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| PHOTOGRAPHY INTERNATIONAL | | 16 – 23 February 2022 | |
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| | Cuckmere River, 1963
copy; Bill Brandt / Bill Brandt Archive Ltd. | | | Bill Brandt » The Beautiful and the Sinister | | | | 18 February – 18 May 2022 | | | | | | | | | | | | | | Foam presents The Beautiful and the Sinister, an exhibition by one of the most critically acclaimed British photographers, Bill Brandt (1904- 1983). The exhibition demonstrates the close relationship between the art of the European avant-garde, in particular Surrealism, and his own work. From his earliest photographs in the nineteen-thirties, taken when he was still an amateur, to his portraits and nudes in later years, Brandt shows a permanent fascination with the strange. Departing from the notion that the sinister (more accurately in German: 'unheimlich') is an ever-present element of Brandt’s photographs, the exhibition shows how this characteristic manifests itself in both his photojournalistic and artistic photography. | | |
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| | Female Nude, 2020
© John Edmonds, courtesy of the artis | | | | | | | | 18 February – 19 June 2022 | | | | | | | | | | | | | John Edmonds (1989, US) is the winner of the Foam Paul Huf Award 2021. Part of this prize is the solo exhibition A Sidelong Glance. In his work, Edmonds examines issues of identity and power from an African-American perspective in an apparently simple yet essentially culturally complex way.
The African art objects Edmonds uses in the work have many facets. They function as symbols of traditional African cultural heritage or bearers of meanings of diaspora and memory. No matter what their exact reference is, they function as a means to explore subjects such as displacement and expropriation in contemporary society. Not only does Edmonds broaden the tradition of studio portraiture, but he also thoughtfully claims his place in rewriting the past and anchors it in our current world, where authenticity and identity are fluid. | | |
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| | Lee Friedlander
Haverstraw, New York, 1966
Courtesy of the artist and Fraenkel Gallery, San Francisco
© Lee Friedlander, courtesy Fraenkel Gallery, San Francisco and Luhring Augustine, New York | | | | | | | | 18 February – 15 May 2022 | | | | | | | | | | | | | The American social landscape
Lee Friedlander has been a photographer almost since he was a teenager. In the sixties, after settling in New York and despite still being in an apprenticeship period, he became a mature artist and begins to develop his unique visual language, which break away from traditional means of representation shaking the viewer with juxtapositions of seemingly unconnected objects and ideas, in contrast with the seriousness of previous documentary photographers.
Considered the photographer of the American social landscape and as such included in the category of documentary photographer, Friedlander has travelled across the United States on many occasions, capturing everything he sees. He is, however, more interested in the medium of photography and in producing “a good photograph” than in the social aspects that concerned his predecessors.
The exhibition has been organized chronologically, starting from the beginning of his career to his latest images, taken just a few years ago, featuring around 300 photographs of urban scenes, landscapes, portraits, self-portraits or natural forms. It also includes a selection of books of his most significant projects.
This wide-ranging selection will introduce visitors to the extensive and powerful work of one of the most influential American photographers of the 20th century who continues active today.
If art is a form of experimenting, the sense of alienation that we experience when looking at Friedlander’s images allows us to look afresh at the world, free up our perceptual capacities and discover what the rigidity of tradition had made invisible; in other words, it allows us to renew our experience of the world. | | |
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| | Tórtola Valencia. The Dance “La Bayadère”
Adolf Mas, 1914
© MAE-Institut del Teatre | | | | | | | | 18 February – 15 May 2022 | | | | | | | | | | | | | Barcelona in transformation
The core of the exhibition features Mas’s photographs of Barcelona. His camera captured the architectural, social and cultural changes of the city in images that interweave a documentary record with the aesthetic lines of contemporary European artistic tendencies. a Barcelona of contrasts, stratified between the barraca shacks in the suburbs and the mansions of the Eixample, between the luxurious cafés in the center for the pleasure of the bourgeoisie and the shantytowns built by beggars in Barceloneta, without forgetting the institutions that reflected the changes of the time, such as the modern schools or the women’s training workshops.
