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| PHOTOGRAPHY INTERNATIONAL | | 15 - 22 February 2023 | |
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| | | "Mohlokomedi wa Tora", Scene 2, 2018 (detail) © Lebohang Kganye. | | | | | | Haufi nyana? I’ve come to take you home | | | | 17 February – 21 May 2023 | | | | Opening: Thursday 16 February 18:30 | | | | | | | | | | | | | In 2022, Lebohang Kganye won the 16th edition of the Foam Paul Huf Award. Subsequently, Foam is now proud to announce her solo exhibition Haufi nyana? I've come to take you home. Although her work has been featured in many group shows all over the world, this is her first solo exhibition in the Netherlands.
The artistic practice of Lebohang Kganye, who lives and works in Johannesburg, is focused on exploring the personal and collective ‘micro histories’ of her family. It is embedded in the wider history of South Africa from before, during, and in the aftermath of apartheid and colonialism. Her work is largely informed by oral narratives and texts — she collects stories about the impact of apartheid on her family along with plots from South African literature. Words are translated into a ‘play’ or theatrical scripts, and images, sourced from vernacular albums or produced by the artist, are turned into settings, silhouettes, cut-outs, puppets, shadows or even ghosts that fill the imaginative space between words. Kganye is interested in the dynamics between memory and fantasy that photography and storytelling jointly create. The constructed nature of both images and words allows her to bridge gaps in (collective) memory. Effortlessly moving within the sphere of possibilities, Kganye develops methods of decolonizing the medium of photography and South African cultural heritage.
‘Haufi nyana?’ means ‘Too close?’ in Sesotho, one of the eleven official languages of South Africa. The exhibition title refers to the nature of the dialogue between a viewer and the artist: how far can one enter a photographic autobiography on the one hand, and how much can one s… | | |
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| | Wim Wenders: Der Himmel über Berlin 1987
© Wim Wenders Stiftung | | | | | | | | Film stills from films by Wim Wenders | | | | 16 ‐ 25 February, 2023 | | | | Opening: Friday, 17 February, 11am ‐ 3pm | | | | | | | | | | | | | "When the art of photography was around 75 years old, pictures finally wanted to move: 24 individual still images per second rushing through a projector achieved this illusion for a good 100 years. Each of these individual images can still produce a photograph again. Sometimes, with a bit of luck, it can also be 'moving' on its own". Wim Wenders
"FilmBilder" presents film stills from Wim Wenders' films - images stopped in motion, so to speak, that stand on their own to show that the story and the mood of a film are already contained in each individual shot. And even what will move us in the forward-moving sequence of images in the film is already laid out in each individual "FilmBild".
Wim Wenders has been known as one of the pioneers of the New German Cinema of the 1970s and is considered today as one of the most renowned representatives of contemporary international cinema. In addition to multiple award-winning feature films such as PARIS, TEXAS or WINGS OF DESIRE, his work as a screenwriter, director, producer, photographer and author also includes numerous innovative documentaries such as PINA, BUENA VISTA SOCIAL CLUB or THE SALT OF THE EARTH, worldwide photo exhibitions and numerous illustrated books, film books and essay collections.
In 2012, together with his wife Donata Wenders, he founded the non-profit Wim Wenders Foundation in Düsseldorf, which brings together his cinematic, photographic and literary life's work, restores it and makes it permanently accessible to the public. In addition, the Wim Wenders Foundation is committed to promoting young talent as well as imparting film knowledge to a young … | | |
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| | | | | | | Jon Rafman
Gamer Girl, 2022, from instagram.com / @ronjafman
Courtesy der Künstler und Sprüth Magers Berlin
© Jon Rafman |
| | | | Aktuelle Konzepte für Fotografie | | | | | | | Wed 15 Feb 19:00
16 Feb – 30 Apr 2023 | | | | | |
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| | Gohar Dashti, Today's Life and War #8, 2008
Archival Pigment Print
70 x 105 cm (27.5 x 41.3 in) | | | | | | | | | | | | | 11 February – 22 April 2023 | | | A Conversation: Saturday February 18th at 3pm
with artist Gohar Dashti and Kristen Gresh, Estrellita and Yousuf Karsh Curator of Photographs at the Museum of Fine Arts Boston.
