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| PHOTOGRAPHY INTERNATIONAL | | September 2023 | |
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| | PHOTOFAIRS New York is the art fair dedicated to photography and new media. Debuting at the Javits Center September 8-10, 2023 (with VIP Preview on September 7), the fair will run parallel to the well established Armory Show .
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| | Fair J Henry
Digestores, Digestors at aluminum refinery, Port Lavaca, USA
Fine art print on Aludibond
50 x 70 cm
Edition of 10+2 | | | | | | | | ... until 10 September 2023 | | | | | | | | | | | | | "My work is about the conflict between our dependence on nature and the damage we do to it through our materialism. I take ironically beautiful photographs of complex environmental issues and then supplement them with extensive research that is gradually made accessible to the viewer. I want people to pause, think about the subject, be interested in the history behind it, and possibly question any conflicting beliefs they may have."
J Henry Fair, born in Charleston in 1959, is a US photographer and environmental activist. Fair became known for his bird's-eye photographs taken during flights in small aircraft. Central themes of his work are the visualization of the elusive processes of global warming, environmental pollution and destruction, and the position that art takes in this context.
J Henry Fair's "beautiful", partly abstract "pictures" of human interventions in nature and the environment are fascinating because of the unusual perspective from which they emerge. At the same time, they challenge the viewer to take a closer look at what is shown. The works in the exhibition show, among other things, technical facilities used in the extraction of raw materials for energy production and large-scale industrial production and infrastructure landscapes.
Fair lives and works in New York and Berlin. | | |
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| | PER BAK JENSEN
Vandrestenen, Wandering Rock, 2008
© Galleri Bo Bjerggaard and the artist, VG Bild-Kunst, Bonn 2023 | | | | | | | | ... until 14 January 2024 | | | | | | | | | | | | | Bizarre formations made of the eternal ice, vegetation on the most barren stone, the forest as a potpourri of diverse surfaces. The exhibition "Per Bak Jensen – Humming Earth" brings together earlier and very recent large-format landscape photographs. The artist uses vantage point, light and lighting to draw our attention to things we often tend to overlook in the commotion of our everyday lives – be they little textures or big interconnections.
Per Bak Jensen repeatedly applies himself to the task of listening closely for the quiet truths which he feels are to be found within nature. Are we, as human beings, capable of recognising these subtle intermediate tones? Per Bak Jensen believes we can – if we are willing to perceive and understand them. His photographs are thus testaments to an almost metaphysical process of seeking to grasp our surroundings.
Per Bak Jensen (b. 1949) is among the most important protagonists of modern Danish landscape photography. Educated at the Royal Danish Academy of Fine Arts in Copenhagen, he was the first graduate to select photography as an independent and also his exclusive medium for expressing himself artistically. He began working as a lecturer at the academy in 1986 and continued for over 20 years, inspiring numerous younger Scandinavian artists. This alone would be reason enough to present this pioneer of his field to the German public in his first solo exhibition at a German museum. | | |
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| | Alex en Jerome, Seahorse Parents, 2022
© Miriam Guttmann. | | | | | | | | ... 27 September 2023 | | | | | | | | | | | | | As part of Queer & Pride Amsterdam 2023, Foam is proud to present Seahorse Parents by renowned filmmaker and photographer Miriam Guttmann. In this project, Guttmann investigates gender and identity while challenging prevailing cultural ideas of femininity and masculinity. The artist's whimsical images highlight and celebrate the image of pregnant transgender people.
In the series, four pregnant transgender men proudly present themselves as ‘Seahorse Parents’, as the seahorse is the only species in the entire animal kingdom where the males are the baby carriers. What is a pregnant body ‘supposed’ to look like? How do these pregnant transgender men navigate a biased world? And what world do the parents hope to bring their children into?
While changing laws in the United States make it increasingly difficult for trans and non-binary people to maintain control over their bodies and choices, Liam (who is based in the US) participated in the project:
"I want the viewer to see that trans and non-binary people are just like all other people, and that we have the same desire to grow and love our families as cisgender people do. Seahorse Parents is about putting our stories out into the world. It shows our budding families in the most beautiful light." | | |
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| | | FRAGMENTS OF MEMORIES © Gohar Dashti | | | | | | | | ... until 15 October 2023 | | | | | | | | | | | | | | Gohar Dashti was born in Iran not far from the Iraqi border the same year the war broke out between the two countries, tearing the lives of thousands of families apart until 1988. Dashti’s family was one of them. “ This conflict had a strong symbolic influence on the emotional existence of my generation ,” the photographer and filmmaker explains. In her Today’s Life and War series, she captures moments that reference the duality of life going on despite the ravages of war. “ In a fictionalised battlefield, I show a couple living their everyday life. The man and woman embody the power of perseverance, determination and surviva l.” Surreal and almost farcical scenes are portrayed in this series in which we find the couple at the wheel of a car in the middle of a wasteland with a tank in the background or, more dramatically, reading a newspaper in front of a bomb shelter.
This photographic series, which dates back to 2008, brought Gohar Dashti international fame and has been exhibited by various museums in Europe and the United States. Since this timeless work, which retains its evocative power 15 years on, her approach has evolved along with her style, which is both aesthetic and documentary, her eye constantly seeking new perspectives. This is evident in the other works on show at La Gacilly, testifying to our relationship with our environment. She explains: “ People are ephemeral but nature is constant: it will still be there long after we are g… | | |
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| | | | | | 50 Jahre danach | | | | | | | Thu 7 Sep 19:00
8 Sep – 5 Nov 2023 | | | | | |
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| | | | | | | | Margaret Murphy: aus der Serie "Fat Feminine" |
| | | | | | | | | | | | Sat 9 Sep 17:00
10 Sep – 21 Oct 2023 | | | | | |
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| | Winfried Muthesius
1.000 Odysseen, M-21, 2023
20 x 20 cm
Fine Art Print | | | | | | | | 12 September – 21 October 2023 | | | Opening: Saturday, 9 September, 2 - 6 pm
Book presentation: Wednesday, 15 September, 3 pm
The publisher of the book, Christhard-Georg Neubert (chairman of the board of the Christian Art Foundation Wittenberg) and the KERBER VERLAG will be available to answer questions. | | | | | | | | | | | | | In his new photographic series, Winfried Muthesius tackles the globally sensitive issues of flight and expulsion. As in his paintings, he concentrates his focus on what he intends to show in such a way that ambiguity is revealed. In addition to photographs, we will be presenting drawings and paintings from the »broken gold« series (gold leaf on wood, sawed).
