| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 25 May – 1 June 2022 | |
|
| |
|
| |
| |
| | PHotoESPAÑA 2022, which will take place in Spain between June 1 and August 28, will host 122 exhibitions and focus on documentary photography. 29 galleries from Madrid will participate in the OFF Festival. Futures Photography, the great European photography forum, will bring together international professionals and representatives of the European institutions. |
| | | |
|
|
| |
| | The Phair comes back to Turin (Italy) from 27 to 29 May 2022. The annual event dedicated to the language of photography is a fair aimed at important national and international galleries selected to guarantee a high level of quality and an organic proposal. |
| | | |
|
|
| |
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Gucci makeup fashion shoot, Brooklyn, New York City, USA, 2019
© Bruce Gilden / Magnum Photos. | | | | | | | Magnum Photographers on Commission | | | | | | | | 28 May – 7 September 2022 | | | | Opening: Friday 27 May 17:30 | | | | | | | | | | | | | This spring Foam presents the exhibition Open for Business – Magnum Photographers on Commission. For over 75 years, the photographers of Magnum Photos have not only created photographic icons on both major events and hidden stories, but have simultaneously worked on commission. The exhibition shows a side of Magnum that the general public is hardly aware of, and which its photographers rarely promote themselves. In eight chapters, the audience is taken on a variety of commercial assignments: from carte blanche group assignments for governments to the hippest fashion photography; and from chic publications for major industries to reporting in the service of NGOs.
Although rarely recognized as "Magnum work" by a wider audience, it does tell a vital part of the Magnum story, and of the story of photography in general, which occupies a complex cultural position at the intersection of art, documentary and commerce.
This exhibition aims to unveil an interesting and lesser-known aspect of Magnum photographers’ portfolios and, in doing so, the reality of a career in photography: Open For Business exposes the true nature of the job, which comes with assignments that highlight the qualities of Magnum’s visual storytellers in completely different ways. | | |
| |
|
|
| |
|
| | | The a la swag 2018 © Mous Lamrabat / Loft Art Gallery | | | | | | | | 28 May – 12 October 2022 | | | | Opening: Friday 27 May 17:30 | | | | | | | | | | | | | Foam proudly presents Blessings from Mousganistan, an exhibition by self-taught photographer Mous Lamrabat (Morocco, 1983). Beauty and a sense of hope are central to Lamrabat’s work. His photographs are playful and surrealistic, every so often subtly provocative, but always vibrant and fun. His work is exhilarating and at times a confronting fusion of his diasporic life, using beauty and humour to create powerful new narratives related to sensitive issues like racism, religion and women’s rights. In Blessings from Mousganistan, the artist shares a message of love through a colourful and eclectic visual experience.
Blessings from Mousganistan
The world of Mous Lamrabat is a place where life is at peace and people are loved, no matter where you are from or where you are going. This is the experience the artist wants to bring across in the exhibition Blessings from Mousganistan: you step into the fascinating utopia the artist has created within the museum walls of Foam. He asks and sometimes pushes the viewer to look differently at the images in front of them; he has superimposed his photographs in large lenticular prints or vacuum pulled portraits around a Nike logo and the McDonalds “M” the artist incorporated into his work. By changing the shapes of well-known symbols and images, Lamrabat deconstructs the notion of “normal”. What first consisted of familiar colours and forms has now been altered and redefined into a different meaning defined by the artist. In his exhibition, Lamrabat also provides a chance for a more intimate interaction to see the works up close which serves as an introduction to the final part of the exhibition where universal prayer flags grace the space. The installation is a response to the ongoing stream of refugees from all parts of the world. It is a reminder from the artist to take care of one another and more importantly, to care of everyone indiscriminately of their skin colour or origins.
Mous Lamrabat was born in Northern Morocco and grew up in Flanders, Belgium. He is an autodidact photographer who graduated with a degree in Interior Design from the Royal Academy of Fine Arts in Ghent. His work has been published internationally in magazines such as Vogue, Esquire, Stylist Magazine, among many others. In 2020 Mous was part of the group exhibition Just Pictures, curated by Antwaun Sargent at projects+gallery, St. Louis (Missouri) and in 2021 he had a solo exhibition at the photography museum FOMU in Antwerp. Mous Lamrabat is represented by Loft Art Gallery in Casablanca, Morocco. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | | Lee Friedlander
Cincinnati, 1963.
