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| PHOTOGRAPHY INTERNATIONAL | | 1 — 8 March 2023 | |
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| | From 2 to 31 March EMOP Berlin - European Month of Photography is showcasing over 100 exhibitions and well over 500 participating photographers for the anniversary edition celebrating 20 years of photography festival culture in Berlin. EMOP Berlin 2023 will be launched with Opening Days from 2 – 5 March offering a spcial program with international guests.
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| | | | | | | Ilya Lipkin: Untitled, 2019
Digitaler C-Print, 100 x 74 cm
© Ilya Lipkin |
| | | | European Month of Photography Berlin 2023 | | | | | | | Wed 2 Mar 19:00
2 – 31 Mar 2023 | | | | | |
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| | Lothar Wolleh
René Magritte, Brüssel, 1967
Gelatin silver print
100 x 100 cm
© Lothar Wolleh Estate, Berlin | | | | | | | | 1 March – 22 December 2023 | | | | Opening: Wednesday, 1 March, 7pm | | | | | | | | | | | | | In 1967, Lothar Wolleh visited the Belgian surrealist René Magritte a few months before his death.
With his photographs, Wolleh created an intimate portrait of René Magritte's domestic life and artistic practice. In particular, photographs in which Magritte interacts with his own paintings are of particular importance. Not least because of their enigmatic character, Magritte's paintings became part of our collective memory. Lothar Wolleh's photographs contribute to this collective memory. Magritte died shortly after the opening of the exhibition, which gave these photographs such high status - and also enabled Magritte to have the last word. | | |
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| | | | | | | Marget Hoppe
Zahnrad mit Ölkännchen (aus der Serie "Die Mühle"), 2022
C-Print, 32 x 40 cm
© Marget Hoppe |
| | | | | | | | | | | | Thu 2 Mar 16:00
2 Mar – 1 Apr 2023 | | | | | |
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| | | | | | | Kurt Buchwald
Grünberger Straße, Friedrichshain (aus der Serie "Landschaft & Bewegung"), 1985-1988
Fineart-Print auf Baryt, 30 x 45 cm |
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2 Mar – 1 Apr 2023 | | | | | |
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| | | | | | | Silja Yvette
FULL FILL FALL (Serie METAPHYSICS OF CORE MATTER), 2021
150 x 100 x 5 cm
Archival Pigment Print
Nachhaltige Montage und Rahmung unter Verwendung
von biobasierten und recycelten Materialien |
| | | | | | | | | | | | Thu 2 Mar 17:00
3 Mar – 31 Mar 2023 | | | | | |
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| | Cai Dongdong
A Group Photo, 2022
Silver gelatin print, hand-colored
58 x 58 cm | | | | | | | | 3 March – 2 April 2023 | | | On the occasion of the European Month of Photography 2023
Opening: Thursday, 2 March, 5-9pm in the presence of the artist
Artist Talk: Saturday, 11 March, 5pm
Guided Tour: Saturday, 18 March, 5pm
Finissage: Sunday, 2 April, 4pm | | | | | | | | | | | | | An arrow pierces a photograph on which a target is depicted - but it does not hit the target, instead it is stuck in the pictorial space between the heads of two men who are also depicted. Looking at the works of Cai Dongdong, one could often think, due to their simple construction, to be quickly finished with the interpretation. But then doubts arise and a complexity unfolds that questions already assumed certainties.
Born in 1978, the Chinese artist learned the photographic craft in the Chinese People's Liberation Army. There, as an administrative soldier, he was entrusted with the tasks of a portrait photographer. This rather unusual career for an artist explains many of his later artistic themes, in which analogies constructed by him between the act of photography and the exercise of violence and power repeatedly play a role. But the question of reality in pictures, which is central to his interest, may also be rooted in his experiences from this period with propaganda images. Finally, his work with an archive of photographic images also seems to grow out of his previous tasks as a military photographer. Cai Dongdong now owns his own photographic archive of several hundred thousand prints and negatives, obsessively collected, mostly amateur shots from all parts of China.
