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| PHOTOGRAPHY INTERNATIONAL | | 21 - 28 February 2024 | |
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| | BURIAL from the series Las flores mueren dos veces, 2022
© Cristóbal Ascencio. | | | | | | | | | | | | | 23 February – 22 May 2024 | | | Opening on Thursday 22 February from 18.30 until 21.00 hrs in the presence of the artists.
Meet the Foam Talents on Saturday 24 February, from 14.00 until 16.30 hrs | | | Foam Magazine #65: Talent is now available | | | | shop.foam.org | | | | | | | | | | | | | Foam is excited to present twenty exceptional artists in the Talent 2024 - 2025 group exhibition. The artists’ works signify a bold, new direction in photographic art. The talents were selected during the biennial Foam Talent Call, for which an astounding 2,500 photographers from over 106 countries submitted their work. The exhibition emphasizes the role of photography as a powerful medium for storytelling, cultural critique, and personal expression. In a time of increasing polarization, this year’s talents challenge the viewer to reflect on the viewpoints of others and invite empathy.
At the heart of the exhibition lies the exploration of urgent societal issues, where artists introspectively examine both themselves and the world. The topics of interest range from migration to the danger of internet algorithms, and from questioning gender roles to a reflection on the impact of colonialism. Looking to broaden the medium of photography, this year’s talents present us with innovative approaches, from embroideries on photos and the use of photogrammetry to the use of Artificial Intelligence. The selection celebrates photographers who dare to push the boundaries of creative expression.
In addition to the physical exhibition, Talent 2024-2025 is accompanied by a digital exhibition on the online platform Foam Explore, as well as Foam Magazine #65 TALENT which will be entirely devoted to this new generation of talents. In 2025, the exhibition will travel internationally. As part of the Talent program, the selected artists are invited to participate in various networking activities, mentoring, with the opportunity to have their work added to the prestigious collection of the Deutsche Börse Photography Foundation. | | |
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| | Jan Scheffler
B 68.287 ° L 14.016 °, Lofoten/Norwegen
Pigment Print
60 x 60 cm
© Jan Scheffler | | | | | | | | ... until 7 April 2024 | | | | | | | | | | | | | For twenty years, Jan Scheffler has travelled to northern Europe, especially to Iceland, Norway, and Finland to make photographs, longing for the silence and the light characterizing these pristine landscapes. It is not just the grandiosity of nature, one still nearly untouched by mankind, that fascinates the traveler to the north, but also the light that illuminates the landscape. The radiant light of the north leaves an indelible mark.
Despite the harshness of the treks at temperatures as low as minus thirty-five degrees, the physical conditions are not evident in the images. Rather, they express the peace and happiness Jan Scheffler felt during the moments of outer and inner silence. His travels to the north are inner journeys, towards a state of arriving in a landscape that is capable of bringing to the surface feelings of utmost tranquility, the deepest peace, and greatest inner strength: “The aesthetic of this nature, which is untainted by man, is based on the absence of disharmony. There is nothing disturbing it. In this landscape you’re not searching for anything. It comes to you. I can set up the camera almost anywhere, the motif comes to me. The landscape has to exert its pull on me, so that I’m inspired to get out my camera, then I forget space, time, eating, drinking, then I am the landscape.”
The word “light” is connected to positive values such as brightness, warmth, and hope, it is the opposite of darkness and symbolizes what’s good, knowledge, awareness, and truth. Jan Scheffler’s photographs do not speak, however, of the grandeur of nature nor the experience of the sublime. They do not possess a transcendent dimension. And yet, on his travels to the north, he works with the origin, cause… | | |
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| | | | | | | Warten – Fotografien aus dem Pflegeheim
St. Elisabeth-Stift Berlin, 1984–85
© Situation Kunst / Dietmar Riemann |
| | | | | | | | Fotografien 1975 - 1989 | | | Thu 22 Feb 19:00
23 Feb – 28 Apr 2024 | | | | | |
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| | | | | | | Aufstrebender Zentralpunkt, Mainz, Rheinland-Pfalz (D)
© Werner Richner |
| | | | | | | | | | | | Sun 25 Feb 11:00
25 Feb – 24 Mar 2024 | | | | | |
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| | Daniel Wagener: "opus incertum"
Exhibition view at the Chapelle de la Charité, Arles © Armand Quetsch / CNA | | | | | | | Luxembourg Photography Award 2023 | | | | 24 February – 16 June 2024 | | | Opening: Saturday, 24 February, 11 am
Exhibition organized in collaboration with Lët’z Arles a.s.b.l. | | | | | | | | | | | | | "Opus incertum" – a term borrowed from Roman masonry, which consists of building walls from small blocks, broken tiles, and a variety of bricks - is an in-situ installation created by Daniel Wagener in response to the call from Lët'z Arles for the 2023 edition of the Rencontres internationales de la photographie, in Arles' iconic Chapelle de la Charité.
