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| PHOTOGRAPHY INTERNATIONAL | | 28 June - 5 July 2023 | |
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| | THE RENCONTRES D'ARLES
During the opening week JULY 3 — 9, 2023 throughout the city day and night, photographers and curators of the program meet the public at evening projections, exhibition tours, debates, lectures ...
Every summer since 1970, over the course of more than forty exhibitions at various of the city's exceptional heritage sites, the Rencontres d'Arles has been a major influence in dissiminating the best of world photography and playing the role of a springboard for photographic and contemporary creative talents. |
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| | PER BAK JENSEN
Vasketøj, Laundry, 2006
© Galleri Bo Bjerggaard and the artist, VG Bild-Kunst, Bonn 2023 | | | | | | | | 2 July 2023 – 14 January 2024 | | | Artist Talk: Sunday, 2 July, 12 pm
Guided tour Per Bak Jensen and curator Dr. Katrin Hippel | | | | | | | | | | | | | Bizarre formations made of the eternal ice, vegetation on the most barren stone, the forest as a potpourri of diverse surfaces. The exhibition "Per Bak Jensen – Humming Earth" brings together earlier and very recent large-format landscape photographs. The artist uses vantage point, light and lighting to draw our attention to things we often tend to overlook in the commotion of our everyday lives – be they little textures or big interconnections.
Per Bak Jensen repeatedly applies himself to the task of listening closely for the quiet truths which he feels are to be found within nature. Are we, as human beings, capable of recognising these subtle intermediate tones? Per Bak Jensen believes we can – if we are willing to perceive and understand them. His photographs are thus testaments to an almost metaphysical process of seeking to grasp our surroundings.
Per Bak Jensen (b. 1949) is among the most important protagonists of modern Danish landscape photography. Educated at the Royal Danish Academy of Fine Arts in Copenhagen, he was the first graduate to select photography as an independent and also his exclusive medium for expressing himself artistically. He began working as a lecturer at the academy in 1986 and continued for over 20 years, inspiring numerous younger Scandinavian artists. This alone would be reason enough to present this pioneer of his field to the German public in his first solo exhibition at a German museum. | | |
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| | Gregory Crewdson.
Starkfield Lane, An Eclipse of Moths series,
digital pigment print, 2018-2019.
Courtesy of the artist. | | | | | | | | 3 July – 24 September 2023 | | | | | | | | | | | | | Over the past three decades, Gregory Crewdson has been fleshing out a portrait of middle America, that America of picket-fence suburbia gazing wide-eyed at the glimmers of a fading dream. His cinematographically staged photos have gradually pieced together the fragments of a twilight world. His œuvre stunningly interweaves an autobiographical dimension with the portrait of a gloryless America. Wan lights and deserted streets are recurring tropes in his works, which are prepared like movie sets to produce photos that quite astonishingly remain images from nonexistent films.
This exhibition brings together three bodies of work made between 2012 and 2022. They offer unique insight into a decade of creation and reveal the axes of the universe that has posited Gregory Crewdson as one of the major figures of photography. Cathedral of the Pines and An Eclipse of Moths mark a pivotal phase due to the intimacy with which they vibrate, crystallized by the images’ locations, which are connected to the lives of Gregory Crewdson, his romantic and creative partner Juliane Hiam, and their children. They imbue the autobiographical dimension with political overtones, most subtly expressed in Eveningside which conclude the trilogy, shown for the first time in France.
The trilogy is introduced with the earlier series, Fireflies (1996), stripped of the sets and elaborate postproduction that usually accompany his works. Fireflies stands apart from the rest of his œuvre and was kept away from the public eye for a full decade. With its swarm of nuptial ballets in a constellation-studded twilight, Fireflies reveals the world’s poetic pulsation, and thus provides a counterpoint to the world’s slow pulverization depic… | | |
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| | | | | | | Rosângela Rennó.
Untitled (drama queen family), Nuptials series, mixed media, 2017.