In his work, the documentary is fused with an aesthetic construction in line with the production of other contemporary and subsequent authors such as Eugène Atget, Brassaï or the current of humanist photography. | | |
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| | | Florian Reinhardt: FR083 from the series "EXIT" | | | | | | | | 18 February – 27 March 2022 | | | Opening: Thursday, 17 February, 6 - 11pm
8pm Artist Talk: Sebastian Späth in conversation with Florian Reinhardt
2G-plus rules apply | | | | | | | | | | | | | Galerie Buckunst Berlin is pleased to present the exhibition "EXIT," with photographs by Florian Reinhardt.
Florian Reinhardt's internationally acclaimed photographs symbolise the ways out of the labyrinths of everyday life, and the possibility of reassessing and changing our life situations.
For almost two decades, Florian Reinhardt has been taking photographs of EXIT signs, presented as series, tableaus, and video works. In his work as a film producer, he finds these signs all over the world. For him as a photographer, they also become symbols of their own acceleration and alienation. ("acceleration and alienation," don't understand what this means?) For him as an artist, the EXIT signs do not signify a standstill, but rather progress and the option to consciously shape one's own life.
The mythology of these famous places, which is often staged, is revealed in the reduction of the images to this industrially manufactured, often illuminated sign. And yet the magic of the place still seems to be present.
With his combinations of EXIT signs in large picture panels, Reinhardt creates a new artistic view of the symbols and myths that surround us.
The exhibition is accompanied by the book Florian Reinhardt EXIT, published by Hatje Cantz Verlag. The publication received a silver award at the German Photo Book Prize 2021/22 presentation. | | |
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| | | | | | | | | | | | | | Fri 18 Feb 19:00
19 Feb – 19 Mar 2022 | | | | | |
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| | | | | | | | Susa Templin: Sites and Constructions #2, 2018, aus der Serie: Sites and Constructions |
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| | | | | | | | Loredana Nemes: Max und Corrine, 2012, aus der Serie: Blütezeit, 2012 |
| | | | | | | | Portrait Fotografien | | | Fri 18 Feb 17:30
19 Feb – 17 Apr 2022 | | | | | |
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| | | Il-Widna (2020) courtesy of Ro Murphy and Joseph Wilson. © Ro Murphy. All rights reserved. | | | | | | | | | | | 17 February – 12 March 2022 | | | | Opening reception: Thursday 17 February 6:00pm | | | | | | | | | | | | | As part of LGBTQIA+ History Month, May You of a Better Future brings together the work of four artists in an exhibition that explores themes relating to Section 28 and its legacies through photography, film, and installation.
Introduced by the Thatcher government, Section 28 of the Local Government Act 1988 came into force on 24 May 1988 and was eventually repealed in Scotland in 2000 and in England and Wales in 2003. It provided that ‘a local authority shall not: (a) intentionally promote homosexuality or publish material with the intention of promoting homosexuality; (b) promote the teaching in any maintained school of the acceptability of homosexuality as a pretended family relationship.‘
Purposefully ambiguous, critics argued that the formulation of the clause involved ‘logical impossibility’ and was so flawed that ‘in reality there is little to fear from Section 28 but fear itself’, that its most potent effect was a symbol of the prejudice of the UK Parliament. This however underestimated the impact it would have on local authorities, with councils forced to close LGBTQIA+ support groups, libraries removing gay and lesbian themed literature from their collections and public venues avoiding LGBTQIA+ related programming. Its most insidious and perhaps immeasurable impact occurred however in the classroom. Although it was suggested that nothing in the clause was intended to stop teachers from discussing homosexuality with pupils objectively, it legitimised homophobia and prompted self-censorship in state education.
Whilst Section 28 is an example of a law too vague to be enforced on a widespread basis, the inherent danger was always its scope for non-legal impa… | | |
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| | | | | | | | © Masashi Asada "'Asada Family' Firefighters" (2006] |
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| | | | | | | | | | | | | Celebrating the City Recent Photography Acquisitions from the Joy of Giving Something | | 18 Feb – 1 May 2022 | | | | | | | |
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| | | © Merry Alpern; © Harry Gruyaert | | | Society/Spectacle | | | | | | | 3 February - 30 April 2022 | | | | | | | | | | | | | The spring 2022 exhibition at Galerie Miranda brings together two cult and pioneering photographic series, Dirty Windows by Merry Alpern and TV Shots by Harry Gruyaert, in a reflection on the convergence since the 1960s of real life with screen life and on the commoditisation of the human experience.
