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| PHOTOGRAPHY INTERNATIONAL | | 19—26 April 2023 | |
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| | With Russia’s war in Ukraine constantly in the news, the World Press Photo of the Year goes to Evgeniy Maloletka for his confronting image from the siege of Mariupol. This story, alongside the other winners, will be shown to millions of people as part of our annual exhibition in over 60 cities around the world - including Amsterdam (opening 22 April), Rome, Berlin, Barcelona, Zurich, Tel Aviv, Taipei, Singapore ...
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| | | | | | | Mariupol Maternity Hospital Airstrike
Evgeniy Maloletka, Ukraine, Associated Press
World Press Photo of the Year winner |
| | | | | | | | | | | | 22 Apr 2022 – 30 Jul 2023 | | | | | |
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| | Thomas Brummett
Infinities #22 (For Riley), 2016
100% rag paper printed (Hahnemühle Baryta Satin) with 100 year archival pigment
91,5 x 117 cm
© Thomas Brummett / Courtesy of Galerie Karsten Greve Köln Paris St. Moritz | | | | | | | | 15 April – 9 July 2023 | | | | | | | | | | | | | The work of American photographer Thomas Brummett (b.1955 in Colorado) is akin to a spiritual quest. Brummett uses photography to explore how natural science and physics in particular can shed light on the true nature of the world. He searches for visual manifestations that reveal the complexity of natural systems. The series Light Projections and Infinities shown at the Alfred Ehrhardt Stiftung are visual investigations of the multiplicity of infinite systems he has explored. All of Brummett’s work is drawn from his lifelong series Rethinking the Natural.
In Brummett’s view, light, as the basis of all life and energy, represents "the essence of nature in its purest form." At the same time, light is also the essence of photography. Brummett’s images from his Light Projections series are literally images of light, which the artist regards as the "perfect visual symbol of the infinite." For this series—in a camera-less and film-less process—a lens is used to project so-called circles of diffusion (which a lens produces) onto light-sensitive photo paper, thereby creating a representational (physical) depiction of light.
As a skilled ceramist with a profound knowledge of chemical interactions, he then subjects the photographs to a special "entropic" darkroom process that breaks down and rearranges the configuration of silver atoms in the light-sensitive paper, and combines this with solarization (a technique invented by Man Ray and others in the 1920s). Brummett describes this darkroom process as a form of entropy—as constant a force as gravity—since the silver particles in the photographs are physically altered and slowly destroyed. The artist compares thi… | | |
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| | | | | | | | Charly Hall: Scheue I, 2020, 22 x 33 cm, Archival Pigmentprint on Baryta |
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| | | | | | | Philipp Keel
Julie, 2014
Color Print on Arches Vellum
Edition 5+1
Sheet 152.4 × 101.6 cm (60 × 40 in) |
| | | | | | | | | | | | Thu 20 Apr 18:00
21 Apr – 10 May 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 29 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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| | | | | | | | Arbil/Kurdistan (Nord-Irak) 2013, Archival Pigment Print, 75 x 50 cm © Werner Mansholt |
| | | | | | | | Im Rahmen der 12. Darmstädter Tage der Fotografie | | | Wed 26 Apr 18:00
26 Apr – 14 Jun 2023 | | | | | |
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| | Rafaël Rozendaal
(In collaboration with mit Danny Wolfers)
Polychrome Music #7, 2022
NFT generator (on-chain), animation, sound, duration infinite
Code by Reinier Feijen
© Rafaël Rozendaal | | | | | | | | 21 April – 20 August 2023 | | | | Opening: Thursday 20 April 19:00 pm | | | | | | | | | | | | | In his NFT works, Rozendaal explores, among other aspects, pioneers and compositional techniques in 20th-century art. "Color, Code, Communication" is the first monographic NFT exhibition of the New York-based artist in a European museum and will be accompanied by an international symposium on NFT art held on 21–22 April 2023.
Rafaël Rozendaal (*1980) is one of the best-known players in digital art worldwide. As early as the beginning of the 2000s, the artist conceived and distributed works in the form of websites as unique pieces. For a good three years now, Rozendaal has been realising his art as 'non-fungible token'. In his latest NFT projects, Rozendaal combines pictorial motifs and themes from recent art history with current forms of communication and developments in blockchain. In his artistic work, he develops a visually fascinating visual language, both for digital space and urban contexts. Museum Folkwang presents the range of the artist’s works as immersive installations, site-specific wall works, an artist’s book, in browser windows or social media as well as in public space.