Around 2014, Cai Dongdong began to consider images from his photo archive, but also photos he had taken himself, as material and to use them sculpturally by abrading them, bending them, cutting into them, and then increasingly combining them with objects such as photo lenses or for example an arrow. In some of these constructions, it is the almost naïve humor that paves the way for the viewer's contemplation of the work of art. Often, however, one needs a bit mor… | | |
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| | Hanno Otten: Lichtbild 102, 2002, Fotogramm auf C-Print
© Hanno Otten | | | | | | | Heinz Hajek-Halke's Light Graphic & new Pioneers | | | | | | | | 3 March – 29 April 2023 | | | Opening: Friday, 3 March, 6-10pm
On the occasion of the European Month of Photography 2023
Special opening hours EMOP Opening Days: Saturday & Sunday, 1-7 pm | | | | | | | | | | | | | On the occasion of the European Month of Photography in Berlin, the Heinz Hajek-Halke Estate presents its first exhibition at CHAUSSEE 36 PHOTO FOUNDATION.
The group exhibition "Beyond the Photographic" is dedicated to light graphics (1950-1960s) of Heinz Hajek-Halke in dialogue with emerging pioneers of the abstract image. Heinz Hajek-Halke (1898 - 1983) is one of the most important photographic artists of the 20th century with an extensive and entirely experimental body of work. From his first photomontages created in Berlin in the 1920s to his abstract works of the 1950s and 1960s, Hajek-Halke confirmed his position as an unclassifiable avant-gardist, while continually pushing the boundaries of the photographic medium.
Beginning in 1924, the young Berliner discovered experimental work in the darkroom, creating iconic photomontages and collages which were published in the illustrated press and used in advertisements. After retiring to Lake Constance during the Third Reich, he returned to his experimental work in the post-war period. From 1949 to 1952, he was a member of the group "fotoform" and developed contacts with local abstract artists.
Hajek-Halke is considered the inventor of light graphics, which he continued to refine from the early 1950s. With origins in the photogram, light graphics are a technical feat executed in the darkroom without the use of a camera. Instead of exposing (semi)transparent objects on photographic paper, the artist created a new negative from a small glass plate or film that was placed in the enlarger and exposed on photographic paper. Since the creation of this negative allows for numerous variations of the same subject, it requires a complete physical interven… | | |
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| | Johanna-Maria Fritz
DONETSK OBLAST, 2022
Series: A Grave in the Garden
Fine Art Print
Available In two sizes:
50 x 60 cm + 80 x 100 cm
Edition of 6 + 2 AP | | | | | | | | 2 March – 15 April 2023 | | | Opening: Friday, 3 March, 6pm
Artist Talk & Booksigning: Thursday, 9 March, 7pm | | | | | | | | | | | | | Johanna-Maria Fritz has been traveling the world as a photographer for almost ten years. The Berlin-based artist finds her motifs in crises, conflicts, collapsing states, persecuted minorities, and at the margins of society. Because there, where few people look at, she identifies the truth. "There, I see people who are absorbed by their own problems and have never learned to pose according to our standards", she explains.
Fritz has had portraits of Taliban men woven into rugs. Made by the same girls whom the Islamists had forbidden to learn thus to hope. Supposed iconic imagery that illustrate the inhumanity of the current regime.
In spring 2022, Fritz was also one of the first photojournalists in Ukraine, taking pictures in Butcha and the Donbas, among other places. Her work from the front proves that journalistic documentary can meet high aesthetic standards, that beauty can even accentuate the unimaginable. These images have become modern icons.
In the exhibition, the recent works are juxtaposed with two older series that were created as long-term art projects. Photographs of "witches" in Romania and circus performers in Muslim-majority countries. Motifs that resemble dreamy landscapes full of contrasts, intimate despite their precarious situations. Russia's invasion of Ukraine followed its occupation of Crimea and the destabilization of the Donbas by Moscow-directed so-called separatists eight years earlier. Kremlin ruler Vladimir Putin had been emboldened by weak sanctions and new gas deals to go even further. Many people in Western societies only became aware of the danger posed by Russia's new imperialism with the full-scale invasion on February 24, 2022: Moscow's attack on its … | | |
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| | | | | | | | | | | | | | Fri 3 Mar 19:00
4 Mar – 2 Apr 2023 | | | | | |
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| | Carla Mercedes Hihn & Sadith Silvano: Nature Vibes, 2022
Fotostickerei, 20 x 32 cm
© Carla Mercedes Hihn & Sadith Silvano | | | | | | | | | | | | | 4 – 11 March, 2023 | | | Opening: Friday, 3 March, 6pm
Artist Talk: Friday, 5 March, 4pm
with Thomas Elsen (Director and Curator H2 Center for Contemporary Art Augsburg)
On the occasion of the European Month of Photography 2023 | | | | | | | | | | | | | Touch is always a moment of the overlaying our personal history with current social and political conditions. The exhibition Circles poses the question of the tangibility of the photographic image and its ability to overlay histories and contexts.
