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| PHOTOGRAPHY INTERNATIONAL | | 1 - 8 February 2023 | |
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| | | The start of something © Gülşah Ayla Bayrak | | | | | | | | 4 February – 18 June 2023 | | | | Opening: Saturday 4 February 13.00 - 15.00 | | | | | | | | | | | | | How do you convey the experience of Orientalism through images? How is it represented in our daily lives? In the exhibition The Start of Something, Gülşah Ayla Bayrak aims to answer these questions by translating Orientalism's experience, emotion, and ideas into pictures, performances, and objects.
On a school trip to the Louvre Museum, Belgian artist Gülşah Ayla Bayrak encountered the famous oil painting by Jean-Auguste-Dominique Ingres, La Grande Odalisque. Bayrak immediately recognised the references to Turkish culture present in the painting through the textiles, the jewellery and the sensuous figure of an Ottoman court lady. This sexualised and stereotypical representation of her Turkish ancestry made the artist feel uncomfortable. Even more so considering that this painting is part of the classic canon of Western art history. The friction created by this encounter fuelled her creativity and wish to create works that deal with the interplay between East and West.
The Start of Something explores this friction through the concept of Orientalism. The term refers to the way cultures of the East are perceived or imagined by Western writers and artists. It comes from the idea that the West is perceived as the norm or the standard to which the rest of the world is compared. Bayrak draws inspiration from paintings and uses collage or staging to add unexpected layers to her images. A new visual language is created by combining pop and internet culture with cultural symbols. Her work invites the viewer to explore a place where East and West meet as equals: Eurasia. | | |
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| | Helmut Newton, Monica Belluci, Blumarine, Nice 1993
© Helmut Newton Foundation | | | | | | | | ... until 14 May 2023 | | | | | | | | | | | | | With over 200 photographs, the new exhibition "HELMUT NEWTON. BRANDS" features many unknown motifs from Newton’s collaborations with internationally renowned brands, such as Swarovski, Saint Laurent, Wolford, Blumarine, and Lavazza.
When it came to composition and style, the photographer Helmut Newton did not differentiate between magazine editorials and brand assignments, which were often arranged through advertising agencies. Self-ironically, he called himself "A Gun for Hire" – also the title of the posthumous exhibition of his commercial photography that was on display in 2005, first at the Grimaldi Forum in Monaco and then at his foundation in Berlin.
This new exhibition picks up where A Gun for Hire left off, showcasing photographs Newton shot mainly in the 1980s and ‘90s for high-paying ad agencies and corporate clients, mostly in and around Monaco. In the front three exhibition rooms, we encounter fashion images for the luxury sector, for example, Newton’s interpretations of Yves Saint Laurent fashion, haute couture, and prêt-à-porter. His photographic stagings are as diverse and individual from season to season as the women’s fashion he depicted. They sometimes transcend reality, transporting us to distant emotional and exotic spheres. | | |
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| | Lothar Wolleh/Dorothy Iannone, 1971
50 x 50 cm, b/w photographic linen, with drawing
© Lothar Wolleh Estate, Berlin for Dorothy Iannone, VG Bild-Kunst, Bonn, 2022 | | | | | | | | ... until 17 February 2023 | | | | | | | | | | | | | The photographer Lothar Wolleh has been in close contact with European avant-garde artists since the early 1960s. It is less well known that "hybrid" works were also created as a result of collaboration: Wolleh's photographs, which were reworked by those portrayed.
The exhibition "LOTHAR WOLLEH – DUO" presents a selection of these works. With contributions by Sonia Delaunay, Lucio Fontana, Gotthard Graubner, Adolf Luther, Heinz Mack, Christian Megert, Dieter Roth and Günther Uecker, among others.
