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| | Joel Sternfeld (American, born 1944), Domestic workers waiting for the bus, Atlanta, Georgia, April, 1983, dye coupler print
High Museum of Art, Atlanta, gift of Dr. Judy and Kevin Wolman, 2017.466. | | | | | | | Photography and the American South since 1845 | | | | | | | | 15 September 2023 – 14 January 2024 | | | | | | | | | | | | | The South has occupied an uneasy place in the history of photography as both an example of regional exceptionalism and as the crucible from which American identity has been forged. As the first major survey of Southern photography in twenty-five years, this exhibition will examine that complicated history and reveal the South’s critical impact on the evolution of the medium, posing timely questions about American culture and character.
Featuring many works from the High’s extensive collection, A Long Arc will include photographs of the American Civil War, which transformed the practice of photography across the nation and established visual codes for articulating national identity and expressing collective trauma. Photographs from the 1930s to the 1950s, featuring many created for the Farm Security Administration, will demonstrate how that era defined a new kind of documentary aesthetic that dominated American photography for decades and included jarring and unsettling pictures that exposed economic and racial disparities. With works drawn from the High’s unparalleled collection of civil rights–era photography, the exhibition will show how photographs of the movement in the decade that followed galvanized the nation with raw depictions of violence and the struggle for justice. Contemporary photography featured in the exhibition will demonstrate how photographers working today continue to explore Southern history and themes to grasp American identity. | | |
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| | Monika Huber
aus: Archiv Einsdreissig, 2011-2023
Pigmentdruck auf Fotopapier auf Aludibond
je 150 x 106 cm
© Courtesy Monika Huber, VG Bildkunst Bonn 2023 | | | | | | | | | | | | | ... until 3 December 2023 | | | | | | | | | | | | | PaintingPhotography examines artistic concepts at the intersection of photography and painting. The blending and overlapping of the two spheres has long since generated transitions that are superficially barely perceptible, and not only on a technical level.
The visual portfolios of artistic pictorial invention are increasingly dissolving categorizations based on classical standards in favor of new image forms, in which theoretical reflection, poetry, and new associative spaces are in the process of being created.
Dissolution as well as expansion are equally poles that capture and develop the intertwining of photographic and painterly images to a greater extent.
Twelve artists from France, Great Britain, Israel, Germany and the USA present 'pure' as well as cross-media works of art from photography, painting and video. | | |
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| | installation view: Winfried Muthesius
1.000 Odysseen, 2023 - Galerie Springer Berlin | | | | | | | | 12 September – 21 October 2023 | | | | Springer Gallery Weekend Sat 12-18 | | | | | | | | | | | | | 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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| | Fritz Schleifer
Nymindegab, 1930s–40s
silver gelatin print, mounted on paper board
16 x 23 cm
© Marc Schleifer | | | | | | | | 16 September – 23 December 2023 | | | Opening: Friday, 15 September, 7-9pm
Curated by Hans Bunge | | | | | | | | | | | | | The photographs of the Bauhaus-trained architect, draftsman, and photographer Fritz Schleifer (1903–77), which are being exhibited and published for the first time, are a real discovery in the truest sense of the word! In 2020, Hamburg curator Hans Bunge, while conducting research on Fritz Schleifer, came across a package with 128 vintage prints in the basement of Schleifer’s son.
The discovery of the compendium of coastal lands photographs of North Frisian and Danish seacoasts from the 1930s and ’40s is an absolute stroke of luck, since the majority of Schleifer’s photographic work is no longer preserved. The captivating quality of his photographs is proof enough that architect Fritz Schleifer belongs in the upper echelon of avant-garde photographers of the 1930s and ’40s. Another stroke of luck was the discovery of Schleifer’s personal journal. Thanks to Hans Bunge’s meticulous transcription work, it was revealed that the found compendium of photographs was in fact a finished photo book project that was supposed to be published in 1939 by the renowned Heinrich Ellermann Verlag; this likely never happened due to the outbreak of World War II.