The artists of pilote contemporary (Betty Böhm, Selket Chlupka, Dana Engfer, Catherine Rose Evans & Piotr Pietrus, Kathrin Ganser, Carla Mercedes Hihn & Sadith Silvano, Stefan Klein, Claire Laude, Sarah Straßmann, Attilio Tono) have been working as a collective since 2016. The “multi-voiced juxtaposition” is at the core of their artistic practice. With the involvement of changing curators and other artists, they act as a team in relation to the location and situation and under thematic focal points.
In addition to conceptual considerations, the sensual quality of their work is always central to pilote contemporary. With respect to the leitmotif of EMOP Berlin 2023, Circles gathers its own as well as media-circulating photographs into a dialogue with moving image, sound, sculptural elements, and performative staging.
Curated by Thomas Elsen (Director and Curator H2 Center for Contemporary Art Augsburg) | | |
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| | | | | | | | | | | | | | Sat 4 Mar 18:00
4 Mar – 22 Apr 2023 | | | | | |
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| | | | | | | Berlin, 1987
aus der Serie "Berlin in einer Hundenacht"
© Gundula Schulze Eldowy |
| | | | | | | | | | | | Sat 4 Mar 11:00
4 Mar – 17 Jun 2023 | | | | | |
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| | Loredana Nemes
Dominik, Max, Julius, 2012
3 gelatin silver prints, mounted on alu dibond, individually framed
each 50 x 37,6 cm, Ed. 8
© Loredana Nemes | | | Loredana Nemes »
TREES, SEAS, AND THE BEE'S KNEES | | | | 7 March – 15 July 2023 | | | | Opening: Saturday, 4 March, 2 - 6 pm | | | | | | | | | | | | | On the occasion of EMOP Berlin - European Month of Photography, Galerie Springer Berlin presents the first solo exhibition of photographer Loredana Nemes entitled "Trees, Seas, and the Bee's Knees". The selection of work on view includes the current series of works "Greytree and Heavensea" created from 2019 to 2023, the series Immergrün from 2020, the group of works Blossom Time from 2012 and the series Greed, 2014-2017.
For two decades, the artist Loredana Nemes has worked mainly on the theme of portraits, which have been presented in numerous series and institutional exhibitions. Since 2019, Nemes has increasingly approached nature. On Rügen she creates the cycle Greytree and Heavensea, in which she complements photographs of the beech forest in Jasmund National Park with views of the immensity of the sea. 14 visits in all seasons let her deeply explore this unique natural place and tell of the continuous change inherent in all life.
During the same time she photographs the series Immergrün in 2020, searching for lovers who have been together for several decades. Poetic texts and pictures emerge from the stories told by the 14 couples who showed up. In doing so, she explores the question of how the interweaving of souls and bodies of the lovers can be expressed through photography and chooses condensation through analogue double exposure for this purpose.