Lothar Wolleh Raum contains the archive of the photographer Lothar Wolleh. The aim is to make all aspects of his work accessible, such as photographs, photo-art volumes and editions, and to show the relevance of his work in a broad international art-historical context through exhibitions, events and publications. | | |
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| | | | | | | Morgaine Schäfer
magnify BWS 1049 (woman walking while thinking), 2020
© Morgaine Schäfer und VG Bild-Kunst, Bonn 2023 |
| | | | | | | | | | | | Fri 3 Feb 19:00
4 Feb – 9 Apr 2023 | | | | | |
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| | | | | | | Gottfried Jäger
Lochblendenstruktur 3.8.14 C 2.5.1, 1967
Chromogenic-Print, 50 x 50 cm
© VG Bild-Kunst, Bonn 2022 |
| | | | | | | | GENERATIVE SYSTEMS FROM 1960 TO 2020 | | | Tue 7 Feb 18:30
8 Feb – 23 Apr 2023 | | | | | |
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| | Erich-Wolfgang Hartzsch, Ohne Titel
© Erich-Wolfgang Hartzsch | | | | | | | | 1 February – 30 April 2023 | | | | | | | | | | | | | Erich-Wolfgang Hartzsch (born 1952), painter and media artist, was an important representative of the oppositional nonconformist art scene in the GDR. He studied painting and graphic arts in Chemnitz, took part in numerous actions and performances, and from 1980 was a member of the music group "Kartoffelschälmaschine" (Potato Peeling Machine) alongside Andreas Hartzsch, Frank Raßbach, Gitte Hähner-Springmühl and Klaus Hähner-Springmühl.
His broad inter- and multimedia work includes painting and printmaking, sculpture and sculpture, drawings and collages, photography and film.
The exhibition will feature his Super-8 experimental films as well as experimental photo series from the 1980s.
In both groups of works, Hartzsch's interest in the fragmentary and the apparently incidental is central; his uncompromising way of working creates an emotional immediacy that not only went against the grain of the official socialist art policy of the GDR, but still touches us today. | | |
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| | Micha Brendel
Aus der Serie: Anencaphlie, Nr. 7, 1992
Haut, Beizen über Gelantinesilber-Fotografie
54 x 75 cm
© Micha Brendel | | | | | | | | 1 February – 30 April 2023 | | | | | | | | | | | | | Micha Brendel works in the artistic fields of photography, painting, performance, installation, object and text.
A large part of his photo-based artworks can be seen as the result of a multi-layered work "in the material". Brendel's apparatus of attack includes photographic structural investigations as well as object alienations by means of experimental manipulations. What the artist achieves aesthetically on the basis of mechanical and chemical attacks against the photographic material or through subsequent painting and calligraphic compression of prints is never comfortable, the inclusion of bodily fluids and medical-historical preparations challenging. Brendel works on everything that becomes his material as a concentrate of origin, cultural history, the past. A duality of body and spirit is constantly present, a corporeality that the artist has acted out surreally-performatively for years using flesh, blood, and animal organs-from the darkness of trauma and Protestant blossoms of fear.
But Brendel always continues a familiar topos in art: the memento mori, as an invitation to self-exploration and as an artistic retreat. | | |
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| | | Kurt Buchwald: "End of History," aus der Serie "Bilder+Blenden", Berlin 1994 | | | | | | | | 1 February – 30 April 2023 | | | | | | | | | | | | | Before the fall of the Berlin Wall, there was no artist in East Germany who used photography to conduct a more provocative and extensive media, political, and ego exploration. From the very beginning, media and cultural self-doubt is palpable in Kurt Buchwald's work. He did not consider either photography itself or the GDR as a state entity to be enlightened marvels - but neither did he consider Western capitalism, as he tried to make clear immediately after the fall of the Wall. Interpreting life as a civilizational misfortune and defending himself against it with the camera is what drives him to this day.
The documentary and the intervention, two approaches with which he catapults himself into the picture, belong together in this artist's work, indeed they condition each other. Without the authenticated certainty of the factual, his art would lack the challenge; without the formalistic and serial that is inherent in Buchwald's world of images and thoughts, the poetological and stylistic link would be missing.
Kurt Buchwald is a disputatious image and action artist, a specialist in perception and an experimental image disruptor. | | |
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| | Guido Guidi
"Treviso, 1980"
Photograph; Silver gelatin print
Image size: 13 x 19 cm
© Guido Guidi
Courtesy the artist and Large Glass, London | | | | | | | | 3 February – 11 March 2023 | | | | | | | | | | | | | Di sguincio is an exhibition of 22 prints by the Italian photographer Guido Guidi, his sixth solo exhibition at Large Glass. It coincides with the publication by MACK of the homonymous volume, the first of a trilogy entitled Album, which brings to fruition a series of over a hundred black-and-white photographs made by Guidi with small-format cameras between 1969 and 1981.
From the published series, the exhibition showcases selected photographs, mostly taken from 1977 to 1980 in Treviso and Preganziol, in Northern Italy, where Guidi taught at the time. This is a key juncture in Guidi’s work, as he continues his experimentation in black-and-white and increasingly in colour before moving to working predominantly in colour with a large format camera in the early 1980s.