Fundación MAPFRE Collection
© Lee Friedlander, courtesy of Fraenkel Gallery, San Francisco, and Luhring Augustine, New York | Miguel Ángel Tornero
Sin título [No title]
(The Random Series – Romananzo-), 2013.
Fundación MAPFRE Collection
© Miguel Ángel Tornero, VEGAP, Barcelona, 2022. |
| | | | | | | Fundación MAPFRE collections | | | | | | | | 26 May – 4 September 2022 | | | | | | | | | | | | | | Resonances-Fundación MAPFRE Collections is articulated as a sort of experimental manifesto that studies what images tell us about the past and how they resonate in the present. To this effect, a series of works have been selected from Fundación MAPFRE’s collection of photography—which is particularly rich in classic North American authors—with the objective of seeking out their reverberation or resonance in contemporary photographic practices and arranging a discourse that will allow for pedagogical speculation on the transition from photography to post-photography. In other words, illustrating the gap between one type of photography—committed to truth and memory—and the anti-artistic experiences that understand images as shared gestures of activism and social articulation in today’s world. | | |
| |
|
|
| |
| |
| | Bleda y Rosa
Amphitheatre. The Colosseum. Rome, 2021.
From Typologies, ongoing since 2007
12 photographs
Fundación MAPFRE Collections
© Bleda y Rosa, VEGAP, Barcelona, 2022 | | | | | | | | 26 May – 4 September 2022 | | | | | | | | | | | | | An exhibition of Fundación MAPFRE’s photographic repository is held annually as part of the programming for Espai 2 at KBr. On this occasion Joan Fontcuberta has been invited to be the show’s curator and create an exhibition discourse based on the collection. This new interpretation—which differs from usual understandings—will allow for our repository to live on through time as it dialogues and is confronted with new artists and images, granting the possibility of generating new perspectives.
This exhibition offers a survey of the work of Bleda y Rosa over the course of three decades, bringing together the totality of their work for the first time. | | |
| |
|
|
| |
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | Sebastião Salgado
Southern Right Whale (Eubalaena australis), Valdes Peninsula, Argentina, 2004
Silver gelatin print
© Sebastião Salgado, Courtesy Robert Klein Gallery, Boston | | | | | | | 25 May – 28 August 2022 | Robert Klein Gallery, Boston | | | | | | | 25 May – 28 August 2022 | Leica Gallery Boston | | | Opening reception: Wednesday May 25th from 5-7pm at Leica Gallery Boston with the artist in attendance.
Leica Gallery Boston: 74 Arlington Street, Boston, MA | | | | | | | | | | | | | | Robert Klein Gallery is pleased to announce concurrent exhibitions: Master Works and Amazônia. Join us Wednesday, May 25th 5-7pm for a reception with the artist at Leica Gallery Boston to view "Master Works", a selection of Salgado's seminal photographs from the 1980's to the present. Additionally, Robert Klein Gallery Newbury Street debuts "Amazônia" a 7 year project documenting the threatened, vast ecosystem that has been described as the "lung of the planet". | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | installation view Jean-Christian Bourcart © CDI 2022 | | | Jean-Christian Bourcart »
Imanaho / You Can Wake Up Now, The Universe Is Over | | | | ... until 24 March 2023 | | | | | | | | | | | | | During an "Ayahuasca ceremony" a few years ago, I found myself facing an entity whose appearance was completely unstable; it constantly changed shape, texture, color, from animal, to human, to flora, to abstract with graceful and dizzying fluidity.
What was my surprise when I discovered that artificial intelligence could produce images - interpretive composites generated by algorithms available on the internet - which "resembled" this entity that I had named Imanaho and with whom I had kept a certain bond of familiarity.
What is the link between visions of ancestral shamanic ceremonies in the depth of distant jungles and extrapolations generated by high-performancing machines? The images from cybernetic fusion evoke a delusional world like the natural world of which they seem to be the extension; a heterogeneous, indefinite, fantastic visual jungle as an antidote to any tendency towards normalization, control and regimes of domination.