The Alfred Ehrhardt Stiftung presents in the exhibition a selection of forty-eight vintage prints distinguished by their exceptional image compositions and striking choice of motifs. In these photographs, Schleifer focuses on human-constructed, decidedly atypical and run-of-the-mill subjects such as the Lorenbahn railway to Hallig Oland, dykes, drainage canals, and wagon tracks, but also natural tidal channels and inlets, whose graphical lines are overlaid onto the image structure in a grid-like manner. Notably, his compositions are often based on strong linear… | | |
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| | | Moritz Koch: aus der Serie Nightmare In Paradise, Minerva’s Wedding, 2021, C-Print auf Dibond, 100 x 200 cm | | | | | | | | 16 September – 28 October 2023 | | | Opening: Friday, 15 September, 7pm
Artist Tour: Saturday, 16 September, 4pm
Finissage & Artist Talk: Saturday, 28 October, 4pm | | | | | | | | | | | | | Closed roads, numerous vintage cars, elaborate costumes and up to 150 performers - all for a great work of photographic art. Under the title "NIGHTMARE IN PARADISE", the nüüd.berlin gallery will be showing photographic works by the young Mainz-based photo director and artist Moritz Koch. In his new, ten-part photo series, he tells the story of the extraterrestrial being Minerva, who comes to Earth to sensitise people to existential matters.
The 21st century is a time of profound change: People are increasingly seduced by the lure of populism, fleeing from the growing complexity of the world, and our societies are splitting in the face of a global crisis. How will we look back on our present in the future?
This is one of the questions that the young photo director Moritz Koch (*2000 in Mainz) explores in his new series "NIGHTMARE IN PARADISE", which he worked on for three years, and invites the viewer on a journey into the future.
In the process, he tells of the extraterrestrial being Minerva, who comes to Earth to sensitise people to existential matters. In the large-format works, staged down to the smallest detail, he processes visions of the future, from utopia to dystopia: speed, the search for meaning, the mania for optimisation or climate change are just as much themes as the reflection of interpersonal structures and conflicts. As a purely rationally created being, Minerva increasingly comes into conflict with human emotion during her stay on Earth and realises that political influence, discourse and decisions are made more emotionally and relentlessly than ever before. But this is not the only reason why her mission threatens to fail: almost omnipotent powers try to stop Minerva's activism - at any … | | |
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| | © René Groebli, #526, 1952
Courtesy the artist and CHAUSSEE 36 | © Heinz Hajek-Halke Estate, Der Angsttraum, 1946-1953
Courtesy CHAUSSEE 36 |
| | | | | | | | | | | | | 20 September – 21 October 2023 | | | | Opening: Saturday, 16 September, 7 – 9pm | | | | | | | | | | | | | "Photography is a window" according to the French writer and poet Michel Butor.
The glossy photographic print and its margin as well as the act of photographing, of framing a moment of reality, are reminiscent of the rectangular frame of a window. The camera itself reminds us of this analogy. Likewise the glass lens of the camera draws parallels to a skylight window, the glass lens functioning primarily to let varying degrees of light through. These fundamental, often banal openings, bridge and simultaneously frame the interior and exterior and so are intrinsic to the process and outcome of image creation. It is no coincidence that the first successful print in the history of photography, taken by Nicéphore Niepce in 1827, captures the view from the window of his house.
From this moment forth, windows, whether in the background of a composition or as the main subject, have appeared in every genre of the photographic medium. As a framework for exploring the world, the Other, and sometimes oneself, the window fascinates and questions.
The group exhibition 'From window views to windows on view' gathers a unique selection of photographs from the Collection De Gambs and the Heinz Hajek-Halke Estate. Offering a visual journey through the themes of the collection - historical, nude, and experimental photography - this presentation brings together prints from the 1930s to the 2020s, many of which are being shown for the first time.
From window views to windows on view, the images exhibited offer a variety of perspectives. With its geometric structure, the window is an ideal frame for aesthetic compositions. Some photographers play on its effects of transparency to create a foggy reality. Others explore its source… | | |
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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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| | | Mendel Grossman: Children on Łódź ghetto street, © Yad Vashem Archives | | | Flashes of Memory | | | | Photography during the Holocaust | | | | ... until 8 January 2024 | | | | | | | | | | | | | Yad Vashem, the World Holocaust Remembrance Center in Jerusalem, in cooperation with the Kunstbibliothek of the Staatliche Museen zu Berlin and the Freundeskreis Yad Vashem e.V., presents the highly acclaimed exhibition Flashes of Memory. Photography during the Holocaust at Berlin’s Museum für Fotografie (Museum of Photography). Featured for the first time in Germany, the exhibition presents a critical account of visual documentation – photographs and films – created during the Holocaust by German citizens and Nazi propaganda photographers, by Jewish photographers in the ghettos, and by members of the Allied forces during liberation. The exhibition focuses a spotlight on the circumstances under which each photograph was captured. It shows how the worldview of the documenting photographer – both official and private – influenced the image captured, while emphasizing the different and unique viewpoints of the Jewish photographers as direct victims of the Holocaust.