'Di sguincio' is an Italian expression, often associated with looking, that can be translated as obliquely, aslant, asquint, and, by extension, diagonally, furtively, indirectly. This phrase poignantly conveys a key tenet of Guido Guidi’s aesthetics: a tangential gaze that seeks to dismantle received views, like the frontal view often associated to photography, and, by extension, to its purported verisimilitude or indexicality. Instead, Guidi’s photography favours an accidental gaze, aimed at uncovering unexpected slants to everyday objects, people or places, for which in the early 1980s he coined the term of 'qualsiasità', what-so-everness.
In this series, Guidi experiments quite playfully with chance or staged encounters with friends, family, objects, and also animals, seemingly without looking, or only through the corner of his eye as the series title suggests. Many of these photographs focus on details of objec… | | |
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| | ENGLAND. London. Mrs. Eveleigh Nash at Buckingham Palace Mall. 1953.
© Inge Morath / Magnum Photos / courtesy CLAIRbyKahn | | | | | | | | ... until 1 May 2023 | | | | | | | | | | | | | Versicherungskammer Kulturstiftung's Kunstfoyer is showing "INGE MORATH HOMAGE" to mark the 100th birthday of the famous Magnum photographer in collaboration with the Inge Morath Estate, curated by Anna-Patricia Kahn and Isabel Siben.
Inge Morath (1923–2002) was born in Graz, Austria. Her parents were scientists whose work took them to different laboratories and universities in Europe during her childhood. Educated in French-speaking schools, Morath and her family relocated to Darmstadt in the 1930s, and then to Berlin.
Morath’s first encounter with avant-garde art was at the Entartete Kunst ("Degenerate Art") exhibition organized by the Nazi party in 1937, which sought to inflame public opinion against modern art. "I found a number of these paintings exciting and fell in love with Franz Marc’s Blue Horse," Morath later wrote. "Only negative comments were allowed, and thus began a long period of keeping silent and concealing thoughts."
After the Second World War, Morath worked as a translator and journalist. In 1948, she was hired by Warren Trabant for Heute, an illustrated magazine published by the US Information Agency in Munich. Morath had encountered photographer Ernst Haas in Vienna and brought his work to Trabant’s attention. Working together for Heute, Morath wrote articles to accompany Haas’ pictures. In 1949, Morath and Haas were invited by Robert Capa to join the newly-founded Magnum Photos in Paris, where she would work as an editor. Working with contact sheets by founding member Henri Cartier-Bresson fascinated Morath. She wrote, "I think that in studying his way of photographing I learned how to photograph myself bef… | | |
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| | | | | | | | | | | | | | Wed 1 Feb 18:00
– 18 Mar 2023 | | | | | |
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| | | | | | | | Eglė Budvytytė in collaboration with Marija Olšauskaitė and Julija Lukas Steponaitytė. Still from Songs from the compost: mutating bodies, imploding stars, 2020, 4K video, 28 min. Image courtesy of the artist. |
| | | | | | | | | | | | Fri 3 Feb 18:00
3 Feb – 29 Apr 2023 | | | | | |
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| | | | | | | Seung-taek Lee, Earth Touring Beijing, 1994.
Performance documentation, paint on C-print.
Image courtesy of the artist and Gallery Hyundai. |
| | | | | | | | | | | | Fri 3 Feb 18:00
3 Feb – 29 Apr 2023 | | | | | |
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| | Lee Friedlander, George Washington Bridge, 1973
gelatin silver print, printed c. 1970s, 7 1/4 x 11 inches
Courtesy of Bruce Silverstein Gallery, New York | | | | | | | | | | | | | ... until 5 March 2023 | | | | | | | | | | | | | In a major survey exhibition, Nassau County Museum of Art presents masterpieces from 100 years of photography history. It spans the medium’s historical roots (Ansel Adams and his generation) to the large-scale color works of major contemporary artists. From the documentary to the painterly, the assembled images bear witness to the times and multiple genres through portraiture, landscape, science and photojournalism.
The rise of photography in the art world is an international phenomenon. The many facets of photography as a medium are brought together in this museum presentation of considerable range and diversity. Drawing on major private and public collections as well as gallery holdings, the exhibition covers the medium's historic breakthroughs, from its beginnings in black and white to its explosion onto the contemporary art scene with large-scale color works.
