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| PHOTOGRAPHY INTERNATIONAL | | 19 – 26 October 2022 | |
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| | The first edition of Paris+ par Art Basel will take place 20 - 23 October 2022 with 156 premier galleries from 30 countries and territories. |
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| | | | KOEN HAUSER
BIRTH, 2022
Inkjet on Hahnemühle Photo Rag Baryta paper, wooden/magnetic
frame with museum glass
Framed 70 x 52 cm
Unique piece | ROBIN DE PUY
JACKIE, 2021
Fine art print on Fiba print baryta paper, black
frame with museum glass
Framed 70 x 52 cm
Unique piece |
| | | One of a Kind | | | | A 10-year anniversary show with unique pieces | | | | | | | Last days until 22 October 2022 | | | | | | | | | | | | | The Ravestijn Gallery is thrilled to announce "One of a Kind", a specially conceived exhibition to mark and celebrate the gallery’s 10 year anniversary. To reflect this unique occasion, the exhibition will bring together a selection of new and, unique and previously unseen works, each made a by a different artist the gallery represents or has worked with in the past.
When, in 2012, Narda van ‘t Veer and Jasper Bode founded "The Ravestijn Gallery", they were amongst the few galleries in the Netherlands who felt photography was more than simply a way to hold a mirror up to the world. Instead, photography for them was a means to do more; to interrogate, to imagine, to construct, to play. Whilst others sought to exhibit only what they deemed beautiful, Jasper and Narda sought to exhibit what they found compelling. Such art did not always meet what many expected from photography. It was not always flat, it was inquisitive, it often eschewed likeness and sometimes made no attempt to hide the marks and manipulation of the artist. Whilst this type of photography had lived under the umbrella of conceptual photography since the 1960s, many galleries in the Netherlands were reticent to exhibit it. As such, it was The Ravestijn Gallery’s openness to what photography could be that established it as a place apart from what existed at the time. | | |
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| | | | | | | Bethlehem, Trader (negotiation 1.5 years)
Ethiopian Commodity Exchange (ECX)
Addis Ababa, Ethiopia, September 2012
© Mark Curran |
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| | | | | | | Aus der Serie "Sunny Side Up", 2007
© Jens Lüstraeten |
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| | | | | | | © Adam Ferguson, Australia, 1st Place, Professional competition, Portraiture, 2022
Sony World Photography Awards |
| | | | | | | | | | | | Thu 20 Oct 19:00
21 Oct 2022 – 15 Jan 2023 | | | | | |
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| | | | | | | | © Mathias von der Thannen |
| | | | International Class Pablo Zuleta Zahr 2021/22 | | | | | | | Fri 21 Oct 19:00
22 Oct – 6 Nov 2022 | | | | | |
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| | Alfred Ehrhardt
Myvátn (Mückensee), Island, 1938
Silbergelatineabzug
© Alfred Ehrhardt Stiftung | | | | | | Twenty Years of the Alfred Ehrhardt Stiftung | | | | ... until 23 December 2022 | | | | | | | | | | | | | This fall the Alfred Ehrhardt Stiftung is celebrating its twentieth anniversary and honors this milestone with a comprehensive exhibition of Alfred Ehrhardt’s multifaceted work!
The anniversary exhibition is curated by director Dr. Christiane Stahl, curators Stefanie Odenthal and Dr. Marie Christine Jádi, and photo conservator Rosa Russo. Under the heading "four women, four views," and is presenting very personal highlights from Alfred Ehrhardt’s (1901–84) work and the foundation’s extensive archive holdings. This includes favorite pieces and favorite stories, never-before presented works, previously lost works, and archive materials waiting for their secrets to be revealed. The full spectrum of universal talent Alfred Ehrhardt’s work will be presented—from painting to photography to film, with astounding, exciting, and stimulating discoveries to be made.
Only recently a portfolio with unknown, outstanding works on paper turned up in the attic of the artist’s son Jens Ehrhardt. These are among Alfred Ehrhardt’s earliest works of art and provide a rare glimpse into the beginnings of his artistic activities in the 1920s. A particularly exceptional example from these works will be presented together with other previously little-known paintings and drawings. What is fascinating about this tempera-on-paper work is the spatula technique, which draws on Ehrhardt’s teachings in material studies modeled after Bauhaus preliminary courses.