For the German Nazi regime, photography and film played a crucial role in manipulating and mobilizing the masses. These forms of propaganda were an elementary part of the National Socialist ideology. Conversely, the work of Jewish photographers during the Holocaust was part of their struggle for survival – depicting the living conditions of those incarcerated in ghettos. For the Jews, unsanctioned photography in the ghetto was punishable by death. Nonetheless, it was critical for them to document the atrocities so that the truth could one day be transmitted to all of humanity.
Upon liberation, the Allies recognized the need to document what they discovered in order to, combat future denial of these atrocities, justify their enormous losses on the battlefield, and gather … | | |
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| | | Arthur Witman © The State Historical Society of Missouri | | | | | | | UNESCO Memory of the World | | | | | | | | ... until 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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| | Hanna Hrabrarska
from the series My Mom Wants To Go Back Home | | | | | | | | ... until 23 September 2023 | | | | | | | | | | | | | "I’m curious, how were people feeling and what were they doing the day before the Second World War?" I thought about it for a moment. "Well, I don’t know," I told my friend. "Probably, the same as us".
We finished the dinner and took a walk around Kyiv city centre. We sat in a small cafe to drink cappuccinos and gossip. I went home early, feeling a wave of anxiety.
Early the next morning, I was lying in bed in complete darkness. Suddenly, I heard the sound of an explosion. I turned on my phone. The news declared: "Putin Invades Ukraine."
My mom was still offline, so I decided to give her a couple more hours of peaceful rest in my native city, Kryviy Rih. When we finally spoke around 7 a.m. on February 24, I heard sounds on my mother’s end. They too were explosions. That’s how our journey started.
My mom refused to take a train ride to join me and travel west, so I went to Kryvyi Rih to pick her up.
In a course of one week I had to abandon my two homes: my little cosy apartment in Kyiv city centre, that I bought just a couple years ago and didn’t even finish renovating; and my mother’s home, where I was born and raised, and where I was coming back every month to spend time with my parents.
In the next few days we went from our hometown through Uzhgorod, Mali Selmentsi, Kosice, Budapest, Munich to finally arrive in the Netherlands to become war refugees.
Never in my life could I imagine myself as such.
In a documentary diary project My Mom Wants To Go Back Home I attempt to understand and accept this new identity through following the story of my mother.
Since we left our homes, documenting my mother's journe… | | |
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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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| | | | | | | Michael Grieve
Untitled, from the series Procession, 2020
Fine art print
100 x 80 cm
Edition of 10 + 2ap |
| | | | | | | | | | | | Thu 14 Sep 19:00
14 Sep – 11 Oct 2023 | | | | | |
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| | | | | | | Entkernung des Zentralmessepalast, heute Zeitgeschichtliches Forum, 1996
© Bertram Kober |
| | | | 30 + 3 Jahre Leipziger Fotoagentur punctum | | | | | | | 13 Sep 2023 – 25 Feb 2024 | | | | | |
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| | | | | | | Lisetta Carmi
I Travestiti, 1965-1970
© Lisetta Carmi |
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| | | | | | | | Viajeras a la Habana, 2007. Pilar Aymerich |
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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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| | | | | | | | Vito Acconci - Turn On, 1974 (still) Courtesy Electronic Arts Intermix (EAI), New York |
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| | | | | | | | © Daniel Steegmann Mangrane |
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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 | | | | | | | | ... until 3 October 2023 | | | | | | | | | | | | | 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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| | | | | | | José Domingo Cañas 1367 (Cuartel Ollagüe) Santiago, Chile
© José Giribás Marambio |
| | | | | | | | | | | | Thu 14 Sep 18:00
15 Sep – 22 Oct 2023 | | | | | |
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20 – 24 Sep 2023 | | | | | |
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22 – 24 Sep 2023 | | | | | |
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15 – 17 Sep 2023 | | | | | |
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| | | | | | Essay for the Future | | | | | | | 15 Sep – 28 Oct 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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| | | © 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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| | | | | | Masquerades: Drawn to Metamorphosis | | | | | | | – 22 Oct 2023 | | | | | |
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| | | | | | See beyound the sea | | | | | | | – 1 Nov 2023 | | | | | |
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| | | | | | choreographies of the impossible | | | | | | | – 10 Dec 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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