A highlight of the exhibition is the walk-through presentation of "81 Horizons" (2021) in the museum’s large exhibition hall. The 81-part NFT series is presented over 1,000 square metres as an immersive video installation, in which our visual experience on screens and in browser windows is juxtaposed with contemplative strolling in an exhibition situation. Rozendaal plays with the art historical topos of the horizon line – for his abstractions, he compresses two monochrome colour fields and a line each into files of around 0.3 KB.
The exhibition will be accompanied by a two-day symposium (21/22 April 2023). At the conference "New Landscapes - NFTs and the Museum", internationally renowned artists, curators, academics and bloggers will discuss the interfaces between the museum world, digital arts and Web3. | | |
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| | Mak Remissa
Cyclo was the best for transportation
From the series Left 3 Days, 2014
© Mak Remissa, Prix Pictet | | | | | | | | | | | | | 21 April – 7 May, 2023 | | | | Opening: Friday, April 21, 7 pm3 | | | | | | | | | | | | | Prix Pictet, the world's leading prize for photography and sustainability, is coming to Frankfurt. The Fotografie Forum Frankfurt (FFF) presents the exhibition PRIX PICTET FIRE. On display are stirring images on the subject of fire – with high level relevance: "Last summer we were inundated with images of fire at its most frighteningly destructive," writes Sir David King, chairman of the prize jury, in the book accompanying the show. "These were not the harbingers of crisis, they are the thing itself."
The 13 exhibited artists present the subject as the most capricious of the elements, its devastating effects, and equally its life-giving ones. The bodies of work shortlisted for PRIX PICTET FIRE draw their inspiration from both major global events and personal experiences. The photographic images span documentary, portraiture, landscape, collage and studies of light and process.
The winner of PRIX PICTET FIRE is the American photographer Sally Mann. Her awarded body of work Blackwater (2008–2012) can be seen at the FFF, as well as the works by Joana Hadjithomas und Khalil Joreige (Lebanon), Rinko Kawauchi (Japan), Christian Marclay (USA/Switzerland), Fabrice Monteiro (Belgium/Benin), Lisa Oppenheim (USA), Mak Remissa (Cambodia), Carla Rippey (Mexico), Mark Ruwedel (USA), Brent Stirton (South-Africa), David Uzochukwu (Austria/Nigeria), Daisuke Yokota (Japan). This shortlist was chosen by the jury from more than 600 nominations for Fire by an international panel of experts.
The prize, endowed with 100.000 Swiss Francs, has been awarded since 2008 – with the aim of using the power of photography to draw global… | | |
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| | | | | | | | Postamt 60, City Nord, 1999 © Andreas Gehrke |
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| | | Ralph Gibson: aus der Serie Days at Sea, 1974 © Ralph Gibson | | | | | | | | 21 April – 20 August 2023 | | | | Opening: Thursday 20 April 19:00 | | | | | | | | | | | | | This wide-ranging exhibition by the photographer Ralph Gibson (*1939) presents the development of his work from the 1960s to the present day based on selected series. The exhibition is being developed in a direct collaboration between the artist and the curator, Dr. Sabine Schnakenberg, and is composed of some 300 analogue and digital works in black and white and color from the artist’s private collection as well as works that the collector F.C. Gundlach acquired during his collaboration with Ralph Gibson in the early 1980s for his private photography collection, which is now on permanent loan to the House of Photography at the Deichtorhallen.
Ralph Gibson is one of the most interesting American photographers of our time. His international renown is based on his exceptional work, which is shown and collected by some of the world’s leading museums, including the Museum ofModern Art in New York, the J.P. Getty Museum in Los Angeles, 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 in Paris, the Bibliothèque Nationale de France in Paris, and the Fotomuseum Winterthur in Switzerland.
Gibson’s works, which he has created since the early 1960s, completely contradict the conventional purpose of the medium of photography: the meticulous depiction of so-called reality. Gibson is not interested in photographic documentation, and instead understands photography as an aesthetic endeavor. A leitmotif of his work comes from the original meaning of the word “photography”: drawing with light. Gibson needs light not only as a material prerequisite for creating each of his photographs; ligh… | | |
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| | Ragnar Axelsson
Mads Ole Hunter, Thule, Greenland, 2019
© Ragnar Axelsson | | | | | | | | ... until 4 June 2023 | | | | | | | | | | | | | Icelander Ragnar Axelsson, one of the North’s most in-demand photographers, has long been observing climate change with the greatest concern. For more than 40 years, he has been documenting the dramatic changes to landscapes and habitats on the margins of the inhabitable world, travelling to the most remote and isolated regions of the Arctic, to Inuit hunters in Northern Canada and Greenland, to farmers and fishermen on Iceland and the Faroe Islands, and to the Indigenous population in Northern Scandinavia and Siberia.