Please RSVP to [email protected] as space is limited. | | | | | | | | | | | | | 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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| | | | | | | | AYO AKINGBADE, THE FIST (2022). FILM STILL. COURTESY THE ARTIST. |
| | | | | | | | | | | | Fri 17 Feb 18:00
18 Feb – 21 May 2023 | | | | | |
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| | | De la série American Diorama – Streets, 2011 © Véronique Kolber | | | Saison 2022 – 2023: Kaleidoscope | | | Clervaux - cité de l'image enters its new season 2022-2023 with 6 new open-air exhibitions.
Co-produced by the Centre national de l'audiovisuel (CNA), this new edition focuses on the diversity of photographic creation in Luxembourg. | | | Marie Capesius » Heliopolis (2017-2019)
Veronique Kolber » American Diorama – Streets (2011)
Boris Loder » Particles, 2016-2019
Bruno Oliveira » Coentro e Cachorros (2018)
Marc Schroeder » Corona 2020 – Scenes of the Pandemic (2020)
Jeanine Unsen » I love you baby. Portraits de femmes résilientes (2016-2018) | | | | ... until 9 October 2023 | | | | | | | | | | | | | Various photographic installations throughout the city of Clervaux transform it into an open-air gallery. Discover the work of national and international contemporary photographers in an extraordinary setting: on the walls of houses, in flowering gardens and along the narrow streets.
Six different visions invite us on a journey, each uniquely opening up a world that unfolds in photography and lingers in our imagination. A play of momentary dialogues strikes up between the images, their open air exhibition setting – as it changes with the seasons - and the viewer that contemplates them. The photographers transform the image of the city and the gaze we bring to bear upon it by way of reflections from elsewhere.
The 2022-2023 photographic season celebrates the diversity of Luxembourg creation through the work of six contemporary photographers. On the market square, we set out with Bruno Oliveira to Cap Vert, via a documentary collection shot through with personal sensations, while along the rise to the church, Véronique Kolber presents a series of American street scenes, captured through her lens, that resonate in our cinematographic memory. Behind the church, Marie Capesius, by way of calm and sensual images, explores the question of paradise and the contrasts between the two worlds that co-exist on the Ile du Levant. Inspired by the methods of archaeology, Boris Loder collects objects, examines them, and thus condenses the identities of the City of Luxembourg’s various neighbourhoods and their stereotypes into sculptural photographs that can be seen in the arcades of Grand- Rue.
On the Castle concourse, we are greeted by Marc Schroeder’s black and white minimalist photographs capturing urban landscapes which seem to follow a strict graphic logic. While in the Castle gardens, the women portrayed by Jeannine Unsen share with us a moment that is both intimate and intense. Thus, by way of these encounters, different paths, readings and connections interweave to keep us questioning. | | |
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| | The Death of Actaeon, from the series "Paintings, Dreams and Love"
© Yushi Li, courtesy of the artist | | | Foam Talent 2022 | | | | | | | 17 February ‐ 14 May 2023 | | | | Visiting the exhibition is possible as part of guided tours, on the "Open Saturday" on 25 March 2023 as well as on the occasion of "Night of the Museums" on 13 May 2023. | | | | | | | | | | | | | The Deutsche Börse Photography Foundation presents the group exhibition "Foam Talent 2022". The show is part of a cooperation with the Fotografiemuseum Amsterdam Foam. It comprises photographic, film-based and installative works by 20 contemporary photographers from 14 nations. The artists were selected as part of Foam's young talent programme, which the Deutsche Börse Photography Foundation is supporting since 2017. The artistic positions presented in the exhibition are distinguished by the innovative use of the medium of photography and deal with essential issues of our time.