In the winter of 1993, photographer Merry Alpern visited a friend’s New York loft, situated in the Wall Street district. He led her to a back room and from his window, one floor below, she could see a tiny bathroom window from which pounded the heavy bass of nightclub music. She realized that she was looking into the bathroom of an illegal lap-dance club, where "stock-brokers and other well-to-do businessmen handed over hundreds of dollars and drugs to women in G-strings and black lace." Transfixed by the spectacle, the artist started taking pictures of what she saw, using a fast black and white film that gave the photos a peep-show quality. In 1994 she submitted the series to the NEA (National Endowment for the Arts) only to find her work, along with that of co-candidates Andres Serrano, and Barbara DeGenevieve, rejected and vilified by conservatives who sought to undermine the NEA, creating a huge debate that paradoxically served to promote the series.
Acquired by major museums worldwide, the series has since become a reference point for exhibitions on female exploitation, surveillance, censorship and the female gaze. In 1999, following the Dirty Windows series, Merry Alpern produced the series Shopping whereby, equipped with a tiny surveillance camera and a video camcorder hidden in her discreetly perforated purse, Alpern wandered through department stores, malls, and fitting rooms, capturin… | | |
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| | Chim↑Pom:
BLACK OF DEATH 2008
Lambda print, video
81 x 117.5 cm (photo), 9 min. 13 sec. (video)
Courtesy: ANOMALY and MUJIN-TO Production, Tokyo | | | | | | | | 18 February – 29 May 2022 | | | | | | | | | | | | | Equipped with highly original ideas and impressive energy, artist collective Chim↑Pom has undertaken numerous projects intervening in society in ways that constantly confound our expectations. With themes ranging from cities and consumerism to gluttony and poverty, Japanese society, the atomic bomb, earthquakes, images of stardom, the mass media, borders, and the nature of publicness, their works serve as powerful statements on a plethora of phenomena and challenges in modern society, delivered mostly with a healthy dose of humor or irony.
With seemingly uncanny foresight, Chim↑Pom has also addressed in a number of their previous works the social issues of infection and discrimination against people with contagious diseases, and of bias, contamination and borders, all thrown into sharp relief by the COVID-19 pandemic. Now more than ever perhaps is the time to observe their thought-provoking knack for raising issues pertinent to the zeitgeist.
This will be the first-ever retrospective of Chim↑Pom, bringing together major works from the start of their seventeen-year career to more recent years, plus new work produced for this exhibition. Artworks will be arranged by theme - e.g., cities and publicness, Hiroshima, the Great East Japan Earthquake - highlighting matters consistently addressed by the artists, while examining the collective’s oeuvre in its entirety. Dynamic exhibition design, rich in creative ingenuity, will also assist in shedding new light on the ever-surprising world of Chim↑Pom.
The title Happy Spring signals Chim↑Pom’s hope for a brighter spring even amid this seemingly neverending pandemic, and that we retain our powers of imagination even if that long-awaited season … | | |
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| | LE SALON: PATHÉ‘O (Ivory Coast, Burkina Faso, Switzerland)
© Flurina Rothenberger in collaboration with Pathé’O, Ben Idriss Zoungrana, other contributors and with Monika Schori | | | | 3rd Session: L'Appartement - Espace Images Vevey | | | | | | | 16 February – 1 May 2022 | | | THE HOUSEWARMING PARTY VERNISSAGE: Wednesday, February 16, 2022 at 6pm.
Carte blanche to Flurina Rothenberger.