In the second portrait series, Blossom Time from 2012, the artist captured young people on their way to adolescence. She chooses to take group pictures, but photographs each young person individually and then assembles the images into diptychs or triptychs. "The cycle Blossoming is an od… | | |
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| | | | | | | | 1. Mai, Großräschen, um 1978 © Deutsches Historisches Museum, Nachlass Uwe Steinberg |
| | | | | | | | | | | | Sat 4 Mar 19:30
4 Mar – 7 May 2023 | | | | | |
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| | | | | | | | Its Complicated No. 2 (Tabloid Edition, 2019) © Elias Wessel, VG Bild-Kunst Bonn 2023 |
| | | | | | | | Fotografien für die nächste Gesellschaft | | | Sat 4 Mar 17:00
4 Mar – 7 May 2023 | | | | | |
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| | | | | | | | BIPOLAROID DISORDER 2021.4 © Antonia Gruber |
| | | | | | | | | | | | Sat 4 Mar 15:00
4 Mar – 7 May 2023 | | | | | |
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| | | | | | | | Silke Helmerdig: S in NYC |
| | | | EINGRIFFE IN DIE FOTOGRAFISCHE OBERFLÄCHE | | | | | | | Sat 4 Mar 19:00
5 Mar – 8 Apr 2023 | | | | | |
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| | | | | | Feldversuche zu Landwirtschaft und Biodiversität | | | | | | | Tue 7 Mar 18:00
3 Mar – 31 Mar 2023 | | | | | |
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| | Gohar Dashti, Today's Life and War #4, 2008
Archival Pigment Print
70 x 105 cm (27.5 x 41.3 in) | | | | | | | | | | | ... until 22 April 2023 | | | | | | | | | | | | | Robert Klein Galleryis pleased to present "Today’s Life & War", an exhibition of works by contemporary photographers Gohar Dashti, Shadi Ghadirian, and Tahmineh Monzavi.
Presenting a selection of important photographs over the last twenty years of their careers, these images illustrate the legacy and remnants of war as it continues to impact society and culture - regardless of religion, politics, or geography.
All born and educated in Iran, the three female photographers work transcends the lens and context of the Middle East. Their works are not merely an investigation of Iran or islamic culture and identity, but are a reflection of the physical and mental turmoil and destruction that war invariably sears upon its victims. Several of the works on view were first shown in the US in the groundbreaking exhibition "She Who Tells A Story" at the Museum of Fine Arts Boston.
As a testament to their artistic importance and impact, these works still speak to audiences today beyond borders. As the title of Tahmineh Monzavi’s series "Past Continues" implies, the devastation of war repeats itself, and so does the human tragedy and destruction. | | |
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| | | Arthur Witman © The State Historical Society of Missouri | | | | | | | UNESCO Memory of the World | | | | | | | | 1 March 2023 – 1 January 2024 | | | | | | | | | | | | | Presented for the first time in 1955, the exhibition was meant as a manifesto for peace and the fundamental equality of mankind, expressed through the humanist photography of the post-war years. Images by artists such as Robert Capa, Henri Cartier-Bresson, Dorothea Lange, Robert Doisneau, August Sander and Ansel Adams were staged in a modernist and spectacular manner.
Having toured the globe and been displayed in over 150 museums worldwide, the last, complete version of the exhibition was permanently installed in Clervaux Castle in 1994. Since its creation, The Family of Man has attracted over 10 million visitors and entered the history of photography as a legendary exhibition. In 2003, the collection was inscribed in the UNESCO Memory of the World register.
Today, the restored collection is accessible to the public as a permanent exhibition at Clervaux Castle.
www.steichencollections-cna.lu
www.thefamilyofman.education/
www.facebook.com/cna.luxembourg
www.twitter.com/cna_luxembourg | | |
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| | | | | | | | Síle de Valera (MEP 1979 – 1984). |
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| | | | | | | | Pep Bonet: aus der Serie "Paradís" |
| | | | | | | | | | | | Sun 5 Mar 11:00
5 Mar – 23 Apr 2023 | | | | | |
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| | Otto Steinert, Blick vom Arc de Triomphe [Vue de l’Arc de triomphe], 1951
© Museum Folkwang, Essen – ARTOTHEK | Catherine Leutenegger, "Apocalyptic-Post, Fire&Fury", 2022, de la série "Apocalyptic-Post", 2017 - en cours.
Collections Photo Elysée © Catherine Leutenegger |
| | | BLUR | | | | A PHOTOGRAPHIC HISTORY | | | | | | | 3 March – 21 May 2023 | | | | Opening: Thursday 2 March 6pm | | | | | | | | | | | | | | | The exhibition traces the history of blur in photography, from the invention of the process to the contemporary era. With comparisons to painting and cinema, it tells the story – through key works – of the evolution of this form, as well as the values associated with it according to the different periods and photographic practices.