Text: Jean-Christian Bourcart
Jean-Christian Bourcart (born 1960) is a French artistic photographer, video and film maker. His work has been shown worldwide and is included in the collection of such prominent institutions as the Museum of Modern Art, New York, the Musée d'Art Moderne et Contemporain in Genève or the Chrysler Museum of Art in Norfolk, Virginia. Nine books about his work have been published. He has been teaching and conducting workshops and masterclasses all along his career. In 2021, all his archives were deposited at the musée Nicephore Niepce in Chalon-sur-Saône in France.
More information: jcbourcart.com/ | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | | | | | | Sven Johne, 47 Faults between Calais and Idomeni, 2017 (Detail), © VG Bild-Kunst, Bonn 2022 |
| | | | In cooperation with the seminar of Prof. Dr. Steffen Siegel Folkwang Universität der Künste | | | | | | | 1 Jun – 15 Oct 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Charles Fréger: Yokainoshima, 2013-2015 | | | | | | | | 21 May – 25 September 2022 | | | | | | | | | | | | | Over the past twenty years, Charles Fréger has built up a vast collection of portraits, first by focusing on outfits and uniforms, then by exploring masked traditions on every continent. His photographs confront us with secular figures, beings with multiple and ambiguous identities on which our imagination is projected.
Four series are brought together in this vast exhibition : "Commedia dell’Arte", produced in Venice and showing the body play of his masked characters ; "Yokainoshima", in which the photographer explores the ritual figures of Japan; "Wilder Mann", a photographic campaign carried out over many years in 20 European countries ; and "Cimarron", which takes the photographer to Afro-descendant America, from the southern United States to Peru. Embodying strange, comical, sometimes frightening or extravagant animals or creatures, the figures Fréger photographs give a measure of the variety of customs and cultures around the world. By paying attention to the finery and the solemnity of the pose, the artist leaves us alone in front of these masked figures. It is then up to us to imagine the story of each of the characters. | | |
| |
|
|
| |
| |
| | | Emeric Lhuisset: Ukraine – A Hundred Hidden Faces, Portraits 2022 | | | | | | | | 21 May – 25 September 2022 | | | | Opening reception: Fri 20 May 18:00 | | | | | | | | | | | | | “Some have taken up arms, some are making camouflage nets or Molotov cocktails, others are working on logistics or helping the injured… They are the Ukrainian civil resistance, those who gave up their past life to fight.
These are the people you see in these pictures, these are their hopes, their fears… their faces will remain invisible… for the moment. To protect them while many will certainly be led to continue the struggle in hiding.
But one day these faces will appear to the eyes of all, these faces that I have photographed for later. These faces will appear on the day Ukraine regains its sovereignty. That will be the day when the resistance wins.”
The exhibition brings together one hundred portraits taken in March 2022 by Emeric Lhuisset. If no faces are visible, it is because the people photographed all belong to the Ukrainian civil resistance and are now fighting clandestinely. The series echoes the project Maydan – Hundred Portraits carried out in Kyiv in September 2014. There, Lhuisset took photographs of 100 demonstrators who became revolutionaries on Maydan Square, the famous independence square in the heart of the Ukrainian capital. Lhuisset photographed 100 people there as a tribute to the 100 who died during the Mayan revolution – the large-scale, severely repressed protest movement that led to the overthrow of the pro-Russian president Viktor Yanukovych in February 2014. This violent revolution, caused by the Ukrainian president’s refusal to sign an association agreement with Europe, was seen by the Russian government as a betrayal of the Ukrainian people. Putin then annexed Crimea and supported pro-Russian separatists in the Donbass region in eastern Ukraine. The war that had been going on since 2014 escalated on Thursday 24 February 2022, with a massive Russian invasion of the entire Ukraine. On 13 March 2022, Lhuisset returned to Ukraine to take another 100 photographs, this time of Ukrainian resistance fighters. In 2014, the photographer had asked his subjects two questions: “What do you hope will happen next?”, “What do you think will happen?”. Eight years later, Lhuisset asks the same questions to the members of the Ukrainian civil resistance. Their answers are as moving and disturbing as before. | | |
| |
|
|
| |
| |
| | | Salvatore Vitale: Decompressed Prism, 2022 | | | | | | | Online exhibition
| | | | 21 May – 25 September 2022 | | | | | | | | | | | | | “Decompressed Prism” is a new step in Salvatore Vitale’s artistic reflection on technology. The artist continues the experimental approach of this installation, initially conceived in a physical space, the Palazzo Santa Margherita in Milan, by investing ORBIT_E, the digital exhibition space that the MBAL launched in 2022. Here he created an original and interactive work that echoes the initial installation.
