| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 1 – 8 June 2022 | |
|
| |
|
| |
| |
| | PHotoESPAÑA 2022, which takes place in Spain between June 1 and August 28, will host 122 exhibitions and focus on documentary photography. 29 galleries from Madrid will participate in the OFF Festival. Futures Photography, the great european photography forum, will bring together international professionals and representatives of european institutions. |
| | | |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | No title, Far from home, 2015 © Youqine Lefèvre | | | | | | | | | | | | | ... until 18 September 2022 | | | | | | | | | | | | | "EUROPEAN TRAILS" presents European woman photographers as well as woman artists working with photography. Essentially, the exhibition is concerned with questions of origin, memory and identity. The own personal history and its transfer and artistic transcending into current social and political situations become a mirror of a general discussion about conditions of living and the balance of power between individuals as well as in society as a whole. With strong photographic images and installations, the exhibition presents works of outstanding contemporary women artists, whose conceptions are significant contributions to a contemporary debate in and about Europe.
The conception of the exhibition, as well as the selection of the works, took place long before the outbreak of the Russian war against Ukraine on 24th February 2022, which caused new, dramatic developments and movements of escape in Europe. It was not predictable that we are now forced to experience the exhibition’s context against such a background. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | | Steve Schapiro
Jack Nicholson as Jake Gittes in 'Chinatown' by Roman Polanski
Los Angeles 1974
© Steve Schapiro | Helmut Newton
Elizabeth Taylor, Vanity Fair
Los Angeles, 1989
© Helmut Newton Estate |
| | | | | | | | | | | | | 3 June – 20 November 2022 | | | | Opening: Thursday, 2 June, 7 pm | | | | | | | | | | | | | On 2 June 2022, the Helmut Newton Foundation in Berlin will open its new exhibition "HOLLYWOOD" featuring works by Eve Arnold, Anton Corbijn, Philip-Lorca diCorcia, Michael Dressel, George Hoyningen-Huene, Jens Liebchen, Ruth Harriet Louise, Inge Morath, Helmut Newton, Steve Schapiro, Julius Shulman, Alice Springs, and Larry Sultan. Photographs by George Hurrell and publications by Annie Leibovitz and Ed Ruscha will also be on view in glass displays.
Helmut Newton is always the point of departure and reference for group exhibitions like this one. His photographic works often include references to film and even quote specific scenes, such as by Alfred Hitchcock or the French Nouvelle Vague. Starting in the 1960s, some of his fashion photographs seem cinematic in their staging, while from the 1970s onward, some of his portraits look like artful film stills. In the 1980s and ‘90s, Newton photographed actors at the Cannes Film Festival and fashion on the Croisette.
In addition to those images by Newton, this new group exhibition features 13 photographers and their interpretations of Hollywood, presented as usual in larger groups of works. The main exhibition space is dedicated to the medium of film and the Hollywood system. It features portraits of actors from Hollywood’s early years by Ruth Harriet Louise and George Hoyningen-Huene, as well as later film stills and on-set photographs by Steve Schapiro and several Magnum photographers, including Eve Arnold and Inge Morath, who documented the 1960 production of the John Huston film, Misfits. | | |
| |
|
|
| |
| | | | | | | Gerhard Kassner
Nicole Kidman, The Hours, Berlinale 9.2.2003
© Gerhard Kassner |
| | | | | | | | | | | | Thu 2 Jun 19:00
3 Jun – 14 Aug 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| | | | | | | Deni Horvatić: SCAN
Bedroom 1-3, 2020, C-Print mounted on Dibond, 220 x 168 |
| | | | | | | | | | | | Thu 2 Jun 18:00
3 Jun – 16 Jul 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | © Sebastião Salgado, Manda Yawanawá, from the village of Escondido, 20” x 24” in. Gelatin Silver Print | | | | | | | ... until 28 August 2022 | Robert Klein Gallery, Boston | | | | | | | ... until 28 August 2022 | Leica Gallery Boston | | | | | | | | | | | | | Robert Klein Gallery is pleased to announce concurrent exhibitions: Master Works and Amazônia. Join us Wednesday, May 25th 5-7pm for a reception with the artist at Leica Gallery Boston to view "Master Works", a selection of Salgado's seminal photographs from the 1980's to the present. Additionally, Robert Klein Gallery Newbury Street debuts "Amazônia" a 7 year project documenting the threatened, vast ecosystem that has been described as the "lung of the planet".