"One never knows enough. The known also carries within it the unknown." (Eduardo Chillida)
As if the wanderer on the shores of the Cape Verde Islands had made this sentence of Eduardo Chillida's the focus of his work. Camera and sketchbook always at hand, Winfried Muthesius observes exactly what presents itself to his eyes. He photographs, he draws. In this way he intensifies his sight. Most of what was washed up on the beaches of Cape Verde has become worthless; among it are remnants of life jackets, parts of fishing nets, plastic waste of almost every kind and variety - and then also flip-flops. The known carries within it the unknown. Who wore these lightest of all footwear? Why are there comparatively many lying here? 'The lost shoes or flip-flops that I found on the beaches of the Cape Verde Islands,' says Winfried Muthesius, 'are the simplest footwear of poor people. The loss of a shoe usually means that the rest of the way has to be done barefoot. The washed-up flip-flops represent for me a symbol of flight and displacement.' Quote by Christhard-Georg Neubert
Winfried Muthesius, born in Berlin in 1957, lives and works in Berlin, Brandenburg and Cap Verde. Muthesius studied painting at the HDK (today's UDK) Berlin from 1979 - 1984. Numerous exhibitions followed at home and abroad. The works of Winfried Muthesius are… | | |
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| | Orri
Þingvellir, 2013
Archival Pigment Print 2018
15 x 22,5 cm
© Orri | | | | | | | People and Landscape in Photography | | | | | | | | ... until 10 September, 2023 | | | | Curated by Dr. Marie Christine Jádi | | | | | | | | | | | | | This exhibition presents previously unknown portraits by Alfred Ehrhardt (1901–84) created on photo trips during the same period as his landscape photographs. These historical images are being shown for the first time alongside photographs by Ellen Auerbach (1906–2004), Orri Jónsson (b. 1970), Aino Kannisto (b. 1973), Anne Lass (b. 1978) and Christa Mayer (b. 1945).
The photographers’ points of departure may vary widely, but all of the images show how the intimacy of portraiture influences the perception of the landscape photographically. And vice versa, how the specific qualities of a landscape, all of its imponderables and charm, determine and shape the people in it. In short: how the outside is manifested on the inside and the inside is manifested on the outside.
The image of a landscape is, in the words of Alfred Ehrhardt, "more than the sum of individual geographical phenomena, it is a living being." Alfred Ehrhardt, known for his brilliant photographs of nature, had a special interest in the people inhabiting a landscape and their living conditions. During his travels to northern Germany, Italy, Portugal, and the US in the 1930s and 1950s, he created compelling images of people in their familiar surroundings, which are now on view in the exhibition. Ehrhardt’s images capture the specific emotional bonds between people and spaces and depict familiarity, safety, and security.
Ellen Auerbach also connects a feeling of home to those around her. After emigrating to the US in 1933, she created remarkable photographs of personalities from her circle of friends and acquaintances. Among these is the 1954 photograph of her roommate and dancer Renate Schottelius leaping ov… | | |
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| | Alice Springs
Helmut as a nun
Advertisement for Jean-Louis David, Paris 1970s
© Helmut Newton Foundation | Alice Springs
Princess Caroline of Monaco with her son Andrea and Karl Lagerfeld
La Vigie, Monaco 1986
© Helmut Newton Foundation |
| | | | | | | | ... until 19 November 2023 | | | | | | | | | | | | | In celebration of the 100th birthday of June Newton aka Alice Springs, over 200 photographs will be displayed throughout the entire exhibition space of the foundation.
While major Alice Springs exhibitions were already hosted at HNF in 2010 and 2016, many of the photographs in this new retrospective have never been seen by the public. Extensive research into the foundation’s archives, particularly the holdings recently transferred to Berlin from the Newtons’ apartment in Monaco, has provided new insight into the work of Alice Springs. Now, some of these spectacular results will be shown for the first time as vintage or exhibition prints.
June Newton started working in 1970 as a professional photographer under the name Alice Springs, focusing mainly on portraiture. It all started with a case of the flu: when Helmut Newton fell ill in 1970, his wife June came to the rescue. He explained to her how to use his camera and light meter, and she took his place in shooting the advertising image for the French cigarette brand Gitanes in Paris. This portrait of a model smoking launched the new career of the former Australian stage actor, who had little chance of acting in France due to the language barrier. In the wake of that initial success, José Alvarez, then running an ad agency in Paris, arranged commissions for her to shoot ads for pharmaceutical products. Later, as head of the publishing house Editions du Regard, Alvarez published the first book of portraits by Alice Springs in 1983.
Alice Springs shot many portraits from the mid-seventies onward. Her images are full of empathy, conveying her characteristic blend of curiosity and understanding for the individuals she encountered over the years. In her portraits of fellow pho… | | |
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| | | | | | | | Andreas Gursky, Salinas, 2021 © Andreas Gursky, VG Bild-Kunst, Bonn, Germany |
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| | | | | | | VIVIAN MAIER
New York, 1954
© Estate of Vivian Maier,
Courtesy of Maloof Collection and Howard Greenberg Gallery, NY |
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| | | © Michael Wesely: Abertura, Pinacoteca MASP (19.01 - 23.09 Uhr 10.12.2015) | | | | | | | | ... until 17 September 2023 | | | | | | | | | | | | | « Michael Wesely, brise nombre des certitudes que nous avons sur la photographie. La rapidité, la saisie d’un instant particulier, la documentation d’une situation exceptionnelle, voire unique – on ne trouve rien de tout cela dans son œuvre. Les clichés de Michael Wesely émergent très lentement, nécessitent plusieurs minutes, plusieurs heures, parfois des semaines ou même des mois de captures. Ce que nous observons dans ces photos, ce n’est finalement pas une seule image photographique, mais une somme d’images formées les unes après les autres qui, d’abord, nous échappent, et qui se réunissent finalement en une seule vue.
La photographie de Michael Wesely fonctionne donc plutôt comme un support de stockage, une archive, dans laquelle ce n’est pas un instant spontané, mais un laps de temps, un processus qui s’inscrit. La photographie saisie sur des temps longs montre bien les changements qui sont liés à la rotation de la Terre, au lever et au coucher du soleil, à la marche et à la fuite de la vie. Contrairement au film, par exemple, qui rend compte de chaque mouvement, la vie en mouvement, se dissout justement dans ce type de photographie. En effet, dans la superposition des nombreuses prises de vue, que Michael Wesely réalise d’abord avec des appareils argentiques (à l’aide d’appareils grands formats de sa fabrication et d’une optique adaptée), aujourd’hui capturées avec des appareils numériques, seules les choses et les êtres silencieux et immobiles restent visibles. Tout ce qui est rapide, furtif, momentané, d… | | |
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| | | | | | | Jamel Shabazz (born Brooklyn, New York, 1960)
The Art of Love, Prospect Park, Brooklyn, 1988.
© Jamel Shabazz |
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| | | Jacquie Maria Wessels, Fringe Nature #07/2022 Agia Triade, Greece, Analogue C-print | | | | | | | | ... 24 September 2023 | | | | | | | | | | | | | The solo exhibition features work from Jacquie Maria Wessels' analogue photo series Garage Stills and Fringe Nature. The raw painterly images with a challenging color palette and surprising lighting show a (male) world that is slowly disappearing, but also nature’s drive to reclaim its own space. All new cars feature on-board computers and high-tech gadgets. This means that the very existence of old-fashioned garages is under threat. In light of this fact, photographer Jacquie Maria Wessels travelled the world to take a look inside traditional repair garages in Turkey, Cambodia, Russia, Poland, Morocco, Italy, Cuba, Sri Lanka, South Africa, Tokyo and the Netherlands. When setting up her photographs, she tried 'to combine', she says, 'the beauty and tension of the unknown and to rediscover the objects that make a garage what it is through an intriguing and pictorial still life'.