In the digital space, “Decompressed Prism” takes the form of a non-linear narrative situated at the crossroads of philosophy and technology, in which the artist endeavours to fragment and then reassemble the initial storyline into several chapters. Conceived as an experience for the visitor, the work evolves in a playful space and touches on subjects of reflection important to the artist, such as conscientization, empathy, social realism, space and body. Divided into four parts, each offering in a distinct digital space, a specific theme and an interactive experience of its own, Salvatore Vitale’s work combines fictional and documentary elements, video archives, text, sound designs and real data.
“Decompressed Prism” reveals the paradoxes behind the systemic logic of ubiquitous surveillance through automated security tools. Exploring different uses of control technologies in Poland, Slovakia, Switzerland and Italy, the artist questions how these technologies shape our relationship to the world and to ourselves as human beings. Indeed, Salvatore Vitale explores the notion of the body evolving between digitalisation and reality, and the transformation of the latter into a product controlled by technology. Drawing on contemporary philosophical and sociological texts, the artist imagines a different reality in which the visitor is invi… | | |
| |
|
|
| |
| |
| |
|
| |
| |
| | Herbert W. Franke
Mondrian, 1979
© Herbert W. Franke | | | | | | | | ... until 12 June 2022 | | | | | | | | | | | | | On the occasion of the 95th birthday of the media art pioneer Herbert W. Franke, the Upper Austrian Landes-Kultur GmbH is honouring his life and extraordinary work with an exhibition. Herbert W. Franke is a pioneer in many worlds, a border crosser between art and science who made very early and decisive achievements in numerous disciplines. As a computer artist of the first hour, he first experimented with generative photography in 1952, but as early as 1954 he first used an analogue computer and then, from the 1960s onwards, the first mainframe computers for his abstract "algorithmic" art based on mathematical principles. In 1979 he was a co-founder of Ars Electronica and in the 2000s a mastermind of the metaverse, with his 3D world "Z-Galaxy", built and operated with Susanne Päch, an area of changing exhibitions on the internet platform Active Worlds.
Franke's writing career as well as his visual art work began at the end of the 1940s deep underground, in the caves of Europe. He explored numerous large caves in the Dachstein massif for the first time and remained internationally active into old age. As a theoretical physicist, he was not only concerned with the formation of dripstone caves, but also with questions of cybernetics and with processes of perception, which led to his rational theory of art. In addition to numerous technical and non-fiction books, he also wrote award-winning science fiction stories and novels.
His life and extensive oeuvre are based equally on the rationality of the researcher and the creativity of the artist. The exhibition Herbert W. Franke - Visionary is dedicated to this extraordinary bridge between art and science and the enormous power of imagination - from art to science fiction literature, from the beauty of mat… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
| |
| | Marbella, 1983
© Carlos Pérez Siquier, VEGAP, Madrid, 2022 | | | | | | | | 1 June – 28 August 2022 | | | | PHotoEspaña 2022 | | | | | | | | | | | | | One of the most remarkable details of the career of Carlos Pérez Siquier (Almería, 1930–2021) was how he maintained, since his start in the 1950s, his position as an artist working from the periphery, having lived his whole life in his native Almería. Without having ever moved to a major metropolitan centre like Madrid or Barcelona, Pérez Siquier became a fundamental figure in Spanish photography, and was continually in contact with other major photographers of that time, including Joan Colom, Xavier Miserachs, and Ricard Terré. In addition, Pérez Siquier was a driving force behind the era’s most influential photography collective, the AFAL group (1956–1963). The group published an eponymous journal and in its pages Pérez Siquier did not shy away from provocation, instigating with his work intense ruptures that went against the grain of photographic tradition at the time.