For its third exhibition, L’Appartement – Espace Images Vevey has given free rein to photographer Flurina Rothenberger. Born in Switzerland and raised in the town of Zuénoula in Ivory Coast, she devoted most of her career to taking photographs of the continent where she grew up. Her personal narrative and resolutely cooperative artistic practice demonstrate Africa’s multiple reality. In keeping with her strong unifying spirit, she has taken over all the rooms in L’Appartement, while respecting their specific uses, to showcase a series of projects in which collaboration is key. | | | | | | | | | | | | | | | For its third exhibition, L’Appartement – Espace Images Vevey has given free rein to photographer Flurina Rothenberger. Born in Switzerland and raised in the town of Zuénoula in Ivory Coast, she devoted most of her career to taking photographs of the continent where she grew up. Her personal narrative and resolutely cooperative artistic practice demonstrate Africa’s multiple reality. In keeping with her strong unifying spirit, she has taken over all the rooms in L’Appartement, while respecting their specific uses, to showcase a series of projects in which collaboration is key.
In LES CHAMBRES, the NICE & UNFOLDED exhibition invites us to question our perceptions by juxtaposing Flurina Rothenberger’s photographs, Monika Schori’s spatial intervention, and the three issues of NICE, a collaborative magazine initiated by Flurina Rothenberger and Rahel Arnold.
In LE COULOIR, four children took on the role of curators to create A BRIDGE IS NOT SOMETHING TO LOOK AT. YOU WALK ACROSS IT TO FEEL IT. The young group chose fourteen of Flurina Rothenberger’s photographs taken throughout Africa and commented on their choices.
In LE SALON, the biography of the fashion designer Pathé’O is the focus of the eponymous editorial project PATHÉ’O that traces the history of fashion and the textile industry in West Africa. The exhibition preludes a book to be published in 2022 and highlights the work of Flurina Rothenberger in dialogue with archival images by the Burkinabe photographer and journalist Ben Idriss Zoungrana, and an illustration by Monika Schori.
Finally, the area called LE CINEMA screens N’ZASSA, a series of raw rhythmic videos hatched from correspondence between photography students in Vevey and slammers in Abidjan. Flurina Rothenberger and the Ivorian poet Bee Joe initiated this collaborative project as part of the activities the photographer conducts at the CEPV vocational school. | | |
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| | | From the series: She was once MISS RIMINI, 2003 © Manon / 2022, Pro Litteris, Zurich | | | Manon » She was once "La dame au crâne rasé" | | | | 19 February – 29 May 2022 | | | | Soft opening: The exhibition is open to the public from Saturday, 19 February onwards | | | | | | | | | | | | | In the mid-1970s, a young Swiss artist gave herself the programmatic name Manon. She shook up the Zurich art scene with her appearances as a femme fatale, provocative performances and installations, in which she exhibited men in a shop window or presented her own bedroom, overflowing with lascivious décor, as a Salmon-Coloured Boudoir (Das lachsfarbene Boudoir) in a gallery.
Manon is a scriptwriter, set designer, director and actress – but also a photographer. This exhibition, which was already planned for 2020 to mark Manon’s eightieth birthday and had to be postponed due to corona, pays tribute to an internationally groundbreaking body of work. It focuses on the artist’s photographic oeuvre, showing Manon classics alongside lesser-known works and combining early series with photographic tableaus from recent years.
Born in 1940 in Bern, Manon lives and works in Zurich. The camera serves her as a tool to this day, in her work on self-presentations and still lifes. She delicately composes her images, makes references to art history and pop culture, and thematises existential issues and fears. Her photographic oeuvre constitutes a sequence of beauty and transience, led by La dame au crâne rasé, the legendary series from 1977/78. A unique assortment of prints from this series has been in the Fotostiftung Schweiz collection since 1982. This presentation of herself as an urban angel with a shaved head, who appears androgynous and sexy, vulnerable and yet untouchably cool, was the artist’s first group of photographic works to also attract international attention. Here, Manon questions concepts of femininity and uses photography firstly to reflect her search for identity and secondly as a means o… | | |
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| | | | | | ZsONA MACO Foto | | | | | | | 9 – 13 Feb 2022 | | | | | |
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| | | | | | | | | | | | | | Thu 10 Feb 17:00
10 – 13 Feb 2022 | | | | | |
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| | | | | | | | | | | | | | Thu 17 Feb
18 – 20 Feb 2022 | | | | | |
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| | | | | | | | | | | | | | Thu 17 Feb
18 – 20 Feb 2022 | | | | | |
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| | | | | | Butterflies Frolicking on the Mud: Engendering Sensible Capital | | | | | | | – 31 Mar 2022 | | | | | |
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| | | | | | | | House of Summer, 2009 © Kim Jungman |
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| | | | | | 19 exhibitions of Greek and international photography, of 94 artists from 18 countries | | | | | | | – 20 Feb 2022 | | | | | |
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| | | | African Photobook of the Year | | | | Call for Entries: until 1 March, 2022 | | | The prize will apply to a book published between January 1, 2019 and January 1, 2022.