Acclaimed Brazilian photographer Sebastião Salgado has created numerous in-depth bodies of work documenting life on Earth, from crushing images of unimaginable hardship facedby gold miners in Brazil and pictures of hell on earth from blazing oil wells in Kuwait toscenes of serene, magnificent wilderness, Salgado has touched the depths of the human condition. Through his expansive, yet finely detailed black-and- white photographs, Salgado reveals both awe-inspiring and horrifying scenes from some of the most far-flung corners of the world, presenting us with his own unique vision of our vast planet.
Sebastião Salgado was born in 1944 in the Brazilian mining state of Minas Gerais and now lives in Paris. Initially an economist with the World Bank, Salgado began his photographic career in Paris in 1973. He worked with the Sygma, Gamma, and Magnum Photos agencies until 1994, when he and his wife Lélia Wanick Salgado founded Amazonas Images, dedicated exclusively to his work. He has traveled to morethan 100 countries for his photographic projects, resulting in many books including Other Americas (1986); Sahel, lʼhomme en détresse (1986); Sahel: the end of the road (1988); An Uncertain Grace (1990); Workers (1993); Terra (1997); Migrations and Portraits (2000); Africa (2007), Genesis (2013) and Amazonia (2021) | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | From the series "As Usual", 2017, Point of Intersection © Brooke DiDonato/Agence VU’ | | | | | | | | ... until 14 October 2022 | | | | | | | | | | | | | Brooke DiDonato's photographs tell of artistic subversion in a soft, bewitching tone. The photographer shows a seemingly peaceful and idyllic universe, a calming atmosphere dominated by 1950es aesthetics. The viewer can't help being reminded of the American Dream, with the cosy home and well-tended garden reflected in her motifs. The cultural and domesticated landscape is depicted in carefully composed images. The chromatism is pleasing to the eye, the décor enticing, reminiscent of a mail order catalogue, inspiring a feeling of trust and safety. The viewer is left with the feeling that everything is as it should be - "as usual".
But the mind notices a disturbance before the eyes do: each image contains a bizarre element, shows an imbalance, a staging that is slightly off. From this surrealist universe, danger seems inherent in every image. At the same time, it is not devoid of humour. This placid world, where life is measured at a moderate, human scale, is nothing but deception. The photographs quickly unveil a serious, a hidden dimension - or is it very obvious? The lie becomes apparent, resting on the absence of logic in the depicted elements, the meaning of familiar objects twisted, the laws of physics unhinged, habits manipulated, the presence of incomplete or uncanny silhouettes, and ultimately on our unfulfilled expectations.
Brooke DiDonato's images take on a life of their own, outside the norm. They represent a familiar setting and use well-known pictorial codes, but it is just an illusion. The rupture is omnipresent and introduces the paradox. The photographs reveal their true nature in a very direct way: they are only images, illusions, a visual narrative. Imagination can take any shape - even the most famil… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Gwenneth Boelens, Liar‘s cloth (guileless note), 2015 |
| | | | In Cooperation with the seminar of Prof. Dr. Steffen Siegel Folkwang Universität der Künste | | | | | | | 1 Jun – 15 Oct 2022 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
| |
| | Elina Brotherus
Portrait Series (Gelbe Musik with Sunflowers), 2016
© Elina Brotherus | | | | | | | | 4 June – September 18, 2022 | | | | Opening: Friday, 3 June, 7 pm | | | | | | | | | | | | | She changes roles and perspectives, plays with relationships in the creative process and opens ever new doors between photography and other visual arts with palpable delight. The Fotografie Forum Frankfurt (FFF) honours the Finnish artist Elina Brotherus with the comprehensive survey show IN REFERENCE TO A SUNNY PLACE.
On display are central themes and works from the past 20 years. In various image series and video works, Brotherus repeatedly deals with the diverse connections between model, artist and viewer, between man and woman, figure and place, as well as with the genres of portraiture and the nude. With her typically strange and ironic self-staging, she explores emotions and tensions: being alone and being together, being lost and being safe, love, sadness, yearning, and more often joyfulness.