For Fringe Nature, Wessels captures the meagre bits of natural world that endures in the harsh, industrial landscapes on the outskirts of the cities. During her Garage Stills project, Wessels gradually began to feel the need for contact with nature while photographing the wondrous universe of traditional garages. Although the viewer’s sensation is one of being immersed in a wild and natural place, small details within these images – a crane, a chimney or an abandoned rusty car – betray the presence of a factory or auto repair garage. Her precisely composed photographs are as rough as they are poetic. | | |
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| | Alex Webb » | | | | | | | | | | | | Wanderings Forty Years of Photographs in the U.S. by Alex Webb | | Fri 20 Oct 17:00 8 Sep – 27 Oct 2023 | | | | | | | |
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| | | Kristin (2016), de la série i love you baby. Portraits de femmes résilientes © Jeannine Unsen | | | Saison 2022 – 2023: Kaleidoscope | | | Clervaux - cité de l'image enters its new season 2022-2023 with 6 new open-air exhibitions.
Co-produced by the Centre national de l'audiovisuel (CNA), this new edition focuses on the diversity of photographic creation in Luxembourg. | | | Marie Capesius » Heliopolis (2017-2019)
Veronique Kolber » American Diorama – Streets (2011)
Boris Loder » Particles, 2016-2019
Bruno Oliveira » Coentro e Cachorros (2018)
Marc Schroeder » Corona 2020 – Scenes of the Pandemic (2020)
Jeanine Unsen » I love you baby. Portraits de femmes résilientes (2016-2018) | | | | ... until 9 October 2023 | | | | | | | | | | | | | Various photographic installations throughout the city of Clervaux transform it into an open-air gallery. Discover the work of national and international contemporary photographers in an extraordinary setting: on the walls of houses, in flowering gardens and along the narrow streets.
Six different visions invite us on a journey, each uniquely opening up a world that unfolds in photography and lingers in our imagination. A play of momentary dialogues strikes up between the images, their open air exhibition setting – as it changes with the seasons - and the viewer that contemplates them. The photographers transform the image of the city and the gaze we bring to bear upon it by way of reflections from elsewhere.
The 2022-2023 photographic season celebrates the diversity of Luxembourg creation through the work of six contemporary photographers. On the market square, we set out with Bruno Oliveira to Cap Vert, via a documentary collection shot through with personal sensations, while along the rise to the church, Véronique Kolber presents a series of American street scenes, captured through her lens, that resonate in our cinematographic memory. Behind the church, Marie Capesius, by way of calm and sensual images, explores the question of paradise and the contrasts between the two worlds that co-exist on the Ile du Levant. Inspired by the methods of archaeology, Boris Loder collects objects, examines them, and thus condenses the identities of the City of Luxembourg’s various neighbourhoods and their stereotypes into sculptural photographs that can be seen in the arcades of Grand- Rue.
On the Castle concourse, we are greeted by Marc Schroeder’s black and white minimalist photographs capturing urban landscapes which seem to follow a strict graphic logic. While in the Castle gardens, the women portrayed by Jeannine Unsen share with us a moment that is both intimate and intense. Thus, by way of these encounters, different paths, readings and connections interweave to keep us questioning. | | |
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| | Ellen Korth
from the Series "WALKS"
42 x 30 cm
Printed on double layered washi-kozo paper | | | | | | | | ... until 17 September 2023 | | | | | | | | | | | | | Early summer 2020, in full Covid lockdown, Ellen Korth took the same walk for seven weeks, seven days a week, with her camera capturing plant life as she was going from one day to the next.
The same round. Silence. Repetition. Slowness. A dullness being anything but dull. And then back in her studio a series of repetitive actions, performed as the equivalent of a Japanese tea ceremony: printing the photos, soaking the prints, splitting the paper, ironing, crumpling, ironing them. Awagami paper, wafer-thin, becoming almost immaterial, the print a sea of subtle grays where the vegetation quite obviously simply is. Forty-nine prints, bound in seven folios, with an itinerary added stacked in a cardboard box. The delicacy of the paper forces the reader to turn the pages with utmost care, a visual meditative journey enfolding without words.
In the corresponding museum presentation, Ellen Korth has covered the floor space of a large hall with an endless handwritten repetition of the word "and", without beginning and without end. As visitors come and go, feet will wear these words out, until hardly a trace will be left – allowing us to literally read the passage of time. | | |
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| | | | | | | | Transformation 17, 1982 © Monika Baumgartl |
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| | | | | | | Helena Petersen: Pyrographie Colour XXXVII, 2014, C-Print, Fotogramm, 102,6 x 156 cm
© Helena Petersen |
| | | | Im Innern | | | | | | | 10 Sep 2023 – 24 Mar 2024 | | | | | |
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| | Ernest Cole
South Africa, 1960s
© Ernest Cole / Magnum Photos | | | | | | | | ... until 17 September 2023 | | | | | | | | | | | | | The Deutsche Börse Photography Foundation is showing South African photographer Ernest Cole’s oeuvre. An important chronicler of apartheid politics, it is the first major exhibition of his works in Germany. In around 130 photographs, it covers all 15 thematic chapters of his eponymous book, "House of Bondage", and also includes works from the chapter "Black Ingenuity", which was not published in the original edition. The presentation is complemented by early original prints, personal documents of the artist, original editions of published series of images in magazines and a filmed interview with Cole from 1969.
Ernest Cole (1940-1990) chronicled the Black majority’s experience during apartheid in South Africa as forcefully and comprehensively as few of his contemporaries. In his photobook "House of Bondage", published in 1967, he captured countless forms of violence and repression, which, as a Black photographer, he was also subject to. He started working as a photographer at the age of 18, aiming to draw global attention to the grievances of his home country. Being classified as "Coloured" allowed Cole freedom of movement and access to various places which the authoritarian regime would not have granted him as a "Black" person. Cole photographed the precarious living conditions of mine labourers and domestic workers in white households, as well as the miserable state of the transport and health sectors. He paid particularly close attention to the children and young people, who, denied proper education, lived in poverty and despair. As a person directly affected, his insights into the life of Black South Africans in the 1960s are harrowing – marked by oppression, arbitrary police action … | | |
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| | Frank Mädler
Pferd, 2023
Analogue C-Print
111 cm x 157.5
Edition of 3 + 1 AP | | | | | | | | 9 September —21 October 2023 | | | Opening: Friday, 8 September, 6—9 pm
Introductory remarks: Wiebke Loeper | | | | | | | | | | | | | Since early childhood, the forest has been a place of longing for Frank Mädler, connecting the familiar with the uncanny, a place where one can get lost. However, how can the forest be artistically represented, especially in times when it is directly threatened by destruction, using formal means?
Frank Mädler employs photographic techniques such as focus and blur, but also intervenes in the photographic material through methods like overlays, additions, and scratches. His ceramic sculptures titled "Doppeltierhälften" expand the artistic exploration of the forest into the exhibition space.