From Almería, then on the margins and distant, the photographer created a body of work over a period of more than 60 years that, in a tangential but at the same time profound and mordant way, entered into the debates of the day. His photographic series transpired within the contexts of the social periphery, the visual alterations that came about as a result of Francoist developmentalism, the cultural shock caused by the arrival of mass foreign tourism to Spain, and the infiltration of a new visual culture that developed in the wake of the slogan Spain is Different. This new mode of conceiving our country attempted to repair, in a superficial manner, the trauma of the Spanish Civil War on the coastline through colour and sensuality. Artists and intellectuals regarded this attempt with both enthusiasm and scepticism. | | |
| |
|
|
| |
| |
| | Carnaval, La Habana, 1962
Fundación MAPFRE Collections
© Paolo Gasparin | | | | | | | | 1 June – 28 August 2022 | | | | PHotoEspaña 2022 | | | | | | | | | | | | | Paolo Gasparini is the photographer who has best portrayed the cultural tensions and contradictions of the South American continent. His images convey the harsh social reality faced by a region whose cultural authenticity is unquestionable, and where the past and local traditions parley with a clumsily imposed modernity.
Gasparini creates an oeuvre with its own visual language that always seems to express a criticism of consumer society while at the same time revealing a certain obsession with the way we are seduced by marketing and advertising.
Italian by birth yet Venezuelan in spirit, through his work the photographer has tried to eliminate the ethnocentric visions and stereotypes that have historically defined Latin America, almost always in terms of ‘the other’, fueled by the different populisms and nationalisms the region has endured. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | | | Meetings around landscape photography
PHotoEspaña 2022 | | | 31 May – 4 Sep 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Anthony Hernandez. Rodeo Drive, 1984 |
| | | | PHotoEspaña 2022 | | | | | | | 1 Jun – 3 Sep 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| | | | | | | Autoretrato con una fiera, 2019
© Alberto Garcia-Alix. VEGAP, Madrid |
| | | | | | | | PHotoESPAÑA 2022 | | | 1 Jun – 28 Aug 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Ellen Carey
Dings & Shadows, 2021
color photogram
24 x 40 inches
Unique | | | Ellen Carey »
Let There Be Light: the Black Swans of Ellen Carey | | | | ... until 25 June 2022 | | | | | | | | | | | | | A première for her new bodies of work, and the artist's second personal exhibition at Galerie Miranda, Ellen Carey’s handbook guides us through photography’s nearly two centuries’ arc of light, photogram, colour and Polaroid as seen in her constantly intersecting practices. For the 21st century, for Paris, the City of Light, Ellen Carey brings her arc into the future with Crush & Pull with Rollbacks & Penlights, a completely new 21st century photo-object from Polaroid’s monumental negative, which allows Carey, its camera operator, to reposition light drawing anew. It highlights Polaroid and its huge 20 X 24 camera as one of the medium’s 20th century game changers. The Black Swan theory sees unexpected events become game changers in this, the global world, as it is, now. Carey’s performance in the black box of the darkroom — folding, crushing, creasing, and nothing seen until it is finished — abounds with affinities to the Surrealist drawing game of the exquisite corpse.
For Let There Be Light: The Black Swans of Ellen Carey, the artist introduces another new photo-object, the Finitogram. Here, she gathered abandoned sheets of photographic paper bearing random chemical marks striking a pose as light drew. She sees the once-hidden, latent image become visible. Like her practice in Polaroid, the object begins at the zero of an unknown time, made somewhere in the void of the dark room, and left behind unfinished. However the object may have travelled through Dada, Surrealism, and Duchamp’s ready-made visitations; her re-invented ready-made now presents as a new 'self'. Ellen Carey’s Finitogram, from the Italian non finito for incomplete works of art, re-i… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | | | The Phair 2022 | | | | 27 – 29 May 2022 | | | | Fri 27 - Sun 29 May: 11 am – 8 pm | | | | | | | | | | | | | The Phair comes back to Turin (Italy) from 27 to 29 May 2022. The annual event dedicated to the language of photography will take place in the evocative Pavilion 3 of Torino Esposizioni.
The Phair is a fair aimed at important national and international galleries selected to guarantee a high level of quality and an organic proposal. The artistic projects presented for the third edition overcome the limits imposed by the photographic medium or experiment with them. The Galleries will be flanked by a selection of independent Italian and international publishing houses with the aim of presenting the most interesting and innovative developments in the contemporary publishing scene. | | |
| |
|
|
| |
| |
|
| | | | | | | | Art Basel in Hong Kong 2018 © Art Basel |
| | | | | | | | | | | | Wed, Thu 25, 26 May
27 – 29 May 2022 | | | |
| | | | | | | |
|
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | Lot 2031 Bruce Davidson
From the series “Subway”. 1980. 4 C-prints, 2005. Each Fujicolor-Crystal-Archive paper.