Photography is accessible: anyone with a smartphone has access to its creative and documentary possibilities. "The Big Picture: Photography’s Moment" shows it at its peak, bringing together the iconic works of master photographers from the 20th and 21st centuries , and tracing the technological innovations that have pushed the boundaries of its medium.
The generations of artists from America, Asia, Europe, North Africa, represented in the exhibition are as diverse as their subjects: beginning with a tribute to canonical greats such as Ansel Adams, Alfred Stieglitz, Berenice Abbott and Man Ray, the intimate small-format prints (mostly made by the artists themselves) reveal the technical and compositional skill that puts photography's success on par with painting. | | |
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| | TANYA MARCUSE
(left) Elements from a Garniture, 1582, German Metropolitan Museum of Art, New York, USA
(right) Chastity Belt, Higgins Armory Museum, Worcester, Massachusetts, USA
Archival pigment print
14x11 inch / 35x28 cm | | | | | | | | ... until 18 February 2023 | | | | | | | | | | | | | | The artist anchors the project in typological foundations, formally expressed with highly precise yet sensual black & white pigment prints. The complete series of Undergarments & Armor was first exhibited in Northern Ireland at Belfast Exposed gallery. The series has also featured at the triennial of photography and video called Dress Codes at the International Center for Photography (New York) and in Love and War at the Museum of the Fashion Institute of Technology (New York). A lavish 3-volume slipcased monograph of the series was published by Nazraeli Press in 2005 with an essay by Valerie Steele, chief curator and acting director of The Museum at the Fashion Institute of Technology. | | |
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| | | | | | | Oswald Wiener
Aus der Serie "4./ 5. Oktober 2003 daheim"
C-Print, 30,3 × 44,8 cm
Courtesy CFA - Contemporary Fine Arts, Berlin |
| | | | | | | | | | | | Thu 2 Feb 19:00
3 Feb – 25 Mar 2023 | | | | | |
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| | | | | | | Heinz Cibulka
Aus der Serie: "Stammersdorfer Fries", 1972 / 2018
© Heinz Cibulka |
| | | | | | | | | | | | Thu 2 Feb 19:00
3 Feb – 25 Mar 2023 | | | | | |
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| | | | | | | | New work, 2023 ©2022 Yu Araki |
| | | | | | | | Yebisu International Festival for Art & Alternative Visions 2023 | | | 3 Feb – 26 Mar 2023 | | | | | |
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| | | | | | curated section: photography and video (Photography and moving images) | | | | | | | 3 – 5 Feb 2023 | | | | | |
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| | | | | | | | | | | | | | ZsONA MACO Foto | | | 8 – 12 Feb 2023 | | | | | |
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| | | | | | | | | | | | | | Wed 8 Feb
9 – 12 Feb 2023 | | | | | |
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| | | | | | | | | | | | | | Wed 8 Feb 14:00
8 – 12 Feb 2023 | | | | | |
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| | | | | | Rotterdam Photo Fair 2023 | | | | | | | 9 – 12 Feb 2023 | | | | | |
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| | | | | | Thinking Historically in the Present | | | | | | | 7 Feb – 11 Jun 2023 | | | | | |
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| | | | | | Or So It Seems | | | | | | | Wed 1 Feb 19:00
1 – 5 Feb 2023 | | | | | |
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| | | | | | | | Bamako Encounters— On Multiplicity, Difference, Becoming, and Heritage | | | | | | | | ... until 8 February 2023 | | | | | | | | | | | | | Founded in 1994, the Bamako Encounters – African Biennial of Photography is organized by the Ministry of Culture of Mali with the support of the Institut Français. The Biennale is the first and principal event dedicated to contemporary photography and new imagery in Africa. Internationally renowned, the Bamako Encounters is a platform for discoveries, exchanges, and visibility. It is an essential venue for the revelation of African photographers and those of the Diaspora, a time of exchange with the Malian public and the professionals from around the world.
New dates
Exhibition 08.12.2022 – 08.02.2023
Professional days 08.12.2022 – 16.12.2022 | | |
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| | | | | | Bangkok Art Biennale 2022 | | | | | | | – 23 Feb 2023 | | | | | |
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| | | | | | Aliments Terre | | | | | | | – 25 Feb 2023 | | | | | |
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| | | | | | #2 collection Bruno Decharme | | | | | | | – 19 Mar 2023 | | | | | |
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| | | | | | IN OUR VEINS FLOW INK AND FIRE | | | | | | | – 10 Apr 2023 | | | | | |
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© 25 Jan 2023 photography now UG (haftungsbeschränkt) i.G.
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
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