Frank Mädler (1963, Torgelow, Germany) studied photography at the Academy of Visual Arts Leipzig, the Universidad Complutense de Madrid, and the Universidad Castilla-La Mancha, Cuenca. He was a master student under Astrid Klein. Since 2000, he has worked as a freelance artist in Leipzig. Frank Mädler has been honored with numerous awards, including the Villa Massimo Fellowship in Rome in 2004, the Working Grant from the Cultural Foundation of the Free State of Saxony in 2007, and the artist residency Al Lado in Lima, Peru, in 2017.
His works can be found in various international public and private collections, such as the American Bank Collection, Fondation Antoine de Galbert Paris, Art Gallery of Ontario, Canada, Kupferstichkabinett Dresden, DZ BANK Art Collection, and the State Art Collections Dresden.
Frank Mädler has published several monographs and books, and his work has been discussed by various curators and critics, including Martina Padberg, Tanja Dückers, Charlotte Gutmann, Lily Koshitavshvili, Maximilian Keller, Christina Leber, Agnes Matthias, Katharina Menzel, and Insa Wilke… | | |
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| | Cindy Sherman, Tabula Rasa, 1987
© Abe Frajndlich, 2023 | | | | | | | | ... until 17 September 2023 | | | | | | | | | | | | | He has portrayed luminaries from music, art and showbiz, surreally depicted the boundlessness of the big city and brought the greats of photographic history in front of the camera. With ABE FRAJNDLICH. CHAMELEON, the Fotografie Forum Frankfurt (FFF) presents the iridescent diversity in themes of the American photographer Abe Frajndlich (*1946, Frankfurt/Main).
On view are around 160 works from the 1970s onwards, including Frajndlich's earliest vintage prints from Cleveland. As a focal aspect, the FFF retrospective presents portraits of artists who influenced Abe Frajndlich's life: the performer Rosebud Conway, known as "Rosie", as well as Minor White, photographer, founder of the magazine Aperture and Frajndlich's photographic mentor. Also part of the show is the project Masters of Light – Frajndlich's first major series in colour. For this, he portrayed icons of photography who, in his view, had a decisive influence on the 20th century, including Gordon Parks, Louise Dahl-Wolfe, Berenice Abbott or Ilse Bing. Each of these staged pictures uniquely alludes to aspects of the icon’s life or work.
Frajndlich was commissioned by the FAZ Magazin to show his view of the American art scene in the 1980s and 90s. Extensive series of Cindy Sherman, Nancy Spero and David Ireland are good examples and on view for the first time. Also included: experimental street photography and the sensual associations from his book Eros Eterna (1999), without which "the chameleon" Fraijndlich would be unthinkable.
Abe Frajndlich's central subjects – creativity, identity, hope , freedom – are closely related to his biography. He was born in a "DP camp" (D… | | |
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| | | | | | | | Alpaqueros © Alessandro Cinque, Pulitzer Center, National Geographic |
| | | | Eine Ausstellung präsentiert von GEO und STERN | | | | | | | 13 Sep – 9 Oct 2023 | | | | | |
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| | Tamara Eckhardt, Youth Of The Island Field, 2019-2021
© Tamara Eckhardt www.guteaussichten.org | | | | | | | New German Photography | | | | | | | | ... until 24 September 2023 | | | | | | | | | | | | | Double Feature: Two years will be presented in this year's exhibition of GUTE AUSSICHTEN - JUNGE DEUTSCHE FOTOGRAFIE at PHOXXI, the temporary House of Photography of the Deichtorhallen Hamburg. Works with a strong content by 14 winners of the renowned prize for young photographers open up thematically broad fields and show the entire spectrum of contemporary photography, from reportage to art installations.
The award winners of the 18th gute aussichten class of 2021/2022 move in their works along a timeline that embraces the present, the past and the future in equal measure. Their topics range from children growing up in precarious conditions (Tamara Eckhardt) and young people practicing and playing war (Natalia Kepesz), to threats and foreignness in their own homeland (Vanessa A. Opoku), the pitfalls of foreign cultures (Zoyeon), the (un)culture of model house parks in Germany (Fiona Körner), to 18 neatly sequenced chapters of photography (Maximilian Gessler), image testimonies through the marriage of analog and digital techniques (Alexander Kadow), and the taming of the viral as well as volatile language of Internet memes by means of "Trojan horses" (Max Dauven).
The thematic fields will be represented by the 19. gute aussichten volume 2022/2023: The arc spans from the photographic exploration of our natural environment (Jette Held), to the state and perception of a young generation in digital space (Charlotte Helwig), to the exploration of one's own ambivalent identity (Luzi), also in the fi… | | |
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| | | | | | | Sabine Bungert & Stefan Dolfen: Aus der Serie: "Black Cowboys"
© Sabine Bungert & Stefan Dolfen / VG Bild-Kunst 2023 |
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| | | | | | | | Jim Clark auf Lotus, Großer Preis von England, Silverstone 1963 © Horst H. Baumann |
| | | | | | | | Der Fotograf Horst H. Baumann | | | – 28 Jan 2024 | | | | | |
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| | Rosalind Fox Solomon
Foxes Masquerade, New Orleans, Louisiana, 1992 Archival Pigment Print
16×20 inches
© Rosalind Fox Solomon / MUUS Collection | | | | | | | | ... until 25 November 2023 | | | | | | | | | | | | | Galerie Julian Sander is excited to show a selection of photographs from the private archive of Rosalind Fox Solomon (b. 1930). The focus of this compilation is on curious images that challenges a second look and lingering time from the viewer.
Solomon began her photographic career in the early 1970s, where she studied with Lisette Model during regularly trips to New York City. "My liberation began with her," she said. "I took all kinds of pictures. Model encouraged me to go for the strongest picture, not to be afraid because they were disturbing." - Rosalind Fox Solomon, 2018
She has since created an impressive collection of works. Her focus is on themes of identity, religion, conflict and sexuality. In the course of this, she combines her personal experiences with a broader examination of social issues.
A central feature of Solomon's work is her ability to capture the complexity of human nature. Her images are often infused with strong emotion, revealing the complexities of the human psyche. In doing so, she does not shy away from uncomfortable or controversial subjects. She shows us the beauty and challenges of life and forces us to confront the complexities of our own society.
Solomon's photographs are reminiscent of character-based short stories; Her subjects, looking sharply and intensely into the camera, evoke many possible interpretations. At the same time, some of her subjects are surprising at first glance, irritating or making the viewer smile. Rosalind Fox Solomon has a special eye for curious moments in a person's life and photographs them with empathy and love, which in return evokes empathy.
