questioning the human body and its representations. The images created in 2021 by the 11 students of the ECAL are thought under the sign of pride and tolerance. Starting with the perfume bottle and the designer’s statements in favour of the degendered status of fashion, the photographers create different universes around the famous fragrance where nudes and still lifes rub shoulders. Playing with the fluidity of gender, the artists stage beings that blur the boundaries of male/female bipolarization. For these young artists, who are following the path opened thirty years ago by Jean Paul Gaultier, fluidity is not perceived as a negation of the sexes but as a true richness. When gender becomes more flexible, new potentialities are opened up. This works show that the commitment to a more inclusive society also passes through images. | | |
| |
|
|
| |
| |
| | | | | © Namsa Leuba, Sarah, Lagos, Nigeria, 2015, (The New Black Vanguard) | © Namsa Leuba, Damien, from the series NGL , 2015 |
| | | | | | | | ... until 24 April 2022 | | | | | | | | | | | | | Namsa Leuba develops a powerful photographic work with her strange characters photographed in natural landscapes during her travels far from Europe. The African continent in particular exerts an almost magical fascination on the artist. The work eludes definition : is it documentary fiction, fashion images, performances or a vast investigation into non- Western identities?
For the past 10 years, the artist, born of a Guinean mother and a Swiss father, has used the photographic medium to question exoticism. Paying particular attention to postures, costumes, props and sets, she creates strong settings around her characters. For several years, Leuba has explored the Western imagination in relation to African cultures. The series Weke, produced in the Republic of Benin, the cradle of Vodou, features stories inspired by local animist traditions. In Tonköma, a series produced for a fashion brand founded by Ali Hewson and Bono (US), she has her models pose on a Johannesburg rooftop and plays on the contrast between the urban environment and her creatures on stilts. Inspired by the figure of the Nyamou from Guinean tradition and often described as «the devil in the sacred forest», the artist, who grew up between two cultures, plays here with the juxtaposition of identities that come into tension. In the Illusions series, made in Tahiti where the artist lived for two years, it is the myth of the vahine that is explored. In response to Paul Gauguin’s paintings, which contributed to the dissemination of the myth of exoticism in modern art, Leuba once again challenges us by focusing on the hybridization of genres in Polynesian culture. Her images are addressed to us – Westerners – and return us to the stereotypes of female beauty as they have been conveyed by the… | | |
| |
|
|
| |
| | | © Erwan Frotin, Perle 8, 2014 | | | | | | | | ... until 24 April 2022 | | | | | | | | | | | | | | For nearly twenty years, Erwan Frotin has been engaged in photographic research on plant, mineral and animal forms, while successfully completing advertising and editorial commissions. After graduating from the ECAL in 2002, a school where he influenced several batches of students through his teaching, Frotin has made a name for himself on the international scene, particularly through his still lifes.The wild flowers he immortalizes in a palette of shimmering colours are reminiscent of the herbariums made a century earlier by the German photographer Karl Blossfeldt. With his photographs of plants on a neutral background, Frotin is indeed part of the legacy of the famous New Objectivity photographer made famous by the book The Magic Garden of Nature (1932). Developing a work that navigates between the real and the surreal, Frotin photographs a repertoire of strikingly beautiful plant, animal and mineral forms in the camera. In addition to his meticulously composed studio still lifes, the photographer continues to explore the natural world by travelling around the world to Japan, Hawaii, Chile, Costa Rica, and India. As an artist who has developed a singular photographic style, Frotin creates images in wild places, paradisiacal locations that seem timeless and without human presence. Over the years, the artist has built up a cabinet of curiosities with an almost encyclopaedic ambition. This interest in nature links him to the early 19th century American poet and philosopher Ralph Waldo Emerson, who saw it as a divine entity, and to the American Eliot Porter, a pioneer of colour photography, who fought to protect the environment by immortalising the beauty and diversity of the natural world. Frotin invites us to reconnect with the cosmos by allowing ourselves to be carried… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | CCIB, Plaza de Willy Brandt 11-14 , 15 June 2011
From the series “Futurismo” (Futurism)
© Jorge Ribalta, VEGAP, 2022 | | | Jorge Ribalta »
It’s All True. Fictions and documents (1987-2020) | | | | 11 February – 8 May 2022 | | | | | | | | | | | | | Fundación mapfre is pleased to present Jorge Ribalta. It’s All True: Fictions and Documents 1987–2020. This exhibition, Jorge Ribalta’s first retrospective, traces the evolution from the illusionistic staged photographs he began taking in 1987 to the "documentary photography" he embraced in 2005 and continues practising today.