Courtesy of the artist. Photo: Gabriela Carrera. |
| | | | | | | | 2023 WOMEN IN MOTION AWARD WINNER | | | 3 Jul – 24 Sep 2023 | | | | | |
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| | | | | | | Annika Elisabeth von Hausswolff.
Oh Mother, What Have You Done, #28, series, 2019.
Courtesy of the artist. |
| | | | CONTEMPORARY NORDIC PHOTOGRAPHY | | | | | | | 3 Jul – 24 Sep 2023 | | | | | |
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| | | Laura Letinsky, Untitled #3, from Ill Form and Void, 2011 + Jean-Pierre Sudre, Roses Treḿières, 1952 | | | Making pictures | | | | Pop-up gallery @ Les Rencontres d'Arles | | | | | | | 3 - 9 July, 2023 | | | | Opening: Monday, 3 July, from 5pm | | | | | | | | | | | | | | For the opening week at Les Rencontres d'Arles this year, Galerie Miranda and gallery quand les fleurs nous sauvent present a group exhibition with works by two contemporary artists in dialogue with French artist Jean-Pierre Sudre (1921-1997) who was also one of the founders of the Rencontres d'Arles festival in the 1970s. Unique chemigrams by Chuck Kelton (b. 1952, USA) will dialogue with Sudre's experimental practice entitled "matière et végétale'; delicate, large format collage-inspired tableaux by Laura Letinsky (b. 1962, USA) from her series 'Ill Form and Void Full (2014, never shown in France) will dialogue with Sudre's still life photographs of flowers and bouquets, from the 1970s-80s. | | |
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| | ANNA EHRENSTEIN
SOCIAL NEUROPLASTICITY I + II, 2023
lenticular collage mounted on dibond, polyurethane, paint, hypnosis | | | | | | | | | | | | | June 29 - July 22, 2023 | | | Opening: Thursday, 29 June, 7pm
Curated by Johanne Björklund Larsen & Cille SCH | | | | | | | | | | | | | "ALTERED EMOTIONS" is a group exhibition that delves into the profound impact of technological advancements on our perception and interaction with our surroundings. Through a wide range of mediums, the exhibition employs the power of aesthetics to explore the new structures which frame our reality. Examining the interconnected space of empathy, meaning and perception, the show offers a kaleidoscopic exploration of how we experience the world.
Technological advancements increasingly blur the line between the digital and the analogue world actively altering the human experience. As new inventions seep into the public as well as the private sphere, the structures and frameworks we once relied upon to understand reality feel inadequate. Our presence now extends beyond what lies within our physical reach, with our devices enabling a simultaneous presence in the digital realm. Thus we now have a dual existence, splitting our focus and engagement between the two. These innumerable gadgets have also inundated us with an overwhelming amount of information. This content overload has created a culture of superficial engagement, where we skim the surface without ever delving into depths of understanding. The effect of these new habits does not only influence our interactions in the digital world but likewise impacts our behavior on a broader scale, modifying our engagement online as well as offline.
As an example Julio Clavijo, an artist known as 11v151131_M06 (invisible mob) users Artificial Intelligence (AI) and generative algorithms, to create images that become a window into a parallel reality. Drawing inspiration from ritualistic practices around the world, Clavijo delves into the depths of imaginary narratives and timelines. Using… | | |
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| | | | | | | Sara-Lena Maierhofer
Untitled (Hypo Real), 2023
Photogram auf Barytpapier
42 x 34 cm
Unikat |
| | | | | | | | | | | | Fri 30 Jun 18:00
30 Jun – 22 Jul 2023 | | | | | |
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| | | Sara-Lena Maierhofer, Der Fotograf, 2023, Scannogramm, © Sara-Lena Maierhofer | | | | | | | | | | | 30 June – 17 August 2023 | | | Curated by Sara-Lena Maierhofer, Katja Böhlau, Patrick Knuchel and Benjamin Kummer.