Solomon's work has been included in the collections of more than 50 museums w… | | |
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| | | | | | | Andreas Gefeller
048-3 (Regen), aus The Other Side of Light, 2020
Tintenstrahldruck auf Fine Art Papier
130 x 104 cm |
| | | | | | | | | | | | Fri 1 Sep 18:00
1 Sep – 14 Oct 2023 | | | | | |
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| | Simone Nieweg
Garden Shed (with Carpet Tiles), Meldorf-Holstein, 1986
© Simone Nieweg, VG Bild-Kunst, Bonn 2023 | | | Simone Nieweg »
Plants, Sheds, Arable Land - Working in Nature | | | | 8 September 2023 – 21 January 2024 | | | Openings: Thursday, 7 September, 7pm
Three exhibitions will open in parallel in September at Die Photographische Sammlung/SK Stiftung Kultur. The photographs of Simone Nieweg and August Kotzsch show discoveries made in the landscape of intriguing objects both natural and human-made. Their juxtaposition makes for an exciting encounter between contemporary and historical photography. Also on view will be recent portraits and still lifes by Sora Park, 2022 August Sander Award winner. | | | | | | | | | | | | | "You have to hurry up if you want to see something; everything disappears." This observation made by the French Impressionist Paul Cézanne based on his own experience also applies to the work of photographer Simone Nieweg (b. 1962). For the master student in Bernd Becher’s class at the Düsseldorf Art Academy, the view of nature and the arable land created by human hand formed important starting points for her artistic work back in the 1980s. Even then, she was already preoccupied by urgent questions about how we treat our natural resources.
Her color photographs, which Nieweg shoots in the Rhineland and other regions of Germany as well as in France using a large-format camera, draw our attention to the often overlooked outskirts of towns and industrial areas. They highlight the aesthetic qualities that unfold when these still un-zoned areas are cultivated in a limited fashion, usually upon individual initiative, for gardening or agriculture. Elements that give the land structure and continuity are captured here: alternative allotment gardens, future building land, patches of meadow, fields going to seed with wild vegetation, vegetable beds, plowed fields in winter, or blossoming fruit trees as harbingers of spring. Structures built by simple means, whether sheds or compost racks, reveal themselves to be typical components of their particular landscapes.
The exhibition will be accompanied by an eponymous catalogue, published by Schirmer/Mosel Verlag. | | |
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| | August Kotzsch: grain doll + sweet chestnut, ca. 1865
© Public Domain / Courtesy Kicken Berlin | | | | | | | | 8 September 2023 – 21 January 2024 | | | | | | | | | | | | | August Kotzsch (1836–1910), one of the early masters of German photography, offers a historical counterpart to Simone Nieweg. He takes us with him on his rambles through nature in his home region of Loschwitz near Dresden. Landscape scenes, garden corners, still lifes, and the fruits of his own harvest, but also houses and farms, were his preferred motifs. Depicting in loving detail, these cherished views paint an at once realistic and romantic picture of his surroundings. A self-taught photographer and son of a winemaker, Kotzsch used a complex process to produce his photographs. He made his negatives using the wet collodion process, and his prints on albumen paper. Thanks to this method, his images shimmer in iridescent sepia tones.
The works on loan come from the estate of August Kotzsch in cooperation with KICKEN BERLIN. They are complemented by exhibits from the in-house collection. | | |
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| | Sora Park
Joschua, 2019 + Ronja, 2019, from the series With me, with you–
© Sora Park | | | Sora Park » With me, with you. Portraits and Still Lifes | | | | 8 September – 5 November 2023 | | | | | | | | | | | | | Sora Park (b. 1991 in Gimpo, South Korea) received the August Sander Award in 2022 for her project "With me, with you." In addition to a representative selection from the award-winning series, the show also features photographic still lifes in which the artist transforms everyday found items and materials into imaginative objects.
"With me, with you" shows young women and men from Sora Park’s inner circle as well as fellow students at Folkwang University of the Arts in Essen. The photographs are for the most part individual portraits taken either in the photographer’s own home or in those of the sitters. With her analogue large-format camera, Park always takes only one exposure, which lends added intensity to her well-balanced compositions. In the series, the artist introduces us to a young generation working in the artistic-creative milieu as a crucial life phase along the way toward finding their identity. | | |
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| | Laia Abril, "Case Piece Chalco", Mexico,
from the series "On Mass Hysteria", 2023
© Laia Abril, courtesy Galerie Les Filles du Calvaire | | | | | | | | ... until 1 October 2023 | | | | | | | | | | | | | Artist Laia Abril (Spain, 1986) uses photography, archival documents and multimedia to create her highly political projects, often related to feminist issues and imbued with sociological, historical and anthropological insights. Her long-term projects are structured into different chapters.
The artist will be presenting her latest project at Photo Elysée: On Mass Hysteria (Genesis Chapter), the first draft of which led to her nomination for the Prix Elysée (2018-2020). Mass hysteria is a reaction to circumstances in which women are under extreme stress, feel repressed, or are forced into situations where they cannot communicate or express their thoughts and emotions.
On Mass Hysteria allows us to visualize this language of the pain of female representation throughout history. | | |
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| | Debi Corwall
from the series Model Citizens
© Debi Cornwall / Prix Elysée | | | | | | | | Prix Elysée 2023 | | | | ... until 1 October 2023 | | | | | | | | | | | | | The work is in line with current events and is an important contribution that is timely, given the effect of fake news in our societies. Through her research, the artist questions the blurred line between truth and fiction. The project, which is both a political and intellectual commitment, points to the urgency and necessity of questioning photography as a proof. The impact of fake news is not limited to the United States – the artist is telling a local story that talks about global issues. We are convinced that with the Prix Elysée, Debi Cornwall will reach a new and wider audience and that the prize will help increase her visibility in Europe." – The members of the jury of the Prix Elysée 2023
The Prix Elysée endowment of CHF 80'000 will enable the artist to complete he research and publish a book. | | |
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| | | Jagoda Wisniewska, "Untitled", 2023 © Jagoda Wisniewska | | | | | | | | ... until 1 October 2023 | | | | | | | | | | | | | | | The artist Jagoda Wisniewska (1987) takes over Le Signal L at the invitation of Photo Elysée in collaboration with Arsenic .
She is interested in the perception of the female body and representations of female sexual and reproductive functions (sexual intercourse, menstruation, birth and breast-feeding). The female body, exposed and sexualised, is also hidden, described by Jean-Paul Sartre as "a series of wet holes and slimy substances". Simultaneously provoking desire and disgust, this "wetness" is both invigorating and threatening.
In this body of work, Jagoda Wisniewska explores the relationship between photography and performance art. She teams up with performer Tamara Alegre to examine the portrayal of the female body and its fluids, using the presence of the camera (and the photographer) as an accomplice in identity experiments.
Born in Bydgoszcz, Poland, in 1987, Jagoda Wisniewska studied photography at Napier University in Edinburgh, and then at the ECAL. Her work focuses on concepts of performativity and portraiture. Her projects examine the roles attributed to women, especially in the domestic realm, and explore the age-old fascination for the mother figure and its representations in photography. | | |
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| | | Books from the Photo Elysée library, 2023 © Khashayar Javanmardi / Photo Elysée / Plateforme 10 | | | OPEN BOOKS | | | | A PROJECT PHOTO ELYSÉE X EPFL+ECAL LAB | | | | ... until 1 October 2023 | | | | | | | | | | | | | | | The Open Books exhibition allows the public to discover the richness of photography books, as well as exploring the creative possibilities of this object and its influence on contemporary artists.
For the duration of the show, Photo Elysée will be revealing a selection from its book collection with the creation of a library that snakes through the exhibition space. It allows visitors to browse the books and immerse themselves in the sequences of images.