Each 50.8 × 76.2 cm. EUR 18,000–24,000 | | | Photography | | | Auction: Wednesday 1 June 2022, 6pm
Lewis Baltz » Bruce Davidson » Mitch Epstein » Lee Friedlander » Saul Leiter » Helen Levitt » Joel Meyerowitz » Helmut Newton » Nicholas Nixon » Michael Schmidt » Stephen Shore » Christer Strömholm » Larry Sultan » Garry Winogrand » ... | Preview 24 - 31 May 2022
Tuesday - Monday, 10am – 6pm
Tuesday 31 May, 10am – 3pm
Catalogue: here
Download PDF: here | |
| | | | | | | | | | | | | Focusing on the American pioneers of colour photography and street photography of the 1960s until the 1980s, who eschewed the spectacular for the normal day-to-day in the United States, Grisebach are presenting a catalogue of the big names of their times, while also offering new discoveries and going down some paths less travelled.
Landscapes and cityscapes by Bruce Davidson, Helen Levitt, Saul Leiter, and Nicholas Nixon will be on offer, iconic works by Lee Friedlander and Garry Winogrand, as well as color photographs by Stephen Shore, Meyerwowitz, Lewis Baltz, Larry Sultan, and Mitch Epstein.
In addition to these focus areas, select international examples of other groundbreaking approaches to photography will supplement the program, including works by the likes of Michael Schmidt, Christer Strömholm, and Helmut Newton. | | |
| |
|
|
| |
| |
| |
|
| |
| |
| | Lot 4201
Sven Marquardt (b. 1962)
Portrait. 1980s
Vintage gelatin silver print | | | | | | | | | | | | Bassenge Photography Auction 119: Wednesday June 8, 2:00 PMErdener Str. 5a, 14193 Berlin
Online Catalogue
Preview:
Rankestraße 24, 10789 Berlin
Mon, May 30, – Sat, Jun 4, 10:00 AM – 6:00 PM,
Mon, Jun 6, 10:00 AM – 6:00 PM
Tue, Jun 7, 10:00 AM – 2:00 PM
Please make an appointment to preview.
More information:
Jennifer Augustyniak
+ 49 30 219 97 277
[email protected] or [email protected] | |
| | | | | | | | | | | | | With Photographs by:
Carl Albiker | Miles Aldridge | James Anderson | Ottomar Anschütz | Araki | Eugène Atget | Jean-Marie Auradon | Edouard-Denis Baldus | Herbert Bayer | Bernd and Hilla Becher | Sibylle Bergemann | Fred Boissonas | Katharina Bosse | Adolphe Braun | Hugo Brehme | Dan Budnik | Daniele Buetti | Will Burgdorf | Harry Callahan | Jewgeni Chaldej | Madame D’Ora | Frantisek Drtikol | William Eggleston | Hugo Erfurth | Dimitri N. Ermakov. Louis Faurer | Andreas Feininger | Arno Fischer | Trude Fleischmann | Rolf Gillhausen | Wilhelm von Gloeden | Nan Goldin | Emanuel Gyger | Robert Häusser | Heinrich Heidersberger | Fritz Henle | Herbert Hensky | Carry Hess | Hiro | Frank Horvat | George Hurrell | Lotte Jacobi | Peter Keetman | Edmund Kesting | Fred Koch | Vincenzo Laera | Gustav Richard Lambert | Lou Landauer | Franz Lazi | Annie Leibovitz | Helmar Lerski | Sven Marquardt | Will McBride | Max Missmann | Eckart Muthesius | Floris M. Neusüss | Emil Orlik | Hilmar Pabel | Robert Paris | Arnulf Rainer | Albrecht Renger-Patzsch | Evelyn Richter | Leni Riefenstahl | Karin Rocholl | Tata Ronkholz | Arthur Rothstein | Paolo Salviati | August Sander | Franz Schensky | Stefanie Schneider | Friedrich Albert Schwartz | Pascal Sebah | Friedrich Seidenstücker | Hans Martin Sewcz | Ivan Shagin | Sven Simon | Raghubir Singh | Giorgio Sommer | Anton Stankowski | Otto Steinert | Alex Stöcker | Sasha and Cami Stone | Herbert Strässer | Thomas Struth | Antanas Sutkus | Isiah West Taber | Peter Thomann | Herbert Tobias | Michail Trachman | Kurt Triest | Umbo | Tony Vaccaro | Ica Vilander | Roman Vishniac | Ernst Volland | Andy Warhol | Doris Martha Weber | Kurt Wendlandt | Ludwig Windstosser | Garry Winogrand | Dr. Paul Wolff & Alfred Tritschler | Wols | Ulrich Wüst | Walter Zadek | Heinrich Zille | Günter Zint and many others. | | |