His information comes first-hand from the people on the ground. Axelsson will go to great lengths to be able to visit them over and over and spend time with them. For this reason, and because he shares their often arduous everyday life, he enjoys their trust. That, in turn, allows him to freeze moments in photographs of their lives and write up their narratives — thus, he becomes the ambassador to their existence and their changing living conditions. The other major topic that thrills Axelsson is the force of the elements and the grandeur of Nordic nature. His impressive photographic landscape portraits are testimony to this. With the gaze of the researcher and artist, he analyses even the smallest natural structures, which are reminiscent of modern drawings by the likes of Paul Klee or Per Kirkeby. As he does so, he holds consistently to his aesthetic decision in favour of black and white.
However, Axelsson’s commitment extends far beyond exclusively working as a photographer and journalist. A number of photographers, including Magnum photographer Paolo Pellegrin, have asked him to support them during their projects on climate change. Axelsson, who is an experienced pilot, also flew over the glaciers in Iceland with &… | | |
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| | | | | | | Muhammad Ali in seinem Stutz Blackhawk Mark VI, Los Angeles 1984
© BSB/Fotoarchiv Volker Hinz |
| | | | | | | | Retrospektive | | | 21 Apr – 25 Jun 2023 | | | | | |
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| | Lucinda Devlin: Operating Room #8, Forrest General Hospital, Hattiesburg, 1998
From the series Corporal Arenas
© Lucinda Devlin, courtesy Galerie m, Bochum | | | | | | | | ... until 16 July 2023 | | | | | | | | | | | | | American artist Lucinda Devlin rose to fame in the 1990s with a series of soberly observed photographs of execution rooms in US correctional facilities titled The Omega Suites. The images caused a sensation at the Venice Biennale in 2001. One of the motifs had already attracted attention in 1992 when it was featured in a controversial advertising campaign for an Italian fashion label. The Omega Suites is one of nine photographic series, along with a video, on view in Frames of Reference, the first large-scale survey to be devoted to Lucinda Devlin in Europe.
Devlin, part of the New Color Photography movement, seeks out her motifs mainly in interiors that serve specific functions. Most of her subjects are in the USA, but she has also done projects in Germany and other countries. In the mid-2000s, the artist added landscape scenes to her repertoire.
In the series Pleasure Ground (1977–1990), for example, Devlin provides glimpses of hotel rooms with fantasy themes, discotheques, and beauty salons – places that promise relaxation and enjoyment. By contrast, the interiors in the Corporal Arenas series (1982–1998) like operating rooms for human or animal patients, treatment spaces, and morgues are reproduced here in all objectivity.
Devlin did not intend her photographs of the series The Omega Suites (1991–1998) – taken in maximum-security prisons – to be understood as a statement for or against the death penalty. Contemplation of these very specific spaces is instead meant as an encouragement to engage personally with a difficult subject.
With the support of a DAAD grant, Devlin shot her series “Water Rites” (1999–2002) in German spas, add… | | |
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| | Peter Keetman
Fotografische Studie für die Boehringer-Berichte, ca. 1958
Vintage ferrotyped gelatin silver print on Leonar paper
17.7 x 23.5 cm
© Peter Keetman Archiv/Stiftung F.C. Gundlach, 2023 | | | Peter Keetman »
Vintage Photographs from the Gerd Sander Collection | | | | 22 April – 30 June, 2023 | | | Opening: Friday 21 April, 6 pm
With an introduction by Prof. Rolf Sachsse | | | | | | | | | | | | | With the exhibition "Peter Keetman. Vintage Photographs from the Gerd Sander Collection" Galerie Julian Sander is presenting one of the central figures of post-war German photography. In 1949, Keetman was one of the founders of the fotoform group, whose experimental, graphically incisive works echoed the photographic avant-garde of the 1920s. Keetman knew how to combine the influence that the "New Photographers" of the Weimar period had on him with his own individual perception of the reality that surrounded him and to translate it into a new, contemporary aesthetic. During his photographic activity, which spanned several decades, he focused his gaze on recurring subjects. He was interested in visually appealing phenomena that nature and the world of things have to offer: the transparency of a drop of water, the diffuse smoke of a cigarette, condensation in which the light refracts, crystalline ice formations, reflections, steam and fog. Through the lens of his camera, he isolated these optical phenomena and translated them into images of austere, graphic beauty.