The artist was confronted with a religious building, a place of worship steeped in memory, history, religious iconography, baroque workmanship, gold, stucco, fake and real marble, and symbols. He chose to react through extreme contrast and built a system of prefabricated shelves, industrial racks, crossing the main nave from left to right, filled with images of contemporary "construction sites", urban views, traces of buildings from the past and present. This modular unit for storing images obstructed the view of the altar and, by replacing the object of worship, became the artistic interface of a new cult of consumption. Through his exhibition the artist questions the nature of the icon in our contemporary society and encourages us to reflect on the place of the spiritual and its intersection with the material.
Invited by the CNA/Pomhouse for the now traditional return of the arlesian exhibitions to Luxembourg, making the work accessible to the Luxembourg public who did not have the opportunity to visit Arles, the question arose of how to install opus incertum in this new setting. The easy copy-and-paste solution was quickly abandoned. A new in-situ installation was conceived, with the generous support of the CNA, enabling us to rethink the scenography and produce new images.
Once again, we find ourselves in an emblematic location, a kind of ind… | | |
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| | | Rozafa Elshan: Point de départ 3, Arles, 2023. | | | | | | | Luxembourg Photography Award Mentorship 2023 | | | | 24 February – 7 July 2024 | | | Opening: Saturday, 24 February, 11 am
Exhibition organized in collaboration with Lët’z Arles a.s.b.l. | | | | | | | | | | | | | Today, let us take from our pocket a little piece of paper folded in two to find therein a few words of encouragement scribbled in pencil. – Approach the centre of the platform, position yourself dear guest and read aloud the invitation addressed to you.
HIC HIC SALTA! in 1 - 2 - 3 seconds; HERE NOW JUMP! on the platform set up upon the ground so that you may at last, weightless, exist in a brief present moment. Let us hush into this silence to rid ourselves of our dear personality and to create therein a poem.(1) Let us descend the rising current of all life in a single and unique inscription. The boards laid on the ground forming a horizontal invite to get as close as possible to things so as to experience, with the body, the event which, once secured, as soon escapes us.
At the scale of a tiny flake, leaning into the slope towards sensitive matter, it insists by shifting gesture upon a kind of verification. Let’s jump, let’s dance and slice this space-time so that we may populate and tighten the surface to which we cling. For the occasion of this exhibition and by means of a search through permanent passage, the guest empties once more their daily pockets so as to show to us their footholds upon this stage. By way of each leap, harried and constantly jostled, he passes the faces of a crowd to afterwards reject them outright (2). He would repeat this movement right to the bottom of the bag to weigh nothing in the end (3). Yet despite all efforts to strip away, something constantly looms in the palm of their hand.
In 1 - 2 - 3 seconds, we can try to situate this something by laying it down in the middle of the floor. Dvora’s laces, the sound of a thou… | | |
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| | Chris Killip
Girls Playing in the street, Wallsend, Tyneside, 1976
© Chris Killip Photography Trust/Magnum Photos | | | | | | | | 22 February – 19 May 2024 | | | | Visiting the exhibition is possible as part of regular guided tours, on the "Open Saturday" on 20 April 2024 and during the Night of the Museums on 4 May 2024. | | | | | | | | | | | | | With this exhibition, the Deutsche Börse Photography Foundation honours the work of influential British photographer Chris Killip (1946-2020). Among the roughly 140 photographs on display, a particular focus lies on the time Killip spent on the Isle of Man and in the north of England. "Chris Killip. A Retrospective" is the most comprehensive presentation of his oeuvre in Germany to date.
Chris Killip poignantly documented the lives of people in the north of England, who were particularly affected by the economic shifts of the 1970s and 1980s. His portraits, landscapes and architectural photographs show both the consequences and challenges of deindustrialisation and those brought on by the political changes in the wake of Margaret Thatcher’s accession to power in 1979. Killip captured the harsh everyday lives of workers and their families in unsparing yet empathetic black and white images. They bear witness to the personal relationships he established with his protagonists over long periods. To this day, his social documentary approach continues to exert a formative influence on the visual language of subsequent generations of photographers.