Offering a genuine surprise is the presentation of "Das Watt" (The Tidelands) in which the celebrated series is considered from a very unusual perspective. Here the formal variety of abstract structures in the sand is juxtaposed with the… | | |
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| | CIG HARVEY
Roses (Yellow Car), 2020
Archival pigment print
16x20 inches / 30x40 inches / 42x56 inches
© Cig Harvey, Courtesy Robert Klein Gallery | | | | | | | | 22 October – December 2022 | | | | Opening and Book Signing: Sat 22 October 2-4pm | | | | | | | | | | | | | Cig Harvey (b.1973) is a British-born artist and writer living in Maine, USA, and working in large-format color photography and poetry. Rich in implied narrative, saturated in color, and deeply rooted in the natural world, her work is devoted to the topic of what it is to feel.
Cig has published five sold-out books: Blue Violet (Monacelli/Phaidon, 2021), Reveal (with Debbie Fleming Caffrey and Andrea Modica; Yoffy Press, 2020); You an Orchestra You a Bomb (Schilt Publishing, 2017); Gardening at Night (Schilt Publishing, 2015); and You Look at Me Like an Emergency (Schilt Publishing, 2012). | | |
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| | | from the series Love's Fire Song © Enda Bowe | | | | | | | Photography and the Social Gaze | | | | | | | | ... until 5 November 2022 | | | | | | | | | | | | | The latest chapter of Photo Museum Ireland’s year-long In Our Own Image exhibition programme, Photography & the Social Gaze is a landmark survey which undertakes a critical reframing of the way Irish life has been represented through photography. It explores how photographers have used their medium to reflect on immense social change in Ireland over recent decades.
With the breakdown of long established norms, which at one time were almost beyond question, we have seen the emergence of new, plural experiences of Irishness. The featured photographers engage with this profound shift, which encompasses our understanding of gender, family, community, and the place of religion, by asking difficult questions of the world around them, even of their own lives and values.
In doing so these photographers also contribute to the process of social change, offering new ways for us to see ourselves and each other. Not passive witnesses and not activists, they instead embrace their own often conflicted positions, reflecting the difficult process of change as it is lived. By interrogating conventional points of view, these artists create a space to address the diverse experiences that make up Irishness today.
Moving away from traditional documentary towards more socially-engaged and inclusive ways of thinking about the medium, the selected works by emerging and established artists featured in Photography & the Social Gaze touch on the most pressing issues around Irish identity and history, coming to terms with the legacies of the past and the challenges of the future.
Rather than presenting a canon of photography, this exhibition has been curated to emphasise the visual and conceptual languages characteristic of recent photographic practice in Ireland. It highlights Photo Museum Ireland’s long-term commitment to developing and showcasing major bodies of work by Irish artists at the cutting-edge of contemporary trends. Collectively, the artists question what Irishness is, and help us to reimagine what it might look like. | | |
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| | Vol de l'avion Prince Henri
© [s.n.], Fonds HISABC Vues aériennes (collection du CNA) | | | | | | | | ... until 1 January 2023 | | | | | | | | | | | | | As part of the "our archive - your story" project and on the occasion of the tenth anniversary of the exhibition space Waassertuerm + Pomhouse, the CNA presents "Stëmme vun der Schmelz" in homage to the former industrial site and its workers.
140 years after the foundation of the first fully integrated steelworks (including blast furnaces, steel- and rolling mill) in the country, the time seems right to look back on this pivotal era in the Grand Duchy’s history; to let the memories of this period live again through the words of the people who witnessed it, to archive and retell these stories.
In this exhibition, you will get to know 19 witnesses who were kind enough to share their experiences of everyday life in and around the steelworks with us – reminiscences of a time when Dudelange was hailed as the ‘Forge du Sud’. | | |
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| | | © Péter Nádas | | | | | | | | | Finissage and artist talk: Saturday, 22 October, 11 am (Ausstellungshalle 1A)
Filmmaker Thomas Claus will be in conversation with Péter Nádas | | | | | | | | | | | | | The eminent novelist Péter Nádas also enjoys a high reputation as a photographer. Since June 2022, Galerie—Peter—Sillem exclusively represents his photographic work.
For this exhibition, Galerie-Peter-Sillem will be a guest in Frankfurt's Ausstellungshalle Schulstraße 1A and present rare vintage prints of early black-and-white photographs by Péter Nádas, in which he captured Hungarian landscapes, villages, their inhabitants and scenes from everyday life. His exploration of the depths of shadow and light teaches us to "distinguish black from black" (Péter Nádas). The volume Etwas Licht by Péter Nádas was published by Steidl in 1999.
"From the photographic gaze that his prose works thrive on, it is clear that Péter Nádas is an eminent double talent." Neue Zürcher Zeitung
Péter Nádas, born in Budapest in 1942, is a writer and photographer. After an apprenticeship as a photographer, Péter Nádas worked as a photojournalist for various magazines. With novels such as A Book of Memories and Parallel Stories he has inscribed himself in world literature.