From Alfred Stieglitz to Gerhart Richter, and including Auguste Rodin, Man Ray, William Klein, Jan Groover and Sarah Moon, one can perceive the richness of blur, which often evokes an element and its opposite, whether in its relationship to reality or to mimesis, in its bourgeois and revolutionary affinities, in its relationship to amateurism and expertise, or in the technical virtuosity that it evokes, or on the contrary the primary defect it indicates. | | |
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| | Gabriel et/ou Laurence Lippmann
"Bouquet de pavots d’Orient", 1892–1910
© Collections Photo Elysée | Laurence Lippmann, "Portrait de Gabriel Lippmann", 1905-1921. Collections Photo Elysée |
| | | GABRIEL LIPPMANN | | | | COLOR PHOTOGRAPHY | | | | 3 March – 21 May 2023 | | | | Opening: Thursday 2 March 6pm | | | | | | | | | | | | | | | | This exhibition is the culmination of several years of collaborative work by Photo Elysée. It highlights images from the Gabriel Lippmann collection held at the museum and produced using the interferential technique – the color process for which Gabriel Lippmann was awarded the Nobel Prize in Physics in 1908. The museum holds the largest collection of plates made by Lippmann himself. | | |
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| | | Bieke Depoorter, We walked together, Portland, Oregon, USA, May 2015 © Bieke Depoorter/Magnum Photos. Courtesy the artist | | | | | | | | | | | | | 3 March – 11 June 2023 | | | | | | | | | | | | | This year’s shortlisted artists all push the boundaries of photography and exemplify its resonance and relevance as a cultural force today.
Bieke Depoorter explores the complex ethical relationship and boundaries between photographer and subject, shown through the intense scrutiny of her relationship with her own subjects, Michael and Agata.
Drawing upon the West African tradition of studio portraiture, Samuel Fosso creates startling new identities through self-portraiture, based on social archetypes as well as real historical figures.
Arthur Jafa uncompromisingly articulates Black experience, providing us with an exercise in visual literacy, confronting us with a new Black aesthetic which avoids fixed hierarchies and linear storytelling.
Giving sculptural form to photo collage, Frida Orupabo reimagines the historical Black female body through her extraordinary multi-layered collages and Instagram posts using material circulated online.
The winner of the £30,000 prize will be announced at a special evening award ceremony on 11 May 2023, with the other finalists each receiving £5,000. | | |
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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 | | | | | | | | ... until 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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| | Zora J Murff
White Girl, 2022 (Detail)
Pigment print
28 x 35 inches
© Zora J Murff / Webber Gallery | | | Zora J Murff » We Here For Some Jive Conspiracy | | | | ... until 31 March 2023 | | | | | | | | | | | | | "We Here For Some Jive Conspiracy" is the title of Webber's inaugural LA exhibition by American artist Zora J Murff. Murff's practice is consistent in its fierce and open questioning of racial and cultural constructs – this specific iteration of works being geared toward the histories and social climate of Los Angeles. This is not the first time the artist has chosen to focus on one place in order to detail a more expansive case-study of America's complex and deep racial history - photographed in Omaha, Nebraska, At No Point In Between (2021) exists as a photographic study of a Black community which has been shaped by a legacy of injustice and oppression.
Here in this LA installation, Murff continues to utilise photography's objective power alongside our faith in the image to probe our existing relationships with racial indifferences, whilst weaving in an array of historical documents alongside a growing archive of memes, online social phenomena, and pop culture references.
This amalgamation of materials, time and information comes together through a collaging of the gallery walls and floor in homage to fly-postering as a means of direct, provocative communication. The piece White Girl is comprised of a long repeating series of the famous image of OJ Simpson's white Bronco being driven down Interstate 405 in 1994, both the scene and the individual now serving as an emblem of LA's racial and fanatical character.
An arguably intrinsic link exists between the televised courtroom trial and the Rodney King riots that took place just a few years prior, with Murff reproducing the images of Reginald Denny being pulled from his truck and assaulted at a large and unavoidable scale in the gallery. … | | |
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| | | | | | | Leonce Raphael AGBODJELOU
Untitled 2010
from the series Dahomey to Benin
chromogenic print
from the Harris and Rosenthal collections
courtesy of the artist and Jack Bell Gallery (London) |
| | | | | | | | | | | | Sat 4 Mar 13:00
4 Mar – 28 May 2023 | | | | | |
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| | | | | | | | Addison Rae (2022) by Chessa Subbiondo |
| | | | | | | | | | | | Fri 3 Mar 18:00
3 Mar – 15 Apr 2023 | | | | | |
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| | Lalla Essaydi
Harem #10, 2009
chromogenic print mounted to aluminum and coated in laminate, 48 x 60 in.