In 1941, Orson Welles conceived It’s All True as blend of documentary and docufiction, a feature film comprising three different segments that told three stories about Latin America. Cancelled halfway through production, the documentary has been the subject of numerous debates and was recovered by Richard Wilson in the 1993 feature It’s All True: Based on an Unfinished Film by Orson Welles. This documentary, a genuine fieldwork exercise about a narrative, is closely related to Ribalta’s working method and to the conception of the exhibition now being presented at Fundación MAPFRE: the show offers a chronological survey of the artist’s entire career, simultaneously revealing and concealing aspects of a history that is often "fabricated", a construct typical of the language of photography and, in fact, of every artistic medium. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | Lee Miller: Small, tired boy waits at crossroads for transport, Iweschtgaass, Bech, Luxembourg, 1945
© Lee Miller Archives England 2022
www.leemiller.co.uk |
| | | | | | | | | | | | Photographies 1942–1945 | | | Sun 13 Feb 12:00
13 Feb – 22 May 2022 | | | | | |
| | | | | | | |
|
| |
| | | | | | | | Licht über Altona #11 © Herbert Dombrowski |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Louise Deglane, Beach With Boats (Étretat), 1907–1936
Autochrome, 5,4 × 10,5 cm
© Société française de photographie, Paris | | | A New Art | | | | Photography and Impressionism | | | | | | | 12 February — 8 May, 2022 | | | | | | | | | | | | | | | In the nineteenth century, numerous photographers chose the same motifs as impressionist painters: the forest of Fontainebleau, the cliffs of Étretat, or the modern metropolis of Paris. They too studied different light effects, the passing of the seasons, and changing weather conditions. Experimenting with composition and perspective and using a range of different techniques, photography had an artistic ambition from its beginnings. Until the First World War, its relationship to painting was shaped both by competition and influence. Featuring more than 150 works, the exhibition at the Museum Barberini explores photography’s development to an autonomous art form and illuminates its complex relationship to impressionist painting.
The new medium of photography was linked to both the industrial revolution and the advent of a modern knowledge society. At the world’s fairs it was presented to an international public. Photographic exposure and reproduction techniques served the panoramic vision of the period and answered an encyclopedic desire to document. The possibility of creating collections of any conceivable theme through photographs corresponded to a new need to make knowledge accessible and to archive it. Similar to the way in which the city centers of Paris, London, Vienna, or Munich were transformed by historicizing architecture, the new medium also fused tradition and modernity: museums, libraries, and archives were built, travelogues, surveys, and maps shaped the era. At the same time as sociology became a subject, social documentary photography emerged alongside novels of social realism. The natural sciences, which were now becoming separate disciplines, described the present.
So what seemed more natural than to exploit photo… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | © Dennis Soap (b.1981/China) |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | LE SALON: PATHÉ‘O (Ivory Coast, Burkina Faso, Switzerland)
© Flurina Rothenberger in collaboration with Pathé’O, Ben Idriss Zoungrana, other contributors and with Monika Schori | | | | 3rd Session: L'Appartement - Espace Images Vevey | | | | | | | 16 February – 1 May 2022 | | | THE HOUSEWARMING PARTY VERNISSAGE: Wednesday, February 16, 2022 at 6pm.
Carte blanche to Flurina Rothenberger.
For its third exhibition, L’Appartement – Espace Images Vevey has given free rein to photographer Flurina Rothenberger. Born in Switzerland and raised in the town of Zuénoula in Ivory Coast, she devoted most of her career to taking photographs of the continent where she grew up. Her personal narrative and resolutely cooperative artistic practice demonstrate Africa’s multiple reality. In keeping with her strong unifying spirit, she has taken over all the rooms in L’Appartement, while respecting their specific uses, to showcase a series of projects in which collaboration is key. | | | | | | | | | | | | | | | For its third exhibition, L’Appartement – Espace Images Vevey has given free rein to photographer Flurina Rothenberger. Born in Switzerland and raised in the town of Zuénoula in Ivory Coast, she devoted most of her career to taking photographs of the continent where she grew up. Her personal narrative and resolutely cooperative artistic practice demonstrate Africa’s multiple reality. In keeping with her strong unifying spirit, she has taken over all the rooms in L’Appartement, while respecting their specific uses, to showcase a series of projects in which collaboration is key.
In LES CHAMBRES, the NICE & UNFOLDED exhibition invites us to question our perceptions by juxtaposing Flurina Rothenberger’s photographs, Monika Schori’s spatial intervention, and the three issues of NICE, a collaborative magazine initiated by Flurina Rothenberger and Rahel Arnold.
In LE COULOIR, four children took on the role of curators to create A BRIDGE IS NOT SOMETHING TO LOOK AT. YOU WALK ACROSS IT TO FEEL IT. The young group chose fourteen of Flurina Rothenberger’s photographs taken throughout Africa and commented on their choices.
In LE SALON, the biography of the fashion designer Pathé’O is the focus of the eponymous editorial project PATHÉ’O that traces the history of fashion and the textile industry in West Africa. The exhibition preludes a book to be published in 2022 and highlights the work of Flurina Rothenberger in dialogue with archival images by the Burkinabe photographer and journalist Ben Idriss Zoungrana, and an illustration by Monika Schori.