Many of his works such as Etwas Licht (1999) and Own Death (2002) combine photography and text. Péter Nádas has also published numerous volumes of his photographs. He has been a member of the Berlin Academy of Arts since 2006. For his literary work, Péter Nádas has been awarded the Austrian State Prize for European Literature (1991), the Kossuth Prize (1992), the Leipzig Book Prize for European Understanding (1995), and the Franz Kafka Literature Prize (2003), among o… | | |
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| | | | | | | | Salinas #3, Cádiz, Spain, 2013 © Edward Burtynsky |
| | | | | | | | | | | | Fri 21 Oct 18:00
22 Oct 2022 – 26 Feb 2023 | | | | | |
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| | | | | | | | Berlin 2022 © Katharina John |
| | | | | | | | mit Texten und Tonaufnahmen von Ulrich Tukur | | | Sun 23 Oct 12:00
23 Oct – 18 Dec 2022 | | | | | |
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| | | | | | | Dayanita Singh: Museum Bhvan, 2017, Installation vor dem Taj Mahal
© Courtesy the artist and Steidl, Göttingen |
| | | | | | | | | | | | Wed 19 Oct 19:00
20 Oct 2022 – 19 Mar 2023 | | | | | |
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| | | | | | | | | | | | | | Thu 20 Oct 18:00
21 Oct – 16 Dec 2022 | | | | | |
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| | Untitled, 1987, Vintage chromogenic color print
© Jan Groover / Galerie Miranda | | | | | | | | | | | ... until 13 November 2022 | | | | | | | | | | | | | To open its autumn 2022 program, Galerie Miranda announces a two-person exhibition by celebrated American artists Jo Ann Callis (b. 1940) and Jan Groover (b.1943-d.2012), both at the heart of the 1970s American 'new color' school of photography. The Paris exhibition will feature selected vintage and contemporary color prints from the landmark series Early Color (1976) by Callis and Kitchen Still Lifes (1979) by Groover.
Working at the peak of the American women's liberation movement, neither artist specifically declared themselves to be feminist artists yet both were producing works within and about their home environment, in the vein of militant feminist artists such as Martha Rosler (Semiotics of the Kitchen, 1975) and Judy Chicago (The Dinner Party, 1974-9). In Los Angeles in the 1970s, Jo Ann Callis was juggling two young children, numerous home moves, night school and a pending divorce. Despite these obstacles, she worked constantly to produce her seminal series Early Color. Influenced notably by Paul Outerbridge but also Hans Bellmer and Pierre Molinier, her cinematographic scenes capture the tensions and anxiety of a claustrophobic domestic environment where freedom, pleasure and curiosity are bridled. Hitchcockian by their exquisite composition, Callis created all the decors for the series that she photographed for the most part in her converted Los Angeles garage, with friends as models and the domestic objects at hand as props - string, tape, sheets, lamps, sand, honey and her household chairs, tables and plants.
Similarly, for her celebrated Kitchen Still Lifes series, Jan Groover created poetry out of a kitchen sink piled up with fork tines, butter knife blades, scalloped… | | |
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| | | | | | | © Ellen CAREY
Dings & Shadows, 2016
Color photograms on chomogenic paper
courtesy Galerie Miranda |
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| | | | | | | Alice GUITTARD
La Jambe, 2021
courtesy de l'artiste |
| | | | | | | | Parcours Saint-Germain x Photo Days | | | 19 Oct – 29 Oct 2022 | | | | | |
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| | | | | | | | | | ASIA NOW 2022 off | | | | | | | ASIA NOW 2022 off | | | | | | | ASIA NOW 2022 off | | | 19 Oct 2022 – 23 Jan 2023 | | | | | |
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| | | | | | | Nancy WILSON-PAJIC
Falling Angel n° 14 (dollars), 1995-1997
Unique photogram in cyanotype on archive paper
courtesy Galerie Miranda |
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| | | | | | | | Pascal Maitre/ MYOP /Prix Marc Ladreit de Lacharrière en partenariat avec l’Académie des beaux-arts |
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| | | | | | | Frida Kahlo dans son jardin, Coyoacán, Mexique, vers 1948. Gisèle Freund
©RMN – Grand Palais/ Gisèle Freund/IMEC
Service presse – Maison de l’Amérique latine |
| | | | | | | | Photographies d’Amérique latine | | | 21 Oct 2022 – 7 Jan 2023 | | | | | |
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| | Thomas Jorion, series "No Man’s Time", 2022
Inkjet print 80 × 120 cm
© Thomas Jorion courtesy Galerie Esther Woerdehoff | | | | | | | | ... until 19 November 2022 | | | | | | | | | | | | | The photographer Thomas Jorion adds with the series "No Man’s Time" a chapter to a remarkable body of work. This work on the ruin invites us to question ourselves in front of the sublime of places whose history can only be read in their erosion and their abandonment. Devoured by the surrounding nature, the palaces, cinemas, factories are memento mori which proposes us a journey in which several temporal frames are linked.