www.eigerfoundation.org | | | | | | | | | | | | | Initiated by the EIGER FOUNDATION in September 2021, the EIGER FOUNDATION African Photobook of the Year Awards celebrates the photobook’s contribution to the evolving narrative of photography, with a focus on the African continent.
1. Conditions for Entry
* The EIGER FOUNDATION African Photobook of the Year Award distingues a book in which the dominant content is photography, featuring the work of one or more photographer(s). The book must be produced in physical form.
* Books must be produced or published between January 1, 2019, and January 1, 2022.
* Entries for either award may only be submitted by the photographer, the publisher, or a third party acting with the consent of the photographer.
* Books must be by an African photographer or a publisher established on the African continent.
* Books on an African theme by non-African photographers or non-African publishers are also admitted.
* Exhibition catalogues or museum publications, as well as text-only publications, are not eligible.
* The book may be comprised of photographs of any genre or topic.
2. How to Enter
You can generate your submission here before March, 1, 2022.
Please note that you will need to provide the following information on the submittable entry form:
* Book title, year of publication, and publisher information
* Book blurb, a short description/summary of the book
* The photographer or author’s name
* Book dimensions, number of pages
* Distribution information
* An image or render of the book cover (JPG file)
* A digital copy of your book in PDF format
There is no fee for the entry for the Eiger Foundation Book Awards.
By submitting your work to the EIGER Foundation African Photobook of the Year Awards, you are found to be in agreement of the terms and conditions. | | |
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| | August Sander: Zirkusartisten, 1926–1932
© Die Photographische Sammlung/SK Stiftung Kultur August Sander Archiv, Köln
VG Bild-Kunst, Bonn, 2021 | | | August Sander Award - Prize for Portrait Photography 2022 | | | | Open for artists up to 40 years old | | | | Deadline: 25 February 2022 | | | | Application: here | | | | | | | | | | | | | The August Sander Prize for portrait photography, donated by Ulla Bartenbach and Prof. Dr. Kurt Bartenbach, will be awarded for the third time in 2022 in cooperation with Die Photographische Sammlung/SK Stiftung Kultur, Cologne.
The idea behind the award is to promote young contemporary artistic approaches in the sense of objective and conceptual photography. Against the background of August Sander's important portrait photographs, the photographic works of the applicants should primarily relate to the theme of the human portrait. The prize is awarded every two years. Eligible are national and international artists up to and including the age of 40 with a focus on photography. The prize is endowed with 5,000 €. In addition, the Photographische Sammlung/SK Stiftung Kultur will organize an exhibition of the award winner's work, if possible and by individual agreement.
A series of no more than 20 photographs that has already been largely developed is suitable for submission. Only works that follow a thematically bound image group or sequence will be evaluated; individual images will not be considered. The works submitted should not have won a prize in other competitions.
The jury is composed of five members Albrecht Fuchs, artist, Cologne; Dr. Roland Augustin, Saarlandmuseum/Moderne Galerie, Saarbrücken; Prof. Dr. Ursula Frohne, art historian, Westfälische Wilhelms-Universität, Münster; Dr. Anja Bartenbach, donor family, Cologne; Gabriele Conrath-Scholl, director, Die Photographische Sammlung/SK Stiftung Kultur, Cologne.
A shortlist will be published at the end of March 2022. The winner, resulting from the shortlist, will be announced at the end of April 2022.
The award ceremony will take place in September 2022 at Die Photographische Sammlung/SK Stiftung Kultur in a festive setting in Cologne.
The deadline for entries is February 25, 2022.
The detailed call for entries can be downloaded here | | |
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© 16 February 2022 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
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