A special exhibition of the Kunstbibliothek – Staatliche Museen zu Berlin in cooperation with the Lette Verein Berlin. | | | | | | | | | | | | | In this exhibition, current artistic approaches enter into an open dialogue with a set of works that has long lain quietly in the storage depots of the Photography Collection at the Kunstbibliothek (Art Library). The estate of amateur photographer Kurt Rohde (1920–1996) opens up a multilayered frame of reference for the aesthetic and critical examination of this photographer’s work, the medium of photography, and the handling of archives.
"Even today, I stand in my darkroom almost every day – – – and yet I never finish", Kurt Rohde wrote to an acquaintance in 1996.
To finish, what does that mean? To come to a conclusion? Has Kurt Rohde’s estate been finalized and is telling us his story? Or should the archival material be seen as part of an unfinishable process? Rohde’s countless slides, prints, and experiments in the darkroom became the starting point for an artistic intervention by photography students from the Berlin Lette Verein. In their works, they revived the images and their ordering principles.
A trained chemist, Kurt Rohde was first a production engineer at Osram and later a professor at the Institut für Technologie und Planung Druck at the Hochschule der Künste Berlin (now the Berlin University of the Arts). From the 1950s to mid-1990s, he photographed intensively: primarily portraits, landscapes, and events, but also city views and nudes, with his photographs hovering on the threshold between public and private photography. Rohde’s archive now forms a resonance space for artistic exploration.
With their interventions and reworkings, the artistic approaches take the images’ narratives to their limits and reveal their fragility. What do we see in… | | |
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| | | | | | | | | | curated by Roberta Vanali | | | Thu 29 Jun 19:00
29 Jun - 14 Jul 2023 | | | | | |
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| | Tamara Eckhardt, Youth Of The Island Field, 2019-2021
© Tamara Eckhardt, www.guteaussichten.org | | | | | | | New German Photography | | | | | | | | 1 July – 24 September, 2023 | | | | Opening: Friday, 30 June, 7pm | | | | | | | | | | | | | Double Feature: Two years will be presented in this year's exhibition of GUTE AUSSICHTEN - JUNGE DEUTSCHE FOTOGRAFIE at PHOXXI, the temporary House of Photography of the Deichtorhallen Hamburg. Works with a strong content by 14 winners of the renowned prize for young photographers open up thematically broad fields and show the entire spectrum of contemporary photography, from reportage to art installations.
The award winners of the 18th gute aussichten class of 2021/2022 move in their works along a timeline that embraces the present, the past and the future in equal measure. Their topics range from children growing up in precarious conditions (Tamara Eckhardt) and young people practicing and playing war (Natalia Kepesz), to threats and foreignness in their own homeland (Vanessa A. Opoku), the pitfalls of foreign cultures (Zoyeon), the (un)culture of model house parks in Germany (Fiona Körner), to 18 neatly sequenced chapters of photography (Maximilian Gessler), image testimonies through the marriage of analog and digital techniques (Alexander Kadow), and the taming of the viral as well as volatile language of Internet memes by means of "Trojan horses" (Max Dauven).
The thematic fields will be represented by the 19. gute aussichten volume 2022/2023: The arc spans from the photographic exploration of our natural environment (Jette Held), to the state and perception of a young generation in digital space (Charlotte Helwig), to the exploration of one's own ambivalent identity (Luzi), also in the fi… | | |
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| | | | | | | | Garrod Kirkwood, 2023, The Hubbucks, onderdeel van de serie England, 2018 |
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| | | | | | | Jens Rötzsch
Pfingstreffen der FDJ, Showtänzerinnen
Berlin 1989
© Jens Rötzsch |
| | | | Celebrating festivals in the East | | | | | | | Fri 30 Jun 19:00
1 Jul – 10 Oct 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 | | | | Guiding tour: Sunday, 2 July 2023, 3pm | | | | | | | | | | | | | 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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| | | | | | | | | | | | | | Sun 2 Jul 11:00
2 – 24 July 2023 | | | | | |
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| | Laia Abril, "Case Piece Chalco", Mexico,
from the series "On Mass Hysteria", 2023
© Laia Abril, courtesy Galerie Les Filles du Calvaire | | | | | | | | 30 June – 1 October 2023 | | | | Opening: Thursday 29 June 2023, 18:00 | | | | | | | | | | | | | Artist Laia Abril (Spain, 1986) uses photography, archival documents and multimedia to create her highly political projects, often related to feminist issues and imbued with sociological, historical and anthropological insights. Her long-term projects are structured into different chapters.