The ruin becomes the center of a wider reflection on our relationship to our environment and to our common history. The exhibition No Man’s Time presents a particular series of the artist’s work of the artist’s work, the ruins photographed with a large format camera are here often disproportionate constructions that have never been completed. Like a nuclear reactor wide open to the sky, their function is revealed in hollows, or leaves the viewer facing an architectural ambition without conclusion.
The places, passed from building sites to ruins, are immediately imagined and immediately abandoned. The contemporary concrete of places that have no more history than their conception is offered to the sprawling nature, inviting us to think about our relationship to the imprint that our generation leaves on the world we inhabit.
For the first time, Thomas Jorion will unveil a new work of sculptures inspired by these places in dialogue with eleven large format photographs. The sculpture is the opportunity for the artist to seize a form in space and to give body to his privileged material: concrete. The monoliths explore various aspects of this material, notably that of recording photographic images.
This work will be exhibited at the Esther Woerdehoff Gallery in Paris from September 29 to November … | | |
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| | | Isabelle Hayeur: Newts in Oregon, 2019 - 2020, inkjet on photographic paper, 150 cm x 167 cm | | | | | | | | 14 October 2022 – 5 February 2023 | | | | | | | | | | | | | The exhibition Histoires d’eau by Isabelle Hayeur brings together photographs and videos that explore various issues related to water. The theme of water, an essential element that sustains life on our planet, has run through the work of this artist from the very beginning.
Political and deeply poetic at the same time, the pieces taken from the Underworlds series draw attention to the degradation of bodies of water. The artist’s uncommon perspective and the grand scale of her photographs take us to the heart of the matter. In Florida, Hayeur photographed manatees as she swam with them in the brackish waters around the city of Crystal River. These tranquil mammals of the tropics have practically no predators but they are threatened by human activity, particularly due to injuries from boat propellers.
The protection of water and aquatic ecosystems is one of the main environmental concerns of today’s society. In the series Le Camp de la Rivière and Dépayser, Hayeur has photographed militants who are fighting for a healthier environment and a more equitable world. She dwells on the question of citizens’ struggles while taking a critical look at human intervention that contributes to the alteration of landscapes and the deterioration of habitats.
Hayeur’s recent work explores the drought and water crisis that have been plaguing the American West for the past twenty years. In California, she has photographed the Salton Sea, a heavily polluted landlocked body of water that is slowly dying. Her video Between Wind and Water looks at water management as it relates to the watering of the golf courses of the Palm Desert. Situated between hope and denunciation, Isabelle Ha… | | |
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| | | | | | | | | | | | | News Flash A century of news / TT News Agency | | 21 Oct 2022 – 12 Feb 2023 | | | | | | | |
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| | | | | | | | ECTOGRAM HEAD 1986 ©Kunié Sugiura |
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| | Helmut Newton
Chicken and Bulgari Jewels, French Vogue, Paris, 1994
© Helmut Newton Foundation | | | | | | | | 19 October 2022 – 15 January 2023 | | | | | | | | | | | | | With the retrospective Helmut Newton Legacy, the Bank Austria Kunstforum Wien will be celebrating the Berlin photographer’s hundredth birthday (1920–2004) – delayed because of corona, but all the more comprehensive, with 300 or more works that document Newton’s complete oeuvre.
Newton, a controversial figure who has never ceased to fascinate and provoke, is primarily renowned for his photos of women: powerful, aggressive, self-assertive – naked and dressed – they challenge the viewer. His photos have been published countless times, circulated through magazines – their iconic character has impressed itself on our collective visual memory.
In actual fact, Newton’s career developed first and foremost through his fashion photography – which is the focus of this exhibition. In 1938, being Jewish, he fled from the Nazis to Australia, where he began to photograph fashion. Newton blazed the trail to his inimitable style in 1960s Paris by staging his models in shrill theatrical settings, out of the luxury- and eccentricity-governed haute couture scene conjuring up a situation of uncanniness and ambivalence.