Often it is her examination of various art movements from Romanticism to Fluxus that inspires her. References to the German painter Caspar David Friedrich, for example, can be found in her group of works The Wanderer, while the video work The Wish Tree refers to the multimedia artist Yoko Ono. Also at the FFF on show is i.a. the series Sebaldiana. Memento Mori, Brotherus’ preoccupation with the German literary figure W.G. Sebald and her mother Ulla Brotherus’ short life as an artist. A book publication by Elina Brotherus on this series will be self-published in summer 2022.
Elina Brotherus, born in Helsinki, Master degrees in photography and chemistry, is an early protagonist of an experimental group of young visual artists i.a. at the University of Art and Design Helsinki (now Aalto University) in the 1990s, later dubbed The Helsinki School. Brotherus, living both in Finland … | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | © Julia Sang Nguyen "Meeting a Man", 2021
Model: Minh Duc |
| | | | | | | | young photographic positions on gender | | | 8th Triennial of Photography Hamburg 2022 | | | | | | | Thu 2 Jun 18:00
2 – 6 Jun 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
| |
| | Marbella, 1974
© Carlos Pérez Siquier, VEGAP, Madrid, 2022 | | | | | | | | 1 June – 28 August 2022 | | | | PHotoEspaña 2022 | | | | | | | | | | | | | One of the most remarkable details of the career of Carlos Pérez Siquier (Almería, 1930–2021) was how he maintained, since his start in the 1950s, his position as an artist working from the periphery, having lived his whole life in his native Almería. Without having ever moved to a major metropolitan centre like Madrid or Barcelona, Pérez Siquier became a fundamental figure in Spanish photography, and was continually in contact with other major photographers of that time, including Joan Colom, Xavier Miserachs, and Ricard Terré. In addition, Pérez Siquier was a driving force behind the era’s most influential photography collective, the AFAL group (1956–1963). The group published an eponymous journal and in its pages Pérez Siquier did not shy away from provocation, instigating with his work intense ruptures that went against the grain of photographic tradition at the time.
From Almería, then on the margins and distant, the photographer created a body of work over a period of more than 60 years that, in a tangential but at the same time profound and mordant way, entered into the debates of the day. His photographic series transpired within the contexts of the social periphery, the visual alterations that came about as a result of Francoist developmentalism, the cultural shock caused by the arrival of mass foreign tourism to Spain, and the infiltration of a new visual culture that developed in the wake of the slogan Spain is Different. This new mode of conceiving our country attempted to repair, in a superficial manner, the trauma of the Spanish Civil War on the coastline through colour and sensuality. Artists and intellectuals regarded this attempt with both enthusiasm and scepticism. | | |
| |
|
|
| |
| |
| | Pasión de Chiapas, Acteal, México, 31 de diciembre de 1997 Del fotomural El Ángel de la Historia (1963-2017)
Fundación MAPFRE Collections
© Paolo Gasparin | | | | | | | | 1 June – 28 August 2022 | | | | PHotoEspaña 2022 | | | | | | | | | | | | | Paolo Gasparini is the photographer who has best portrayed the cultural tensions and contradictions of the South American continent. His images convey the harsh social reality faced by a region whose cultural authenticity is unquestionable, and where the past and local traditions parley with a clumsily imposed modernity.
Gasparini creates an oeuvre with its own visual language that always seems to express a criticism of consumer society while at the same time revealing a certain obsession with the way we are seduced by marketing and advertising.
Italian by birth yet Venezuelan in spirit, through his work the photographer has tried to eliminate the ethnocentric visions and stereotypes that have historically defined Latin America, almost always in terms of ‘the other’, fueled by the different populisms and nationalisms the region has endured. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | | | | | | Anthony Hernandez. Rodeo Drive, 1984 |
| | | | PHotoEspaña 2022 | | | | | | | 1 Jun – 3 Sep 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | Autoretrato con una fiera, 2019
© Alberto Garcia-Alix. VEGAP, Madrid |
| | | | | | | | PHotoESPAÑA 2022 | | | 1 Jun – 28 Aug 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Tenerife, 1987 © Javier Campano. Archivo Lafuente |
| | | | | | | | PHE22 | | | 2 Jun – 28 Aug 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| | | | | | | Barcelona, Baños de San Sebastián en la Barceloneta. Barcelona, 1952.