Bringing together image, typography and text photography books are objects offering myriad creative possibilities. They provide an intimate, tactile experience of a series or subject and give the reader time to appreciate the images and narrative. While social media have become a popular way of sharing pictures, photography books offer an aesthetic experience to immersing one's self in the work of the photographer. Both are structured around sequence, the order of the images, linked with text, captions or commentary. | | |
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| | | | | | | "Lichthall", Lichtinszenierung in der Bauphase der Neuen Leipziger Messe, 1995
© Bertram Kober |
| | | | 30 + 3 Jahre Leipziger Fotoagentur punctum | | | | | | | 13 Sep 2023 – 25 Feb 2024 | | | | | |
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| | | "Dwellers Between The Waters", still from "Recess Of Evocation", 2023 © CROSSLUCID | | | | | | | An Exchange of Human and Artificial Intelligence | | | | | | | | 6 September 2023 – 28 January 2024 | | | | | | | | | | | | | The title of the exhibition "Extensions of Self" refers to a conversation between artist Stephanie Dinkins and the Black social robot Bina48, who asks her if robots should be considered an extension of human existence. What are the inherent rights of a chatbot like Bina48 and why should it have them or not?
Eleven international positions negotiate how artificial intelligence relates to us humans, whether we understand its underlying systems and logics, and what our own authorship is like. The exhibition not only shows processes of co-creative art-making between humans and machines, but also questions the influence we already grant the tools when it comes to defining our individual identity, for example. This raises the question of whether algorithms and AI programs further cement social structures and inequalities, or whether they can possibly help us discover new and multi-layered definitions of "normality" or "beauty".
"Extensions of Self" explores the possibility of ultimately finding a new approach to coping with the trauma of the current Anthropocene through an exchange with artificial intelligence, thus embarking on a path of healing.
Participatin artists: Claudia Larcher, CROSSLUCID, Emanuel Gollob, Holly Herndon + Mat Dryhurst, ResonAIte feat. Lynn Hershman Leeson, Michael Wallinger, Mimi Onuoha, Morehshin Allahyari, Silke Grabinger, Sougwen Chung, Stephanie Dinkins | | |
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| | | "Keep Hope Alive" © Kenny Schachter | | | | | | | | 6 September 2023 – 28 January 2024 | | | | | | | | | | | | | Kenny Schachter is a New York-based artist, curator, lecturer, and critic who is deeply involved in crypto art and NFTs. In his column at "artnet News," Schachter also likes to question the traditional art establishment. His artistic work is multi-layered, using a host of physical and digital materials such as drawings, sculptures, videos, memes, and digital collages to impressively illustrate current social phenomena.
The title of the exhibition Keep Hope Alive refers to an Irish racehorse who, despite promising prospects, never quite became a winner. But as the name suggests: never give up, no matter how adverse the circumstances. Kenny Schachter applies this motto to the art world, which for him is a daunting place in an uninviting environment, with limited accessibility, characterized by an exclusionary mentality. But still, artists make art, writers write, singers sing, and actors act; because the alternative would be bleak and life can be bleak enough, according to the artist.
Schachter's first solo museum exhibition celebrates perseverance, persistence, and the relentless pursuit of a life with art - at any cost.
In one of his installations, which is modeled on the setting of a classroom, one can listen to conversations and lectures whose content reflects Schachter's cynical yet optimistic view of art. | | |
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| | | | | | | | Grimace girl, 1986 © Tom Wood Archive |
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| | | | | | | Aida Muluneh Water Life Series, Star Shine, Moon Glow 2018
commissioned by WaterAid and supported by the H&M Foundation © Aida Muluneh |
| | | | A celebration of the varied landscape of contemporary African photography today | | | | | | | – 14 Jan 2024 | | | | | |
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| | Ralph Gibson, from the series The Somnambulist, 1970
© Ralph Gibson | | | | | | | | 13 September – 26 November 2023 | | | | | | | | | | | | | Ralph Gibson is one of the most interesting American photographers of our time. His great international reputation is based on his exceptional work, which is shown and collected by leading museums around the world: He is represented with works in the collections of the Museum of Modern Art in New York and the J.P. Getty Museum in Los Angeles as well as in the John Simon Guggenheim Memorial Foundation, the Creative Center for Photography in Tucson, the Museum of Fine Arts in Houston, the Maison Européenne de la Photographie and the Bibliothèque Nationale de France in Paris or the Fotomuseum Winterthur in Switzerland.
Gibson's works, dating back to the early 1960s, completely defy the conventional purpose of the medium of photography – the meticulous recording of so-called reality: Gibson is not interested in the photographic documentation of reality; he perceives photography itself as an aesthetic reality. A central motif in his works arises from the original meaning of the term "photography" – drawing with light. Gibson regards light not only as a material requirement for the creation of each of his photographs but also as the subject of examination and a tool for composition. Equally significant is his play with its counterpart, shadow. Thus, Gibson elevates light itself to the theme of his oeuvre.
The comprehensive retrospective of the photographer Ralph Gibson (* 1939) presents the development of his work from the 1960s to the immediate present through selected series. The exhibition and the accompanying book were developed in direct cooperation with the artist and draw from approximately 300 black and white and color, analog and digital works from the artist's private collection, as well as works acqu… | | |
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| | | | | | | | Marquee: Richard Avedon (American, 1923–2004). Andy Warhol and members of The Factory, New York, October 30, 1969. Gelatin silver print, 8 × 10 in. (20.3 × 25.4 cm). Collection of The Richard Avedon Foundation © The Richard Avedon Foundation |
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| | | | | | | Catherine DeLattre
From the series, , 2023
digital print |
| | | | | | | | | | | | Wed 6 Sep 18:00
6 Sep – 4 Nov 2023 | | | | | |
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| | | | | | | Dalia Amara
Metamorphosis, 2023
Dye sublimation on aluminum
35 x 25 x 1 in
88.9 x 63.5 x 2.54 cm
Edition of 3, 1 AP |
| | | | | | | | | | | | Thu 7 Sep 18:00
7 Sep – 14 Oct 2023 | | | | | |
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| | Kathrin Linkersdorff
Fairies VI / 4, 2021
Archival Pigment Print on Hahnemuehle Photo Rag Ultra Smooth
80 x 80 cm, Edition of 8 + 2 AP
154 x 154 cm Edition of 6 + 2 AP
© Kathrin Linkersdorff | | | | | | | | 8 September – 21 October 2023 | | | | Opening: Friday 8 September 6-9pm | | | | | | | | | | | | | Yossi Milo is pleased to announce Fairies, German photographer Kathrin Linkersdorff's debut solo exhibition in the United States and first with the gallery. The exhibition will present work from the artist's photographic series "Fairies" as well as video installations showcasing the artist's process, offering a new perspective of how Linkersdorff's exquisite photographs are made. The series uncovers the microcosmic vastness contained within flowers, and unearths worlds unknown to the naked eye.
At the heart of Linkersdorff's practice is the concept of wabi-sabi: the view that ephemerality and imperfection are integral and even beautiful parts of life. The artist first encountered the principle during the 1990s upon relocating to Japan to study architecture. Traveling the country extensively, Linkersdorff began practicing Sumi-e, a traditional form of Japanese ink painting. While studying the art form, the artist accepted the beauty in impermanence, imperfection, and transience. Today, wabi-sabi is the lifeforce behind her photography practice, which she uses to depict the internal architecture of living organisms in their most fragile state - that between being and perishing. While flowers and bacteria form the subjects of Linkersdorff's photographs, her practice is not a matter of mere depiction; rather, the organic becomes a visual metaphor for transience as a fundamental life process.