"We are surrounded - whether we take note of it or not - by a world full of lawful wonders" Peter Keetman recorded in later years. To make these wonders visible was what he saw as his task as a photographer.
The nearly fifty photographs, all of which are vintage prints produced close to the time the negative was taken, come from the estate of Gerd Sander, who died two years ago, and have recently been rediscovered. Sander, who was just establishing himself as a photo gallerist in New York at the time, had acquired most of them from the photographer himself around 1980. Among them are some of Keetman's most famous, widely published photographs, but also wor… | | |
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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 20 May 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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| | | | | | | | Lisa Stammer, 1949 © Hannes Kilian / Courtesy Johanna Breede |
| | | | | | | | | | | | Sun 23 Apr 12:00
23 Apr – 11 Jun 2023 | | | | | |
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| | Zanele Muholi
Miss D’vine I, 2007
© Zanele Muholi / Courtesy Yancey Richardson, New York and The Walther Collection, Neu-Ulm / New York | | | | | | | Photography and Video from The Walther Collection | | | | | | | | 14 April – 23 July 2023 | | | | | | | | | | | | | The core focus of this major survey exhibition "Trace - Formations of Likeness", drawn exclusively from The Walther Collection, is portrait photography - of people, objects, and places - and the tracing of societal transformation across geographic spaces and contrasting socio-political and cultural landscapes. The photographic portrait is deployed as a means to shape identity, to advocate for social change and as a subversive strategy for visibility, often through an intimate investigation of politics of memory, history, and embodiment. The portraits on display range from Zanele Muholi's visual activism with its powerful presentation of Black members of the South African LGBTQ+ scene, to Accra Shepp's series of Occupy Wall Street protesters revolting against social and economic inequality in the streets of New York City, to Zhang Huan's documentation of his performances in which the human face is transformed into a stage expressing cultural belonging.#
The substantial breadth and dialogical scope of the exhibition, which encompasses works from the last three centuries and brings together artists from Africa, America, Europe, and Asia, enables audiences to consider not only the parallel histories of the medium, but for its materiality, taxonomy, and serial structures to be revealed and drawn into question. As with Karrabing Film Collective, this exhibition brings together artistic practices that are focused on the making of images, and the production of representations of the real and the imaginary.
The exhibition "Trace" is developed in close collaboration with The Walther Collection, a New York City / Neu-Ulm-based art foundation internationally recognised for their critical engagement with contemporary and historica… | | |
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| | DAVE HEATH (1931-2016)
Washington Square, 1959
© Dave Heath / courtesy Stephen Bulger Gallery & Howard Greenberg Gallery | | | | | | | | ... until 6 May 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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| | | | | | | | Nicole Six und Paul Petritsch, Autos/Cars aus Fotoarchiv 28.09.2009-7.10.2008 © Bildrecht 2023 |
| | | | | | | | | | | | Fri 21 Apr 19:00
22 Apr – 29 Jul 2023 | | | | | |
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| | | | | | | Cindy Sherman
Untitled #410
2003
Privatbesitz
© Cindy Sherman |
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| | Wang Qingsong
Follow Me 2003
C-print, 60 x 150 cm
Collection: Mori Art Museum, Tokyo | | | | | | | Contemporary Art through School Subjects | | | | | | | | 19 April – 24 September 2023 | | | | | | | | | | | | | Since the 1990s, when the development of contemporary art began to be considered from multiple perspectives in different parts of the world, we have been seeing that contemporary art today goes far beyond the framework of arts and crafts and fine art in the school classroom. It is a composite field with connections to all subjects, including language and literature, mathematics, science, and social studies. In each of these disciplines, researchers are exploring the “unknowns” of the world, delving into history, and making new discoveries and inventions from the past to the future in order to enrich our perception of the world. The stance adopted by contemporary artists that seeks to go beyond our preconceptions in a creative way is also connected to this exploration of these unknowns. In this sense, the contemporary art museum is something akin to a “classroom of the world” where we can encounter and learn about these unknown worlds.