Courtesy of the Artist and Edwynn Houk Gallery, New York | | | | | | | | | | | | | last days: 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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| | DAVE HEATH (1931-2016)
Washington Square, 1959
© Dave Heath / courtesy Stephen Bulger Gallery & Howard Greenberg Gallery | | | | | | | | 2 March – 6 May 2023 | | | | Opening: Thursday 2 March 2023 | | | | | | | | | | | | | For its spring 2023 programme, Galerie Miranda is delighted to present an exhibition of vintage photographs by Dave Heath (1931-2016, US/Canada), the first European gallery exhibition of Dave Heath's work. Entitled Alone, together, the exhibition at Galerie Miranda presents emblematic works that express Heath's central themes of loneliness and alienation in modern society.
Influenced by W. Eugene Smith, in whose workshops he participated, as well as the photographers of the Chicago School including Aaron Siskind and Harry Callahan, Dave Heath worked mainly on the streets while living in Philadelphia, Chicago and New York, seeking to capture the fractures and growing unease in booming American post-war society, prior to the rise of the civil rights movement and opposition to the Vietnam War.
His seminal publication A Dialogue with Solitude was conceived in 1961 and finally published in 1965 after difficulty in finding a publisher, then reprinted in 2000 with a preface by Robert Frank. The book stunned with its emotional potency, thanks to Heath's sensitive translation of an intimate experience of the world, something lived and felt: tension in the city streets, between the constrained proximity of bodies and the isolation of individuals in the crowd, who fill his frame with their 'absent presence'. Heath photographed strangers of all class and generation; riding the train, watching other passers by or just staring pensively into the distance, lost in thought.
In his own words, Heath endeavoured to convey not a sense of futility and despair, but an acceptance of life's tragic aspects. He also captured glimmers of joy and tenderness that intersect the series like brilliant rays of sunshine.
The selection at Galerie M… | | |
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| | Barbara Iweins.
Trench coat, Katalog series.
Courtesy of the artist. | | | | | | | | 8 March – 22 April 2023 | | | | Opening: Wednesday 8 March at 6pm, in the presence of the artist. | | | | | | | | | | | | | From 8 March to 14 May 2023, L'Appartement – Espace Images Vevey presents its sixth session of exhibitions: "Katalog by Barbara Iweins". Images Vevey is handing Barbara Iweins the keys to L’Appartement to present her photographic and neurotic project presenting the 12,795 photos of the 12,795 objects of her house.
After her nerve-wracking eleventh move and her divorce, Barbara embarked on a unique introspective project, photographing the 12,795 objects in her house, one by one, from the kitchen to the bathroom, via the living room, her three children’s bedrooms, and the basement. She then catalogued these objects by colour, material, and frequency of use. Her inventory echoes Jacques Prévert’s poem with a fascinating mirror of our consumer society and includes detailed statistics such as “37% of my children’s Playmobil figurines are bald”.
L’Appartement – Espace Images Vevey represents Barbara’s twelfth move, this time into an idealised house which, through the rooms, objects, and the artist’s confessions, reveals an intimate and universal self-portrait of a 21st-century mother.
A neurotic collector, as she defines herself, Barbara Iweins is a Belgian photographer who began her artistic career in Amsterdam. She is fascinated by the vulnerability of humans and has never stopped pushing the limits of intimacy. For her series Au coin de ma rue (2010), she entered little by little into the private lives of strangers. In 7AM/7PM (2013), she invited these same strangers to sleep at her home, to capture the innocence and fragility as they awoke. On her return to Brussels, she used her own private life for the first time for a case study: Katalog. | | |
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| | | | | | | | | | | | | | Wed 2 Mar 19:00
2 – 31 Mar 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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| | | | | | Thinking Historically in the Present | | | | | | | – 11 Jun 2023 | | | | | |
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© 1 Mar 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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