With unsparing openness, the artists dare to critically question ideological structures and deconstruct the resulting political, social, and ecological consequences for the planet, humanity, and the individual. They thereby provide intimate insights into the realities of their lives, connect personal experience to an overall social context, and confront visitors with their own position within a globalized world. Current discourses find their way into the exhibition, including the challenges of climate change, issues of identity, gender and body, discrimination, displacement as well as the far-reaching consequences of a capitalist economy. All works presented are characterized by their unique visual language while illustrating the current state as well as future trends and themes of contemporary photography.
In her series Paintings, Dreams and Love, artist Yushi Li explores the concept of the gaze, the established ways of looking at art and the relationship between subject and object. With reference to Greek mythology, the artist stages detailed portraits and group photographs in which the naked male body becomes an object of… | | |
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| | Paul Mpagi Sepuya: Model Study (0X5A6854), 2022 // Daylight Studio (0X5A4577), 2022
Courtesy the artist and Galerie Peter Kilchmann, Zurich / Paris © Paul Mpagi Sepuya | | | | | | | | ... until 26 Februar 2023 | | | | | | | | | | | | | For his upcoming exhibition, Paul Mpagi Sepuya will present new works from his ongoing series "Daylight Studio, Dark Room Studio" for the first time at PHOXXI, the temporary House of Photography at Deichtorhallen Hamburg.
Sepuya (*1982 in San Bernardino, California, USA) is a photographic artist whose projects weave together histories and spaces of possibility of the portrait, queer and homoerotic networks of production and collaboration, and the material and conceptual potential of "blackness" at the heart of the medium. Using collage techniques, layering, fragmentation and mirroring, SEPUYA explores the complexity of photographic production. In doing so, the relationship between artist and sitter is renegotiated and placed at the centre of the art-making process.
From the early photographs taken in his bedroom to the most recent series produced in the photographer's studio, Sepuya questions the essence of the studio space and expands the definition of what that space has been and what it could be. Conceptual and aesthetic devices of 19th century studio photography are reinvented to illuminate contemporary issues of portraiture.
Paul Mpagi Sepuya graduated with a BFA from New York University's Tisch School of the Arts in 2004, and with an MFA from UCLA in 2016. He is Associate Professor of Visual Arts at the University of California, San Diego. | | |
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| | Alix Marie: Styx - The Goddess, 2021
© Alix Marie | | | | | | | | ... until 26 Februar 2023 | | | | | | | | | | | | | French artist Alix Marie's latest work "Styx" will be presented at PHOXXI, the temporary House of Photography at Deichtorhallen Hamburg, from 25 November. The artist Alix Marie (*1989 in Paris, France) works in the media of photography, sculpture and installation. In London, she studied at Central Saint Martins College and the Royal College of Art and was a resident at the Victoria and Albert Museum. She is interested in photography as an object and in its potential of materiality and three-dimensionality. In the gallery of PHOXXI, Marie will present the immersive installation "Styx". In her latest work, the French artist uses the myth of Styx to explore the intersection between the body and its representation and experiments with the expanded possibilities of photography.
In Greek mythology, Styx is an oceanid, a deity and a river that forms the boundary between the earth and the afterlife. She is the daughter of darkness and night and the mother of strength and victory. In this exhibition, the deity appears in two forms: First, as an immersive labyrinth installation that explores the hollow spaces of the body and the ambiguous duality of inner and outer space and protective environments.
In the other spaces, the deity takes on a human form. In the darkness, the goddess appears in the centre of the room, kneeling, naked, her gaze boldly fixed on the viewer. Embodied by Marie's long-time collaborator, performer and writer Nina Boukhrief, the voice of the goddess surrounds the space, reflecting on death, light and life.
Influenced by the context of a pandemic, Marie reflects on loss and the lack of movement. Ultimately, "Styx" explores the fragility of the body and the contemporary world. The work was … | | |
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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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| | | | | | | | | | | | | | Fri 17 Feb 18:00
18 Feb – 12 Mar 2023 | | | | | |
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| | TANYA MARCUSE
Chastity Belt
Higgins Armory Museum, Worcerster, Massachusetts, USA
Archival pigment print
14x11 inch / 35x28 cm | TANYA MARCUSE
Collapsible Bustle 1880’s, American
The Costume Institute, Metropolitan Museum of Art, New York, USA
Archival pigment print
14x11 inch / 35x28 cm |
| | | | | | | | Last days ... until 18 February 2023 | | | | | | | | | | | | | Galerie Miranda is delighted to present, for the first time in France, the beautiful and fascinating series Undergarments & Armor by NYC-based artist Tanya Marcuse, made in 2002-3 with the support of a Guggenheim Fellowship.