Fons Fotogràfic F. Català-Roca -
Arxiu Històric del Col·legi d'Arquitectes de Catalunya
© Francesc Català-Roca |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Frente de Aragón, 1937 © Kati Horna. Archivo Fotográfico de las Oficinas de Propaganda Exterior de la CNT-FAI / Collection International Institute of Social History (IISH) Amsterdam |
| | | | In the Civil War (PHE 22) | | | | | | | 3 Jun – 24 Jul 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Tim and Vanessa's. Gilbertsville, Pennsylvania © Alec Soth / Magnum Photos | | | | | | | | ... until 24 July 2022 | | | | | | | | | | | | | The exhibition surveys two decades of work by acclaimed photographer Alec Soth (born 1969). It brings together five of his major works – Sleeping by the Mississippi (2004), Niagara (2006), Broken Manual (2010), Songbook (2014) and the most recent, A Pound of Pictures (2022).
Soth is a fine artist, a Magnum photojournalist, a blogger, a self-publisher, an Instagrammer, an educator. He explores the many different forms photography takes in the world, and works to create different types of encounter with his audiences: from museum shows to live workshops conducted from his Winnebago. This exhibition is conceived to reflect the evolution of Soth’s individual series as they have moved from the page of the maquette or book to the wall of the gallery. A lyrical documentary photographer in the tradition of Robert Frank, Stephen Shore and Joel Sternfeld, Soth regards himself first and foremost as an American photographer. His country’s physical landscapes – the majestic Mississippi, the thundering Niagara Falls, the wide open deserts and wildernesses, the small towns and suburbs – have provided the structure and setting for his poetic surveys of American life.
The exhibition title, Gathered Leaves, refers on one level to photography simply as sheets of paper brought together. It is also a line taken from that quintessentially American epic, Walt Whitman’s Song of Myself (1855). Whitman’s poem catalogued the diversity of the nation on the eve of the Civil War. Soth’s America, in the early 21st century, is also described in a time of tension, as the nation wrestles its conflicting desires for individualism and community.
The exhibition is accomp… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Kourtney Roy
The Tourist, Yellow Boat
Pigment inkjet print on archival paper
60 × 90 cm © Kourtney Roy | | | | | | | | 2 June – 15 September 2022 | | | | Opening: Thursday, 2 June, 6 - 9pm | | | | | | | | | | | | | Who is Kourtney Roy? By turns rebel woman, fatal beauty or overworked housewife, the photographer plays with stereotypes and enjoys taking on different roles to blur the lines in her colourful self-portraits.
Born in Ontario, Canada, her father was a cowboy... it is not surprising that she conceives the world as a vast movie set ready to welcome her fantasy. Urban landscapes or desert expanses become a set waiting for the artist’s entrance.
Quite an artist... Able to take on all the jobs : from the storyboard she imagines to the styling, including framing, lighting, make-up, directing actors... Kourtney Roy is definitely a jack-of-all-trades.
If the idea of posing in front of the camera while transforming herself is not new - some compare her to Cindy Sherman - few photographers manage to achieve such a degree of perfection in the staging. Without forgetting what makes her work so special, the humour that is always present in her creations.
The exhibition Queen of Nowhere presented at the Galerie Esther Woerdehoff cleverly reminds us of this by mixing several series made over a decade. Enter as fiction, my favourite, which I chose to exhibit at the Festival du Regard in Cergy-Pontoise as part of the "Intime and Autofiction" theme, but also Sorry, No Vacancy and the one that was the subject of her latest book The Tourist, undoubtedly the most mature...
Did her transition to the fortyish got the better of the enfant terrible? On the contrary, here she is, more glamorous than ever, accompanied by handsome men with bulging muscles; Sue Ellen, not yet decadent but already a great lover of cocktails, abandoning the atmosphere of film noir for technicolor blockbusters. As you can… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| | | | | | | Inge Morath
Bookkeepers, Sharon Goldberg and Barbara Rosman, New York, USA, 1965
© Magnum Photos / Inge Morath Foundation / Fotohof archiv |
| | | | | | | | | | | | Fri 3 Jun 19:00
4 Jun – 28 Aug 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Rudi Frey: aus der Serie "UdSSR", 1980er Jahre |
| | | | | | | | | | | | Thu 2 Jun 19:00
3 Jun – 30 Jul 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Hideka Tonomura "TOXIC" © Hideka Tonomura |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| | | | | | | | | | | | | | Mon 13 Jun
14 – 19 Jun 2022 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | | | | | | | | | Mon-Wed 13-15 Jun
16 – 19 Jun 2022 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | Lot 2031 Bruce Davidson
From the series “Subway”. 1980. 4 C-prints, 2005. Each Fujicolor-Crystal-Archive paper.