Chris Killip was born on the Isle of Man in 1946, the son of a pub owner. By chance, he discovered photography at the age of 17 when he came across an image by Henri Cartier-Bresson in a French magazine. It touched him so deeply that he decided to drop out of his hotel apprenticeship and become a photographer. After a brief stint as a beach photographer, he moved to London in 1964 and worked as an assistant to advertising photographers for several years. His 1969 encounter with the work of Walker Evans and Paul Strand in New York inspired him to return to the Isle of Man to phot… | | |
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| | VALIE EXPORT
The Birth Madonna
after: Michelangelo Buonarroti, Pietà, Madonna della Febre, 1498-1501
Body position: reenactment
C-Print © VALIE EXPORT, Bildrecht Wien, 2023 | | | | | | | | | | | | | 23 February – 2 June 2024 | | | | Opening: Friday 23 Febraury 6:30pm | | | | | | | | | | | | | This long-standing annual Prize, originally established in 1996 by the Photographers' Gallery in London, identifies and rewards artists for their projects that have made a significant contribution to photography over the previous 12 months.
Over its 27-year history, the Prize has become renowned as one of the most important international awards for photographers, spotlighting outstanding, innovative and thought-provoking work. The 2024 shortlisted projects all critically engage with urgent concerns, from the remnants of war and conflict, experiences of diasporic communities and decolonisation, to contested land, heritage, equality and gender. Together these artists demonstrate photography's unique capacity to reveal what is invisible, forgotten or marginalised and imagine a path to redress.
The annual exhibition of shortlisted projects will be on show at The Photographers' Gallery, London from 23 February to 2 June 2024. It will then be on display from 15 June to 15 September 2024 at the Deutsche Börse Photography Foundation in Eschborn/Frankfurt.
The winner of the £30,000 prize will be announced at an award ceremony held at The Photographers' Gallery on 16 May 2024, with the other finalists each receiving £5,000. Full details of the Prize exhibition and award evening will be announced in early 2024. | | |
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| | | | | | | | | | | | | Café Royal Books post-war photography from Britain and Ireland. | | 23 Feb – 2 Jun 2024 | | | | | | | |
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| | | Francesco Neri: from the series "Boncellino", 2023 | | | | | | | | ... until 16 March 2024 | | | | | | | | | | | | | This exhibition marks Italian photographer Francesco Neri’s London debut and the first presentation of a body of work made over the last two years in the tiny hamlet of Boncellino near to his home town of Faenza in the northern region of Emilia-Romagna. Faenza is surrounded by an abundant, cultivated landscape, farmed since Roman times with fruits and vegetables, vines and cereals. Increasingly, though, its rural villages are experiencing the deadening effects of depopulation and ecological degradation.
Boncellino is the latest iteration of what has become a prolonged study of the agrarian communities of Neri’s native region. The study was catalysed in 2009 by an encounter with a local farmer Livio Papi. With their meeting, Neri found the key to unlock his own deep sense of connection to place. Through the portraiture of the region’s people, and more specifically, his photographic interaction with them, he saw the route "to understand where I am from". Like many photographers who focus on what is closest to them, the project is in one sense also an evolving self-portrait. Neri returns to photograph people - and the buildings they have made - again and again, "to retrace my steps and see how things and people have changed. I too have changed in turn." As the work grows, the photographer and his subjects age together, and the photographic project itself becomes a record of the passage of time.
Excerpt from the introduction written by Kate Bush.
Part of the exhibition is a new portfolio, Wooden Tool Shed, comprising 8 gelatin silver contact prints and an accompanying book with further illustrations, alongside a new text by David Campany, produced by Imagebeeld Edition, Brussels. | | |
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| | | | | | | | Saodat Ismailova, Chillpiq (still), 2018. HD film, color, sound, 17 min. |
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| | JEAN CURRAN
Godard/Bardot, 2022
Dye transfer print
Image 21 x 51 cm
Sheet 50 x 60 cm | | | | | | | Observed, posed and staged portraits of the intimate sphere | | | | | | | | ... until 9 March 2024 | | | | Galerie Miranda is 6! The big birthday exhibition with 4 group shows and 22 artists from 1 February to 29 June 2024 | | | | | | | | | | | | | Private Views is the first in a series of four capsule exhibitions that celebrate Galerie Miranda's 6th birthday. Curated across broad themes by gallery founder Miranda Salt, with both new and inventory works, this anniversary cycle reviews the gallery's choices to date and places historical photographic references in conversation with contemporary signatures.