For her Fairies works, Linkersdorff collects and dries tulips over a period of several months. Using her own method-cultivated through years of careful experimentation and lively exchange with scientists-the artist extracts th… | | |
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| | | | | | | | | | | | | | Wed 13 Sep 18:00
9 Sep – 2 Dec 2023 | | | | | |
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| | Jean-Pierre Sudre
M+V. Matière et Végétal, Lacoste juin 78
30 x 20 cm | CHUCK KELTON
A View, Not from A Window #650, 2020
Chemigram and photogram, unique; 50 x 40 cm |
| | | | | | | a dialogue | | | | | | | | 7 September – 3 October 2023 | | | | Opening: Thursday 7 September 18:00 | | | | | | | | | | | | | A new selection of recent photogram-chemigrams, all unique, by Chuck Kelton (1952, USA) will be presented in dialogue with vintage experimental works by Jean-Pierre Sudre (1921-1997, French), from his series 'M + V, Matière et Végétal'. A key historical figure in French photography, Jean-Pierre Sudre was also one of the founders, in the 1970s, of the Rencontres d'Arles festival. The encounter between the works by these two artists, previously unknown to one another, reveals astonishing aesthetic crossovers and shared photographic investigations.
Chuck Kelton makes unique, camera-less photographs, working in full daylight outside of the darkroom and spending weeks, sometimes months, sketching and preparing each work. A master printer, Kelton is also a passionate collector of photographs, practical manuals and tools from the history of photography. He explores 19th century techniques and chemistry such as gold chloride and selenium, that he combines with bleach and developer to coax a lush palette of colours from light sensitive, traditional silver gelatin papers. Describing his approach as "calligraphy with chemistry", Chuck Kelton combines chemigram and photogram techniques: the image in a photogram is the result of exposing photographic paper to light — writing with light — whereas the image in a chemogram is the outcome of exposing photographic paper to developer and fixer — writing with chemistry. Kelton often folds the paper in two - a transgressive act in photography - creating a visual break that is understood by the viewer as a horizon line creating depth of field in the artist's misty palette.
Jean-Pierre Sudre worked notably with contrasting, vibrant blacks and whites to magnify everyday objects thanks to the "power of transposing colours into monochromatic tones". He undertook broad experimentation with darkroom process, in particular the chemical process of mordanting, which fixes color dye to the support through a chemical process that gives a particular depth to the tones. Describing himself as a poet, Jean-Pierre Sudre metamorphosed objects through a photography of detail where the anecdotal becomes the essence of the subject. This quest is felt in various series from his "natures mortes” to his later "M+V" [mineral + vegetal] series: "For the M+V series, having photographed a lot of the plant world [...], I approached things from within this mystery of nature, at the foot of trees, mosses...it was a travelling shot of these very things on which we walk and which are of a great beauty" --- Jean-Pierre Sudre to Jean-Claude Gautrand in an interview for the MEP in 1994. | | |
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| | | | | | | | Andres Serrano, America (Snoop Dogg), 2002 |
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| | | | | | | | Andrea Witzmann: "Mapplethorpe", Pigment Print, 2022, 100 × 134 cm |
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| | Wang Qingsong
Follow Me 2003
C-print, 60 x 150 cm
Collection: Mori Art Museum, Tokyo | | | | | | | Contemporary Art through School Subjects | | | | | | | | ... until 24 September 2023 | | | | | | | | | | | | | Since the 1990s, when the development of contemporary art began to be considered from multiple perspectives in different parts of the world, we have been seeing that contemporary art today goes far beyond the framework of arts and crafts and fine art in the school classroom. It is a composite field with connections to all subjects, including language and literature, mathematics, science, and social studies. In each of these disciplines, researchers are exploring the “unknowns” of the world, delving into history, and making new discoveries and inventions from the past to the future in order to enrich our perception of the world. The stance adopted by contemporary artists that seeks to go beyond our preconceptions in a creative way is also connected to this exploration of these unknowns. In this sense, the contemporary art museum is something akin to a “classroom of the world” where we can encounter and learn about these unknown worlds.
WORLD CLASSROOM: Contemporary Art through School Subjects, commemorating the 20th anniversary of the Mori Art Museum, is an attempt for us to encounter a world we have never seen or known from a wide variety of perspectives, using the subjects we learn at school as a gateway to contemporary art. Even though this exhibition is divided into such sections as “Language and Literature,” “Social Studies,” “Philosophy,” “Mathematics,” “Science,” “Music,” “Phys. Ed.,” and “Transdisciplinary,” each work, in fact, crosses over multiple subjects and domains. While over half the exhibited works will be drawn from the Mori Art Museum Collection for the first time ever, there will also be newly-commissioned artworks for this exhibition - altogether creating a “classroom of the world,” place o… | | |
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| | «Agra», Uttar Pradesh, India, 1983, INDIA-10203.
www.atelierungwirth.com / © Steve McCurry / Magnum Photos | | | | | | | | ... until 24 September 2023 | | | | | | | | | | | | | Es gibt großartige Naturfotograf*innen und es gibt Spezialist*innen für Porträts oder Menschen. Und dann gibt es Steve McCurry. Seine Bilder wurden durch Magazine und Publikationen in Büchern zu Ikonen der Gegenwart. Inmitten einer traumhaft schönen – manchmal aber auch albtraumhaft schrecklichen – Kulisse werden Männer, Frauen und Kinder in den Mittelpunkt gestellt, deren Blick uns nicht mehr los lässt. McCurry legt Wert darauf, nichts zu inszenieren. Vielmehr kondensiert er seine Eindrücke, die Farben, die Landschaft, aber auch das Schicksal der Porträtierten in einem Bild.
Der 1950 in Pennsylvania geborene Fotograf ist gelernter Filmemacher und Theaterwissenschafter. Diese Ausbildung wird komplettiert durch ein großes Talent für den entscheidenden Moment, in dem man den Auslöser betätigt. Geduld spielt dabei eine entscheidende Rolle; gelernt hat Steve McCurry das bei seinen ersten Freelance- Projekten in Indien.
Um in die Top-Liga von Reportagefotograf*innen vorzudringen, braucht es allerdings auch eine gehörige Portion Abenteuerlust und Wagemut. Als Einheimischer verkleidet überquerte er einst die Grenze von Pakistan nach Afghanistan, kurz bevor die russischen Soldaten einmarschierten. Seine Bilder dieses Konflikts wurden weltbekannt. Ob beim Krieg zwischen Iran und Irak oder an den Brennpunkten in Beirut und Kambodscha, der Amerikaner war mit seiner Kamera stets vor Ort.