Each 50.8 × 76.2 cm. EUR 18,000–24,000 | | | Photography | | | Auction: Wednesday 1 June 2022, 6pm
Lewis Baltz » Bruce Davidson » Mitch Epstein » Lee Friedlander » Saul Leiter » Helen Levitt » Joel Meyerowitz » Helmut Newton » Nicholas Nixon » Michael Schmidt » Stephen Shore » Christer Strömholm » Larry Sultan » Garry Winogrand » ... | | | | | | | | | | | | | | | Focusing on the American pioneers of colour photography and street photography of the 1960s until the 1980s, who eschewed the spectacular for the normal day-to-day in the United States, Grisebach are presenting a catalogue of the big names of their times, while also offering new discoveries and going down some paths less travelled.
Landscapes and cityscapes by Bruce Davidson, Helen Levitt, Saul Leiter, and Nicholas Nixon will be on offer, iconic works by Lee Friedlander and Garry Winogrand, as well as color photographs by Stephen Shore, Meyerwowitz, Lewis Baltz, Larry Sultan, and Mitch Epstein.
In addition to these focus areas, select international examples of other groundbreaking approaches to photography will supplement the program, including works by the likes of Michael Schmidt, Christer Strömholm, and Helmut Newton. | | |
| |
|
|
| |
| |
| |
|
| |
| |
| | Lot 4201
Sven Marquardt (b. 1962)
Portrait. 1980s
Vintage gelatin silver print | | | | | | | | | | | | Bassenge Photography Auction 119: Wednesday June 8, 2:00 PMErdener Str. 5a, 14193 Berlin
Online Catalogue
Preview:
Rankestraße 24, 10789 Berlin
Mon, May 30, – Sat, Jun 4, 10:00 AM – 6:00 PM,
Mon, Jun 6, 10:00 AM – 6:00 PM
Tue, Jun 7, 10:00 AM – 2:00 PM
Please make an appointment to preview.
More information:
Jennifer Augustyniak
+ 49 30 219 97 277
[email protected] or [email protected] | |
| | | | | | | | | | | | | With Photographs by:
Carl Albiker | Miles Aldridge | James Anderson | Ottomar Anschütz | Araki | Eugène Atget | Jean-Marie Auradon | Edouard-Denis Baldus | Herbert Bayer | Bernd and Hilla Becher | Sibylle Bergemann | Fred Boissonas | Katharina Bosse | Adolphe Braun | Hugo Brehme | Dan Budnik | Daniele Buetti | Will Burgdorf | Harry Callahan | Jewgeni Chaldej | Madame D’Ora | Frantisek Drtikol | William Eggleston | Hugo Erfurth | Dimitri N. Ermakov. Louis Faurer | Andreas Feininger | Arno Fischer | Trude Fleischmann | Rolf Gillhausen | Wilhelm von Gloeden | Nan Goldin | Emanuel Gyger | Robert Häusser | Heinrich Heidersberger | Fritz Henle | Herbert Hensky | Carry Hess | Hiro | Frank Horvat | George Hurrell | Lotte Jacobi | Peter Keetman | Edmund Kesting | Fred Koch | Vincenzo Laera | Gustav Richard Lambert | Lou Landauer | Franz Lazi | Annie Leibovitz | Helmar Lerski | Sven Marquardt | Will McBride | Max Missmann | Eckart Muthesius | Floris M. Neusüss | Emil Orlik | Hilmar Pabel | Robert Paris | Arnulf Rainer | Albrecht Renger-Patzsch | Evelyn Richter | Leni Riefenstahl | Karin Rocholl | Tata Ronkholz | Arthur Rothstein | Paolo Salviati | August Sander | Franz Schensky | Stefanie Schneider | Friedrich Albert Schwartz | Pascal Sebah | Friedrich Seidenstücker | Hans Martin Sewcz | Ivan Shagin | Sven Simon | Raghubir Singh | Giorgio Sommer | Anton Stankowski | Otto Steinert | Alex Stöcker | Sasha and Cami Stone | Herbert Strässer | Thomas Struth | Antanas Sutkus | Isiah West Taber | Peter Thomann | Herbert Tobias | Michail Trachman | Kurt Triest | Umbo | Tony Vaccaro | Ica Vilander | Roman Vishniac | Ernst Volland | Andy Warhol | Doris Martha Weber | Kurt Wendlandt | Ludwig Windstosser | Garry Winogrand | Dr. Paul Wolff & Alfred Tritschler | Wols | Ulrich Wüst | Walter Zadek | Heinrich Zille | Günter Zint and many others. | | |