Private Views presents distinctive works that broach different aspects of intimacy - beauty, bodies, stereotypes, privacy, desire, love and the end of love - with staged, documented and narrated bodies of work produced from the mid 1970s to today. Shown exclusively and for the first time are selected images by Jean Curran whose hand-made dye-transfer prints are produced from the original Cinemascope reels of Le Mépris (Contempt, 1963) by Jean-Luc Godard and starring Brigitte Bardot. | | |
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| | | | | | | | "Contemplationes XIX" © Rainer Zerback |
| | | | | | | | | | | | Thu 22 Feb 19:00
23 Feb – 5 May 2024 | | | | | |
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| | Nakaji Yasui
(Horse and Girls), 1940,
private collection (on deposit at Hyogo Prefectural Museum of Art) | | | | | | | | 23 February – 14 April 2024 | | | | | | | | | | | | | This exhibition is the first in 20 years of Yasui Nakaji [1903-1942], an outstanding figure of the modern Japanese photography. During 1910s to 1930s was a fruitful and a highpoint in the history of Japanese photography because of the vigorous exploration of amateur photographers. The leading figure of this period was Yasui Nakaji. Until he died at 38 of illness, Yasui produced remarkably various works throughout his short career as a photographer. Those works were praised by the photographers of the time and the later, such as Domon Ken and Moriyama Daido.
Photography is freedom! Collection of Yasui’s masterpieces with his glow of variations and insights
Yasui boldly took on the challenge using wide-ranging techniques and styles and turned the camera on various subjects. However, sincere attitude and sensitivity towards the world penetrates those works. Various thoughts and feelings will come and go through one’s mind when immersed in what Yasui saw and what he tried to show. His works are full of his wonder and excitement finding the hidden “secrets of the world” in nondescript scene with his compassionate gaze towards small, hideous, and ignored things. Yasui’s works still attracts us after 100 years of production. This exhibition aim to retrospect the whole picture of Yasui Nakaji through more than 200 works. Various materials including approximately 140 vintage prints which survived the war, about 60 negatives and contact prints produced on the basis of research are exhibited. The exhibition traces Yasui's activities empirically and brings back to life the work of the great artist who opened up the possibilities of photography in the present day. | | |
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| | | | | | | Aus "Ich werde deutsch - Die Anfänge", 2015-16
© Maziar Moradi © Maziar Moradi |
| | | | | | | | | | | | Sat 24 Feb 19:00
25 Feb – 16 Jun 2024 | | | | | |
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| | PPP - Protest Party Portraits 1995 – 1997
© Jules Spinatsch | | | | | | | Techno Culture in two exhibitions at Photobastei | | | | | | | | ... until 31 March 2024 | | | | | | | | | | | | | For the very first time, Switzerland’s techno culture is finding its way into the museum. To celebrate this multifaceted youth culture, Photobastei is proud to present two major exhibitions.
"TECHNO WORLDS" is supported by the Goethe-Institut. It engages with local and global techno perspectives through the works of visual artists and wages an experiment by showcasing some significant developments of techno and club culture.
"THE PULSE OF TECHNO" is produced by Photobastei, with a focus on Zurich’s techno scene, which took off in the 90s. The city became a European hotspot for electronic music, so much so that the Federal Office of Culture put Zurich's techno scene on the UNESCO Cultural Heritage list of living traditions in 2017.
The two exhibitions include an extensive supporting programme with parties by international and Swiss stars, concerts, workshops, an oral history series on club history: Zurich Calling, panels by the Zurich Bar and Club Commission and conversations with influential figures of the early days.
TECHNO WORLDS by the Goethe-Institut – The Many Faces of Techno
The focus of the exhibition "TECHNO WORLDS", explores the multifaceted local and global relationship to techno, which Goethe-Institut has already premiered in diverse locations on three continents. The title refers to various techno scenes and genres, including international subcultural-political projects from varying periods. The exhibition is accompanied by a catalogue in which authors examine the techno phenomenon from diverse perspectives. After stops in North and South America, most recently in Los Angeles, Mexico City and Montevideo," TECHNO WORLDS" is p… | | |
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| | | | | | | | | | | | | | Thu 22 Feb 17:00
22 – 25 Feb 2024 | | | | | |
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| | | | | | international festival of photography | | | | | | | 1 – 24 Mar 2024 | | | | | |
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| | | | | | Aliments Terre | | | | | | | – 2 Mar 2024 | | | | | |
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| | | | | | European Month of Photography | | | | | | | – 25 Feb 2024 | | | | | |
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| | | | | | Memory is an Editing Station | | | | | | | – 28 Apr 2024 | | | | | |
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| | | | | | Cosmos Cinema | | | | | | | – 31 Mar 2024 | | | | | |
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| | | | | | | Noga Shadmi's series of the kidnapped penetrates the heart.
Keep sharing your images, together we will raise the global awareness and bring them back home. |
| | | | | | | | International Photography Festival | | | postponed >> March 2024 | | | | | |
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© 21 Februar 204 photography now UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
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