WORLD CLASSROOM: Contemporary Art through School Subjects, commemorating the 20th anniversary of the Mori Art Museum, is an attempt for us to encounter a world we have never seen or known from a wide variety of perspectives, using the subjects we learn at school as a gateway to contemporary art. Even though this exhibition is divided into such sections as “Language and Literature,” “Social Studies,” “Philosophy,” “Mathematics,” “Science,” “Music,” “Phys. Ed.,” and “Transdisciplinary,” each work, in fact, crosses over multiple subjects and domains. While over half the exhibited works will be drawn from the Mori Art Museum Collection for the first time ever, there will also be newly-commissioned artworks for this exhibition - altogether creating a “classroom of the world,” place o… | | |
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| | VALIE EXPORT, Verletzungen I, 1972, Körperkonfiguration, s/w Fotografik, ALBERTINA, Wien
The ESSL Collection © VALIE EXPORT, 2022, ProLitteris, Zurich, Foto: Hermann Hendrich | | | | | | | | ... until 29 May 2023 | | | | | | | | | | | | | VALIE EXPORT – The Photographs is the first exhibition to focus on the photographic oeuvre of the artist VALIE EXPORT (b. 1940), whose at times provocative performances and experimental installations have been a source of controversy. The show examines EXPORT’s use of photography as a critical exploration of processes of depiction and representation. At the interface of film, video art, drawing and body art the photographs offer a new perspective on her creative oeuvre.
VALIE EXPORT’s multimedia work eludes any simplistic categorisation or definition. As a pioneer of performance art, installation art and video art, EXPORT has consistently broken through the boundaries separating media genres, while using her own body as an artistic medium. Photography has always played a key role in her practice – be it for documentary or experimental purposes, as an element in multimedia installations or as art in its own right.
EXPORT has had a constant awareness of the importance of visually recording her performances. Back in 1968 two of her best-known performances, TAPP und TASTKINO and the action Aus der Mappe der Hundigkeit, were attended by photographers (and filmmakers). For the performance TAPP und TASTKINO, a request was put out by megaphone asking spectators and passers-by to touch EXPORT’s breasts, which were covered by a box inspired by a cinema auditorium with a curtain that the artist wore like a garment. Participants had to maintain eye contact with EXPORT for a defined period of time while touching her, with the artist thereby reversing the voyeuristic male gaze, a typical feature of cinema. For Aus der Mappe der Hundigkeit, EXPORT took artist Peter Weibel through the centre of Vienna o… | | |
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| | | Adji Dieye: video still from Aphasia, 2022 © Adji Dieye | | | | | | | | ... until 29 May 2023 | | | | | | | | | | | | | The practice of Italian Senegalese artist Adji Dieye (b. 1991), based in Zurich and Dakar, Senegal, is dedicated to the themes of postcolonialism and nation-building. From an Afro-diasporic perspective the artist examines how language and the urban landscape function in the writing of history, whose linearity becomes the focus of her critical enquiry. At the centre of Dieye’s exhibition is the video-based work Aphasia (2022), newly produced especially for Fotomuseum Winterthur during an artist residency of several months in Dakar. The work allows Afro-diasporic communities and Black identities to express themselves as living archives by giving them agency and a voice.
The loss of language is the conceptual starting point of the cross-disciplinary work Aphasia, which uses the interplay of photography, video and performance to unveil the contradictions of national knowledge production. The term "aphasia" (deriving from the ancient Greek word αφασία for speechlessness) describes a cognitive language disorder in which individuals are often unable to remember or communicate words. In Dieye’s work, however, the term is appropriated and transferred into a cultural context through a speech-based performance in different public spaces in Dakar. We see the artist sitting on a rooftop, a stack of pipes or a huge mound of building sand, with buildings and construction sites in the background mostly wrapped in fabric or covered in scaffolding. Absentmindedly, she leafs through a manuscript, mumbling sentences in broken French – excerpts of presidential speeches, written in French, that have been delivered to the public since Senegal’s independence in 1960 and which Dieye has arduously r… | | |
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| | | | | | Europe Matters | | | | | | | Fri 28 Apr 19:00
28 Apr – 11 Jun 2023 | | | | | |
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| | | | | | Soft and weak like water | | | | | | | – 9 Jul 2023 | | | | | |
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| | | | | | THEME OF 2023 "BORDER" | | | | | | | – 14 May 2023 | | | | | |
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| | | | | | Rencontres de la jeune photographie internationale 2022 - 27 artists | | | | | | | – 27 May 2023 | | | | | |
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| | | | | | The Hidden Power of the Archive | | | | | | | – 6 May 2023 | | | | | |
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| | | | | | European young photography festival | | | | | | | – 21 May 2023 | | | | | |
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| | | | | | Thinking Historically in the Present | | | | | | | – 11 Jun 2023 | | | | | |
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| | | | | | Turning Point. Turning World | | | | | | | – 11 Jun 2023 | | | | | |
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© 20 April 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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