| |
|
|
| |
| |
| |
|
| |
| |
| | Auction 1200/Lot 44
Maurizio Cattelan
Untitled, 1999
Chromogenic print, flush-mounted to plexiglass, 182.9 x 228.6 cm
Print 2 from an edition of 10
Estimate € 100.000 – 150.000 | | | Lempertz – Photography | | | Auction 1199 Photography
Wednesday, 1st June 2022, 2pm (lot 500 – 677)
Auction 1200 Evening Sale
Wednesday, 1st June 2022, 6pm (lot 1 – 97)
Auction 1201 Day Sale
Thursday, 2nd June 2022, 2pm (lot 300 – 437)
| |
| | | Further information:
Maren Klinge M.A. & Dr. Christine Nielsen
Tel: +49-(0)221-92 57 29-28 or -56
[email protected] | | | | | | | | | | | | | Auction 1200 │ Evening Sale and Auction 1201 | Day Sale
The photographic highlight of the Evening Sale on 1 June is Maurizio Cattelan’s large-format 'Untitled' which originated in 1999 from his performance 'Project#65 - Maurizio Cattelan' at the MoMA, New York (lot 44, € 100/150,000). The performance consisted of a performer wearing a costume and an oversized head-mask with the traits of Pablo Picasso in his later years, mingling with museum visitors as a 'caricature' of this greatest of modern artists, communicating with them in pantomime, and posing for photographs.
Candida Höfer is present with an imposing shot of the 'Biblioteca universitaria di Bologna' (lot 90, € 30/40,000), whilst a group of six shots of winding towers from the 1970s comes from her teachers Bernd and Hilla Becher (lot 91, € 35/40,000).
Further photographic works will be offered in our Day Sale on 2 June. | | |
| |
|
|
| |
| |
| |
|
| |
|
| |
|
| |
|
|
| |
|
|
| |
|
|
| |
|
|
| |
|
| | | | | | The Verge | | | | | | | 2 – 30 Jun 2022 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | | | Framing Society: Alexandra Rose Howland, Leave and Let Us Go, 2021 |
| | | | | | | | | |
|
| |
|
| | | | | | open air festival - VISIONS OF THE EAST | | | | | | | 1 Jun – 30 Sep 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
| |
|
| |
| |
| | Yuki Kihara
Fonofono o le nuanua: Patches of the rainbow (After Gauguin), 2020
Image courtesy of Yuki Kihara and Milford Galleries,
Aotearoa New Zealand. | | | | | | | The Milk of Dreams | | | | | | | | ... until 27 November 2022 | | | | | | | | | | | | | The 59th International Art Exhibition of La Biennale di Venezia, titled The Milk of Dreams, will open to the public from Saturday April 23 to Sunday November 27, 2022, at the Giardini and the Arsenale; it will be curated by Cecilia Alemani and organised by La Biennale di Venezia chaired by Roberto Cicutto. The Pre-opening will take place on April 20, 21 and 22; the Awards Ceremony and Inauguration will be held on 23 April 2022
Read the statement by Cecilia Alemani »
Read the statement by Roberto Cicutto »
THE INTERNATIONAL EXHIBITION
The Exhibition will take place in the Central Pavilion (Giardini) and in the Arsenale, including 213 artists from 58 countries; 180 of these are participating for the first time in the International Exhibition. 1433 the works and objects on display, 80 new projects are conceived specifically for the Biennale Arte.
The artists »
NATIONAL PARTICIPATIONS
The Exhibition will also include 80 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the city centre of Venice. 5 countries will be participating for the first time at the Biennale Arte: Republic of Cameroon, Namibia, Nepal, Sultanate of Oman, andUganda. Republic of Kazakhstan, Kyrgyz Republic and Republic of Uzbekistan participate for the first time with their own Pavilion.