Er wurde "Magazine Photographer of the Year" und gewann gleich vier erste Preise beim World Press Photo Contest. McCurrys berühmtestes Bild ist "Afghan Girl", aufgenommen in einem Flüchtlingslager in Pakistan. Das Porträt von Sharbat Gula war 1985 … | | |
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| | | | | | | | | | | | | | 8 – 10 September 2023 | | | | VIP Preview on Thursday 7 September 2023 | | | | | | | | | | | | | | PHOTOFAIRS New York is the art fair dedicated to photography and new media. Debuting at the Javits Center September 8-10, 2023 (with VIP Preview on September 7), the fair will present a state-of-the-art view of visual culture. | | |
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| | | | | | | | | | | | | | Thu 7 Sep
8 Sep – 10 Sep 2023 | | | | | |
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| | | | | | | | | | | | | | Wed 6 Sep
7 – 10 Sep 2023 | | | | | |
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| | | | | | Australasia's international contemporary art fair | | | | | | | 7 – 10 Sep 2023 | | | | | |
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| | | | | | | | | | | | | | Thu 7 Sep 17:00
7 Sep – 10 Sep 2023 | | | | | |
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| | | | | | Masquerades: Drawn to Metamorphosis | | | | | | | 7 Sep – 22 Oct 2023 | | | | | |
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| | | | | | choreographies of the impossible | | | | | | | 6 Sep – 10 Dec 2023 | | | | | |
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| | Zofia Kulik. The Splendor of Myself IV
gelatin silver prints, 2005.
Courtesy of the artist / Persons Projects. | | | | | | | A STATE OF CONSCIOUSNESS | | | | | | | | ... until 24 September 2023 | | | | | | | | | | | | | In 1970, Arles photographer Lucien Clergue, writer Michel Tournier and historian Jean‑Maurice Rouquette founded the Rencontres d’Arles, an annual photography festival.
At the time, photography was still regarded as a “minor” art and had not come of age. The festival in Arles played an important role in enabling it to gain recognition from institutions. Starting out as a series of encounters between photography enthusiasts, over the years the event gained importance and much popularity, with soaring success in the early 2000s due to a growing public interest in photography.
LEADING ARTISTS
For over 50 years, photography’s greatest names have participated in the Rencontres d’Arles, a veritable breeding ground for new talent. Anticipating medium changes and technologie evolutions, offering the experience of the image to all: these are the festival’s ambitions. Its program is made rich through a diversity of perspectives, with photographers and curators hailing from different backgrounds. Occasionally a whole program section is offered to an artist, as the case for Martin Parr, Raymond Depardon, Nan Goldin and Arles’ own fashion designer Christian Lacroix. At other times, breaking down the divides, photography is made in relation with cinema, music or architecture. Year after year, the festival tries to interpret a changing world through the eyes of photographers, unquestionably the best at telling story.
ART IN THE CITY
Between early July and late September, the public is invited to explore 40 exhibitions at various heritage sites throughout the city, from 12th-century chapels and cloisters to 19th-century industrial buildings and contemporary, if not unexpected sites (such as the Monoprix and its façade, classified 20th-century heritage). | | |
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| | | | | | | | Donata Wenders: The Jump, 2009 © Donata Wenders / Courtesy Johanna Breede PHOTOKUNST |
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| | | © Hashem Shakeri, Festival La Gacilly-Baden Photo | | | | | | | open air festival - ORIENT ! | | | | | | | Baden near Vienna:
The largest outdoor photography festival in Europe will take place
from 15 June until 15 October 2023.
festival-lagacilly-baden.photo | |
| | | | | | | | | | | | | REBELLIOUS AND DEEPLY ROOTED IMAGES OF HOPE FROM THE ORIENT!
A PHOTOGRAPHIC JOURNEY BETWEEN LIGHT AND SHADOW.
ORIENT! focuses on photographers from Iran, Afghanistan and Pakistan. Three countries that all belong to the Persian cultural area. Three predominantly Muslim countries with Indo-European populations that remain subject to the laws of religion and obscurantism. Three countries that we know little about, although they have captured the hearts of all travellers like Marco Polo. Three countries whose photographers are the defenders of positive thinking and ambassadors of environmental awareness. Three countries that are home to a millennia-old civilisation, a unique artistic creativity and courageous authors who have chosen photography to define their place in society. Photographers from these countries have always chosen to break conventions in order to develop an innovative style and look at people and gods with a humanistic eye. Honour to whom honour is due: Abbas, Gohar Dashti and Hamed Noori, Ebrahim Noroozi, Maryam Firuzi, Hashem Shakeri, Paul Almasy, Véronique de Viguerie, Fatimah Hossaini, Shah Marai and Wakil Kohsar, Sarah Caron.
Since its inception, the festival has never wavered from its mission to show the beauty of nature as well
as to address the need to protect it. Through the prism of photography, we aim to highlight the challenges of a sustainable world without naivety. At the same time, the sometimes dramatic reality is never disregarded. All photographs are signs of our unshakeable belief in the future. The photographers at
our festival are determined to be witnesses and part of the effort to preserve our most beautiful common asset - planet Earth: Mélanie Wenger, Bernard Descamps, Gabriele Cecconi, Stephan Gladieu, Money Sharma, Reporters Without Borders, Brigitte Kössner-Skoff and Gerhard Skoff, Antonin Borgeaud, Jérôme Blin, Alisa Martynova, Maxime Taillez, Chloé Azzopardi.
This year, the bilateral photo project of the Morbihan schools in Brittany and Lower Austria is dedicated to the theme of openings. Whether in the literal or figurative sense, the concept of opening also encompasses communication and journeys to new places or people. Ultimately, it raises the question of the construction of our individual and collective identity and our relationship with others.
Photography undoubtedly remains the most incisive tool for changing public opinion and for preserving glimmers of humanity. The Austrian photographers Rudolf Koppitz and Horst Stasny also stand in this tradition. From Gregor Schörg, the festival will show the second part of his work on the wilderness area Dürrenstein-Lassingtal. The exhibition of Lower Austrian professional photographers and the exhibition of the winning photos of the world's largest photo competition, CEWE's "Our World is Beautiful", with almost 700,000 pictures from 170 countries, will round up the festival, as will the retrospective of 2021 in the pictures of the artist in residence Pascal Maitre. In addition, the Austrian photographer Cathrine Stukhard was commissioned to portray the World Heritage Site of Vichy and place it in the context of UNESCO's eleven "Great Spa Towns of Europe", which also include Baden near Vienna.
Under the guiding principle of Culture of Solidarity, the cooperation with the festival partners Garden Tulln, Celje in Slovenia and Month of Photography Bratislava will continue in 2023. | | |
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| | | | | | Australia's preeminent photographic festival | | | | | | | – 22 Oct 2023 | | | | | |
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| | | | | | Groningen - Friesland - Drenthe | | | | | | | – 10 Dec 2023 | | | | | |
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| | | | | | annual event showcasing Nordic and international photography in the Greater Helsinki area | | | | | | | – 30 Oct 2023 | | | | | |
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| | | | | | open air festival - NATURAL HERITAGE | | | | | | | – 1 Oct 2023 | | | | | |
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| | | | | | uMoya: The Sacred Return of Lost Things | | | | | | | – 17 Sep 2023 | | | | | |
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| | | | | | See beyound the sea | | | | | | | – 1 Nov 2023 | | | | | |
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© 6 September 2023 photography now UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
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