Newton first started photographing nudes in the 1980s. With his sharply delineated, over-lifesize models in their almost belligerent nakedness, its sexuality self-confident and energy-charged in impact, Newton probed social and moral limits, and today still – or, most of all, once more – challenges us to formulate anew the issues that preoccupy us.
The exhibition presents Newton with iconic photos, also with works that have never been on show before. Therefore, they spotlight lesser-known aspects from Newton’s world and direct our view onto a complete oeuvre that ho… | | |
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| | | | | | | | | | | | | | Preview: Wed 19 Oct
Thu 20 Oct 11:00
21 – 23 Oct 2022 | | | | | |
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| | | | | | | | | | | | | | Wed 19 Oct 11:00
20 – 23 Oct 2022 | | | | | |
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| | | | | | | | | | | | | | Wed 19 Oct
20 – 24 Oct 2022 | | | | | |
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| | | | | | | Louis Plantet (1828-1860)
Algérie, c. 1855.
Femme juive et femme d'Afrique subsaharienne. |
| | | | | | | | | | | | Thu 20 Oct 14:00
19 – 20 Oct 2022 | | | | | |
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| | | | | | | | Images: Robert Nickelsberg; Gillian Laub; Elinor Carucci; Hector Guerrero; Ed Kashi |
| | | | | | | | | | | | Thu 27 Oct 18:00
13 – 26 Oct 2022 | | | | | |
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| | | | | | 122 Square Prints priced at £100/€120/$100+tax | | | | | | | 17 – 23 Oct 2022 | | | | | |
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| | | | | | associé au Parcours Saint-Germain et partenaire VIP de Paris+ par ArtBasel | | | | | | | – 29 Oct 2022 | | | | | |
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| | | | | | Bangkok Art Biennale 2022 | | | | | | | 22 Oct 2022 – 23 Feb 2023 | | | | | |
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| | | | | | | | | | | | | Barcelona Foto Biennale I The 7th Biennial of Fine Art and Documentary Photography - showcasing 358 artists from 47 countries | | – 30 Oct 2022 | | | | | | | |
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| | | | | | Theatre of Dreams | | | | | | | – 23 Oct 2022 | | | | | |
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| | | | | | We, on the Rising Wave | | | | | | | – 6 Nov 2022 | | | | | |
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| | Chow and Lin, 2020:06:13, 13:31:23, 2020. From the series I want to bring you around the world, 2020–22.
Archival inkjet print. Courtesy of the artists. | | | | | | | If I Had a Hammer | | | | | | | | African Cosmologies: Redux | | | | | | | ... until 6 November 2022 | | | | | | | | | | | | | | Houston’s Fotofest Biennial 2022 "If I Had a Hammer" (September 24 through November 6) considers the ways artists utilize images to unpack the ideological underpinnings that inspire collective cultural movements around the globe. Together, the twenty-three included artists propose alternative techniques of seeing and engaging with the world, working with both conventional and new medi. | | |
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| | | | | | New beginnings from images - Investigations into reality and the inner gaze: 1,800 exhibitions, 1,760 authors and 742 exhibition spaces, | | | | | | | – 31 Oct 2022 | | | | | |
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| | | Melanie Bonajo: ‘Big Spoon’, film still from ‘When the body says Yes’ . Courtesy of the artist. The Netherlands national Pavillion | | | | | | | The Milk of Dreams | | | | | | | | ... until 27 November 2022 | | | | | | | | | | | | | The 59th International Art Exhibition of La Biennale di Venezia, titled The Milk of Dreams, will open to the public from Saturday April 23 to Sunday November 27, 2022, at the Giardini and the Arsenale; it will be curated by Cecilia Alemani and organised by La Biennale di Venezia chaired by Roberto Cicutto. The Pre-opening will take place on April 20, 21 and 22; the Awards Ceremony and Inauguration will be held on 23 April 2022
Read the statement by Cecilia Alemani »
Read the statement by Roberto Cicutto »
THE INTERNATIONAL EXHIBITION
The Exhibition will take place in the Central Pavilion (Giardini) and in the Arsenale, including 213 artists from 58 countries; 180 of these are participating for the first time in the International Exhibition. 1433 the works and objects on display, 80 new projects are conceived specifically for the Biennale Arte.
The artists »
NATIONAL PARTICIPATIONS
The Exhibition will also include 80 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the city centre of Venice. 5 countries will be participating for the first time at the Biennale Arte: Republic of Cameroon, Namibia, Nepal, Sultanate of Oman, andUganda. Republic of Kazakhstan, Kyrgyz Republic and Republic of Uzbekistan participate for the first time with their own Pavilion.
The National Participations » | | |
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© 19 October 2022 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
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