The artist anchors the project in typological foundations, formally expressed with highly precise yet sensual black & white pigment prints. The complete series of Undergarments & Armor was first exhibited in Northern Ireland at Belfast Exposed gallery. The series has also featured at the triennial of photography and video called Dress Codes at the International Center for Photography (New York) and in Love and War at the Museum of the Fashion Institute of Technology (New York). A lavish 3-volume slipcased monograph of the series was published by Nazraeli Press in 2005 with an essay by Valerie Steele, chief curator and acting director of The Museum at the Fashion Institute of Technology.
Tanya Marcuse (b.1964) began making photographs as an early college student at Bard College at Simon’s Rock. She went on to study Art History and Studio Art at Oberlin and earned her MFA from Yale. Her photographs are in many collections including the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, and the George Eastman Museum. In 2002, she received a Guggenheim fellowship to pursue her project Undergarments & Armor. In 2005, she embarked on a three part, fourteen year project, Fruitless | Fallen | Woven. Fueled by the Biblical narrative of the fall from Eden, these related projects use increasingly fantastical imagery and more elaborate methods of construction to explore cycles of growth and decay and the dynamic tension between the passage of time and the photographic medium. Tanya’s books include Undergarments and Armor (Nazraeli Press, 2005), Wax Bodies, (Nazraeli Press, 2012), Fruitless | Fallen | Woven (Radius Press, 2019) and INK (Fall Line Press, 2021). She teaches Photography at Bard College, NY.
tanyamarcuse.com/ | | |
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| | | Henri Le Secq: Sens. Palais synodal (Vue d’ensemble avec au premier plan le marché), cl. H. Le Secq. Coll. musée des Arts décoratifs. Don H. Le Secq des Tournelles, 1905 | | | Les mystérieuses photographies d' Henri Le Secq » | | | | ... until 20 March 2023 | | | | | | Orangerie des Musées de Sens 135 Rue Déportés et de la Résistance, 89100 Sens
www.musees-sens.fr | |
| | | | | | A new photography exhibition in the Sens Museums’ Orangerie, in partnership with the musée des Arts décoratifs (MAD, Paris), hallowed to the photographer Henri Le Secq (1818-1882).
From the earliest photograph produced in Burgundy in 1826, Sens attracted many photographers. Henri Le Secq, one of the greatest of his generation, perhaps at the invitation of Viollet-le-Duc, came to Sens in 1851, to take the first pictures of the monuments and the city. The MAD owns a part of his photographic collection given by his son in 1905. In collaboration with the Musées de Sens, it invites us to discover his work through original calotypes and cyanotypes.
These incredible centenary pictures, full of poetry and mystery, show the real experiment in tints with modern and unexpected frames. | | |
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| | | | | | | | | | | | | | Thu 16 Feb 19:00
17 Feb – 30 Apr 2023 | | | | | |
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| | | | | | | | | | | | | | Wed 2 Mar 19:00
2 – 31 Mar 2023 | | | | | |
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| | | | | | Bangkok Art Biennale 2022 | | | | | | | – 23 Feb 2023 | | | | | |
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| | | | | | Aliments Terre | | | | | | | – 25 Feb 2023 | | | | | |
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| | | | | | #2 collection Bruno Decharme | | | | | | | – 19 Mar 2023 | | | | | |
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| | | | | | IN OUR VEINS FLOW INK AND FIRE | | | | | | | – 10 Apr 2023 | | | | | |
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| | | | | | Thinking Historically in the Present | | | | | | | – 11 Jun 2023 | | | | | |
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© 15 Feb 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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