The National Participations » | | |
| |
|
|
| |
| |
|
| | | | | | V edizione Le forme del ritratto | | | | | | | – 24 Jul 2022 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
|
|
| |
| |
|
| |
| |
| | Filmwerkstatt Düsseldorf
Jonathan Forsythe: Loraine, Philadelphia, Pennsylvania, 2017
© Jonathan Forsythe, 2019 (Kaput Publishing) | | | düsseldorf photo+ Biennale for Visual and Sonic Media | | | | 45 Participating Institutions, Galleries and Fringe Venues | | | | | | | | | | ... until 19 June 2022 | | | | | | | | | | | | | | | The second düsseldorf photo+ Biennale for Visual and Sonic Media opens on 13 May. Featuring over 50 exhibitions and a wide range of accompanying events, the participating Düsseldorf art institutions, galleries and fringe venues collectively offer an insight into the issues and debates current within the world of photography and time-based media.
The keynote exhibition, Think We Must, curated by Pola Sieverding and Asya Yaghmurian opens on 12 May at the Akademie Galerie on Burgplatz and plays a pivotal role thematically within the Biennale. Featuring works by Frida Orupabo, Walid Raad, Hito Steyerl, David Wojnarowicz and others, the exhibition examines how reality, history and a dispositional analysis of society can be constituted and altered when thought is based around photographic images.
The Biennale will be accompanied throughout its run by a comprehensive programme of panel discussions, talks and workshops, including a roundtable debate, with discussants Vivien Trommer, Akinbode Akinbiyi, Aino Laberenz and Max Jorge Hinderer Cruz, on 14 May at K21 at the Kunstsammlung Nordrhein-Westfalen on curating and art education as a means of interrogating power.
The Julia Stoschek Collection places a spotlight on the work of the Turner Prize-winner, Laure Prouvost, with screenings interrogating the intimate relationship between language, image and perception. At Düsseldorf University, Professor Mareike Foecking’s students investigate how artistic production can make a contribution to societal knowledge and the nature of the framework of rules within … | | |
| |
|
|
| |
| |
| |
|
| |
| |
| | | Alfredo Jaar: Searching for Africa in Life, 1996. Courtesy of the artist | | | | | | | 12 Exhibitions on "CURRENCY" | | | | | | | FESTIVAL WEEK: JUNI 2 – 6, 2022
EXHIBITIONS: MAI 20 – SEPTEMBER 18, 2022 | | | | | | | | | | | | | With twelve exhibitions starting from May 20, 2022, the 8th Triennial of Photography Hamburg will engage the theme of "Currency" from multiple angles and perspectives. From colonial-era photo albums to visual reveries, social documentary and conceptual approaches to photography, the exhibitions explore the polyphonic ways in which photographs are produced, circulated and interpreted. The exhibition parcours through Hamburg was conceived by artistic director Koyo Kouoh and her international team, alongside the curators of the ten participating museums and exhibition venues in Hamburg. The exhibitions will be accompanied by numerous events and a festival lasting several days in June 2022.
At the Hall for Contemporary Art of the Deichtorhallen Hamburg, Koyo Kouoh, Rasha Salti, Gabriella Beckhurst Feijoo and Oluremi C. Onabanjo examine the "retinal age", in which images fundamentally shape acts of seeing and being seen. The exhibition Currency: Photography Beyond Capture weaves experimental modes of portrayal, documentary and multisensory evocation, as entry points into reimagining how knowledge is sought and constructed through the photographic medium.
Two of the triennial’s exhibitions are devoted to photographer Herbert List » The Magic Eye at the Bucerius Kunst Forum presents the first international survey exhibition of his work in more than two decades. The retrospective spans his career from surrealist works to his visions of life in antiquity and extensive pictorial reports of non-European cultures, all the way to the male nudes with which List avowed his own homosexuality. | | |
| |
|
|
| |
| |
|
|
| |
|
| | | | | | UN’INVINCIBILE ESTATE | | | | | | | – 12 Jun 2022 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | Denmark, Estonia, Finland, Iceland, Norway, Sweden | | | | | | | – 19 Jun 2022 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
|
|
| |
| |
| |
|
| |
| |
|
| |
© 1 Jun 2022 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
| |