Finally, the area called LE CINEMA screens N’ZASSA, a series of raw rhythmic videos hatched from correspondence between photography students in Vevey and slammers in Abidjan. Flurina Rothenberger and the Ivorian poet Bee Joe initiated this collaborative project as part of the activities the photographer conducts at the CEPV vocational school. | | |
| |
|
|
| |
| |
| |
|
| |
|
| |
|
| | | | | | ZsONA MACO Foto | | | | | | | 9 – 13 Feb 2022 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | | | | | | | | | Thu 10 Feb 17:00
10 – 13 Feb 2022 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | | | | | | | | | Thu 17 Feb
18 – 20 Feb 2022 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | | | | | | | | | Thu 17 Feb
18 – 20 Feb 2022 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
|
| |
| |
|
| |
|
| | | | | | Butterflies Frolicking on the Mud: Engendering Sensible Capital | | | | | | | – 31 Mar 2022 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | | | House of Summer, 2009 © Kim Jungman |
| | | | | | | | | |
|
| |
|
|
| |
|
| | | | | | 19 exhibitions of Greek and international photography, of 94 artists from 18 countries | | | | | | | – 20 Feb 2022 | | | | | |
| | | | | | | |
|
| |
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | | | African Photobook of the Year | | | | Call for Entries: until 1 March, 2022 | | | The prize will apply to a book published between January 1, 2019 and January 1, 2022.
www.eigerfoundation.org | | | | | | | | | | | | | Initiated by the EIGER FOUNDATION in September 2021, the EIGER FOUNDATION African Photobook of the Year Awards celebrates the photobook’s contribution to the evolving narrative of photography, with a focus on the African continent.
1. Conditions for Entry
* The EIGER FOUNDATION African Photobook of the Year Award distingues a book in which the dominant content is photography, featuring the work of one or more photographer(s). The book must be produced in physical form.
* Books must be produced or published between January 1, 2019, and January 1, 2022.
* Entries for either award may only be submitted by the photographer, the publisher, or a third party acting with the consent of the photographer.
* Books must be by an African photographer or a publisher established on the African continent.
* Books on an African theme by non-African photographers or non-African publishers are also admitted.
* Exhibition catalogues or museum publications, as well as text-only publications, are not eligible.
* The book may be comprised of photographs of any genre or topic.
2. How to Enter
You can generate your submission here before March, 1, 2022.
Please note that you will need to provide the following information on the submittable entry form:
* Book title, year of publication, and publisher information
* Book blurb, a short description/summary of the book
* The photographer or author’s name
* Book dimensions, number of pages
* Distribution information
* An image or render of the book cover (JPG file)
* A digital copy of your book in PDF format
There is no fee for the entry for the Eiger Foundation Book Awards.
By submitting your work to the EIGER Foundation African Photobook of the Year Awards, you are found to be in agreement of the terms and conditions. | | |
| |
|
|
| |
| |
| |
|
| |
| |
| | August Sander: Zirkusartisten, 1926–1932
© Die Photographische Sammlung/SK Stiftung Kultur August Sander Archiv, Köln
VG Bild-Kunst, Bonn, 2021 | | | August Sander Award - Prize for Portrait Photography 2022 | | | | Open for artists up to 40 years old | | | | Deadline: 25 February 2022 | | | | Application: here | | | | | | | | | | | | | The August Sander Prize for portrait photography, donated by Ulla Bartenbach and Prof. Dr. Kurt Bartenbach, will be awarded for the third time in 2022 in cooperation with Die Photographische Sammlung/SK Stiftung Kultur, Cologne.
The idea behind the award is to promote young contemporary artistic approaches in the sense of objective and conceptual photography. Against the background of August Sander's important portrait photographs, the photographic works of the applicants should primarily relate to the theme of the human portrait. The prize is awarded every two years. Eligible are national and international artists up to and including the age of 40 with a focus on photography. The prize is endowed with 5,000 €. In addition, the Photographische Sammlung/SK Stiftung Kultur will organize an exhibition of the award winner's work, if possible and by individual agreement.
A series of no more than 20 photographs that has already been largely developed is suitable for submission. Only works that follow a thematically bound image group or sequence will be evaluated; individual images will not be considered. The works submitted should not have won a prize in other competitions.
The jury is composed of five members Albrecht Fuchs, artist, Cologne; Dr. Roland Augustin, Saarlandmuseum/Moderne Galerie, Saarbrücken; Prof. Dr. Ursula Frohne, art historian, Westfälische Wilhelms-Universität, Münster; Dr. Anja Bartenbach, donor family, Cologne; Gabriele Conrath-Scholl, director, Die Photographische Sammlung/SK Stiftung Kultur, Cologne.
A shortlist will be published at the end of March 2022. The winner, resulting from the shortlist, will be announced at the end of April 2022.
The award ceremony will take place in September 2022 at Die Photographische Sammlung/SK Stiftung Kultur in a festive setting in Cologne.
The deadline for entries is February 25, 2022.
The detailed call for entries can be downloaded here | | |
| |
|
|
| |
| |
| |
| |
|
| |
| |
|
| |
© 9 February 2022 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
| |