| |
|
|
| |
| |
| |
|
| |
| |
| | Auction 1200/Lot 44
Maurizio Cattelan
Untitled, 1999
Chromogenic print, flush-mounted to plexiglass, 182.9 x 228.6 cm
Print 2 from an edition of 10
Estimate € 100.000 – 150.000 | | | Lempertz – Photography | | | Auction 1199 Photography
Wednesday, 1st June 2022, 2pm (lot 500 – 677)
Auction 1200 Evening Sale
Wednesday, 1st June 2022, 6pm (lot 1 – 97)
Auction 1201 Day Sale
Thursday, 2nd June 2022, 2pm (lot 300 – 437)
Vernissage Friday, 27th May, 6pm
Preview Sat 28th May, 10am – 4pm
Sun 29th May, 11am – 4pm
Mon 30th May, 10am – 7pm
Tue 31st May, 10am – 5.30pm | |
| | | Further information:
Maren Klinge M.A. & Dr. Christine Nielsen
Tel: +49-(0)221-92 57 29-28 or -56
[email protected] | | | | | | | | | | | | | Auction 1199 │ Photography
The top lot of the Photography Auction on 1 June is Willi Ruge’s 1931 spectacular 'Photo of Myself at the Moment of my Jump' showing the photographer parachuting over the outskirts of Berlin (lot 529, € 30/40,000). Published many times, the picture is part of the reportage with which the photographer celebrated his greatest international success. The vintage print offered here for sale is from the archive of the Argentinian weekly paper 'Caras y Caretas'. The impressive close-up, with its strong black and white contrasts and intense internal-pictorial dynamics, can be interpreted today as an allegory of an era that was characterised by the fascination for technical progress, speed, and optical sensation. A vintage print identical to our motif is currently on show in the noteworthy exhibition 'Masterworks of Modern Photography 1900 – 1940. The Thomas Walther Collection at The Museum of Modern Art, New York', with stops in Lugano, Paris and Turin. This shot, of which to current knowledge only the above-mentioned print in the Museum of Modern Art is known, is offered for the first time at auction.
László Moholy-Nagy’s portrait of his Bauhaus student Xanti Schawinsky (lot 523, € 12/15,000) is from the sitter’s estate and was taken in 1927 during a joint sojourn in Ascona on a summery beach. In his notes, Moholy-Nagy titled the close-up portrait 'Sun worshippers invoking a sun god'. The image was used in the vertical in 1933 with the title 'Unter der Douche [Under the Shower]' on the cover of the 'Basler Illustrierte', demonstrating the frank way the picture editors of the ti… | | |
| |
|
|
| |
| |
| |
|
| |
|
| |
|
| |
|
|
| |
|
|
| |
|
|
| |
|
|
| |
|
|
| |
|
|
| |
| |
|
| |
| |
|
| |
| |
| | Yuki Kihara
Fonofono o le nuanua: Patches of the rainbow (After Gauguin), 2020
Image courtesy of Yuki Kihara and Milford Galleries,
Aotearoa New Zealand. | | | | | | | 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 » | | |
| |
|
|
| |
| |
|
|
| |
|
| | | | | | V edizione Le forme del ritratto | | | | | | | – 24 Jul 2022 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
| |
|
| |
| |
| | Filmwerkstatt Düsseldorf
Jonathan Forsythe: Loraine, Philadelphia, Pennsylvania, 2017
© Jonathan Forsythe, 2019 (Kaput Publishing) | | | düsseldorf photo+ Biennale for Visual and Sonic Media | | | | 45 Participating Institutions, Galleries and Fringe Venues | | | | | | | | | | ... until 19 June 2022 | | | | | | | | | | | | | | | The second düsseldorf photo+ Biennale for Visual and Sonic Media opens on 13 May. Featuring over 50 exhibitions and a wide range of accompanying events, the participating Düsseldorf art institutions, galleries and fringe venues collectively offer an insight into the issues and debates current within the world of photography and time-based media.
The keynote exhibition, Think We Must, curated by Pola Sieverding and Asya Yaghmurian opens on 12 May at the Akademie Galerie on Burgplatz and plays a pivotal role thematically within the Biennale. Featuring works by Frida Orupabo, Walid Raad, Hito Steyerl, David Wojnarowicz and others, the exhibition examines how reality, history and a dispositional analysis of society can be constituted and altered when thought is based around photographic images.
The Biennale will be accompanied throughout its run by a comprehensive programme of panel discussions, talks and workshops, including a roundtable debate, with discussants Vivien Trommer, Akinbode Akinbiyi, Aino Laberenz and Max Jorge Hinderer Cruz, on 14 May at K21 at the Kunstsammlung Nordrhein-Westfalen on curating and art education as a means of interrogating power.
The Julia Stoschek Collection places a spotlight on the work of the Turner Prize-winner, Laure Prouvost, with screenings interrogating the intimate relationship between language, image and perception. At Düsseldorf University, Professor Mareike Foecking’s students investigate how artistic production can make a contribution to societal knowledge and the nature of the framework of rules within … | | |
| |
|
|
| |
| |
| |
|
| |
| |
| | | Alfredo Jaar: Searching for Africa in Life, 1996. Courtesy of the artist | | | | | | | 12 Exhibitions on "CURRENCY" | | | | | | | OPENING WEEK: MAI 20 – 22, 2022
FESTIVAL WEEK: JUNI 2 – 6, 2022
EXHIBITIONS: MAI 20 – SEPTEMBER 18, 2022 | | | | | | | | | | | | | With twelve exhibitions starting from May 20, 2022, the 8th Triennial of Photography Hamburg will engage the theme of "Currency" from multiple angles and perspectives. From colonial-era photo albums to visual reveries, social documentary and conceptual approaches to photography, the exhibitions explore the polyphonic ways in which photographs are produced, circulated and interpreted. The exhibition parcours through Hamburg was conceived by artistic director Koyo Kouoh and her international team, alongside the curators of the ten participating museums and exhibition venues in Hamburg. The exhibitions will be accompanied by numerous events and a festival lasting several days in June 2022.
At the Hall for Contemporary Art of the Deichtorhallen Hamburg, Koyo Kouoh, Rasha Salti, Gabriella Beckhurst Feijoo and Oluremi C. Onabanjo examine the "retinal age", in which images fundamentally shape acts of seeing and being seen. The exhibition Currency: Photography Beyond Capture weaves experimental modes of portrayal, documentary and multisensory evocation, as entry points into reimagining how knowledge is sought and constructed through the photographic medium.
Two of the triennial’s exhibitions are devoted to photographer Herbert List » The Magic Eye at the Bucerius Kunst Forum presents the first international survey exhibition of his work in more than two decades. The retrospective spans his career from surrealist works to his visions of life in antiquity and extensive pictorial reports of non-European cultures, all the way to the male nudes with which List avowed his own homosexuality. | | |
| |
|
|
| |
| |
|
| | | | | | Rencontres photographiques de Montpellier 18th edition | | | | | | | – 29 May 2022 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | | | | | Rencontres de la jeune photographie internationale 2022 - 27 artists | | | | | | | – 28 May 2022 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | European young photography festival | | | | | | | – 29 May 2022 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | UN’INVINCIBILE ESTATE | | | | | | | – 12 Jun 2022 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | Denmark, Estonia, Finland, Iceland, Norway, Sweden | | | | | | | – 19 Jun 2022 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
|
|
| |
|
| | | | | | EAT IT – ABOUT FOOD | | | | | | | – 29 May 2022 | | | | | |
| | | | | | | |
|
| |
| |
| |
|
| |
| |
|
| |
© 25 May 2022 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
| |