The artist will be presenting her latest project at Photo Elysée: On Mass Hysteria (Genesis Chapter), the first draft of which led to her nomination for the Prix Elysée (2018-2020). Mass hysteria is a reaction to circumstances in which women are under extreme stress, feel repressed, or are forced into situations where they cannot communicate or express their thoughts and emotions.
On Mass Hysteria allows us to visualize this language of the pain of female representation throughout history. | | |
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| | Debi Corwall
from the series Model Citizens
© Debi Cornwall / Prix Elysée | | | | | | | | Prix Elysée 2023 | | | | 30 June – 1 October 2023 | | | | Opening: Thursday 29 June 2023, 18:00 | | | | | | | | | | | | | The work is in line with current events and is an important contribution that is timely, given the effect of fake news in our societies. Through her research, the artist questions the blurred line between truth and fiction. The project, which is both a political and intellectual commitment, points to the urgency and necessity of questioning photography as a proof. The impact of fake news is not limited to the United States – the artist is telling a local story that talks about global issues. We are convinced that with the Prix Elysée, Debi Cornwall will reach a new and wider audience and that the prize will help increase her visibility in Europe." – The members of the jury of the Prix Elysée 2023
The Prix Elysée endowment of CHF 80'000 will enable the artist to complete he research and publish a book. | | |
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| | | Jagoda Wisniewska, "Untitled", 2023 © Jagoda Wisniewska | | | | | | | | 30 June – 1 October 2023 | | | | Opening: Thursday 29 June 2023, 18:00 | | | | | | | | | | | | | The artist Jagoda Wisniewska (1987) takes over Le Signal L at the invitation of Photo Elysée in collaboration with Arsenic .
She is interested in the perception of the female body and representations of female sexual and reproductive functions (sexual intercourse, menstruation, birth and breast-feeding). The female body, exposed and sexualised, is also hidden, described by Jean-Paul Sartre as "a series of wet holes and slimy substances". Simultaneously provoking desire and disgust, this "wetness" is both invigorating and threatening.
In this body of work, Jagoda Wisniewska explores the relationship between photography and performance art. She teams up with performer Tamara Alegre to examine the portrayal of the female body and its fluids, using the presence of the camera (and the photographer) as an accomplice in identity experiments.
Born in Bydgoszcz, Poland, in 1987, Jagoda Wisniewska studied photography at Napier University in Edinburgh, and then at the ECAL. Her work focuses on concepts of performativity and portraiture. Her projects examine the roles attributed to women, especially in the domestic realm, and explore the age-old fascination for the mother figure and its representations in photography. | | |
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| | | Books from the Photo Elysée library, 2023 © Khashayar Javanmardi / Photo Elysée / Plateforme 10 | | | OPEN BOOKS | | | | A PROJECT PHOTO ELYSÉE X EPFL+ECAL LAB | | | | 30 June – 1 October 2023 | | | | Opening: Thursday 29 June 2023, 18:00 | | | | | | | | | | | | | The Open Books exhibition allows the public to discover the richness of photography books, as well as exploring the creative possibilities of this object and its influence on contemporary artists.
For the duration of the show, Photo Elysée will be revealing a selection from its book collection with the creation of a library that snakes through the exhibition space. It allows visitors to browse the books and immerse themselves in the sequences of images.
Bringing together image, typography and text photography books are objects offering myriad creative possibilities. They provide an intimate, tactile experience of a series or subject and give the reader time to appreciate the images and narrative. While social media have become a popular way of sharing pictures, photography books offer an aesthetic experience to immersing one's self in the work of the photographer. Both are structured around sequence, the order of the images, linked with text, captions or commentary. | | |
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| | | | | | | Martine Gutierrez
Aphrodite from ANTI-ICON: APOKALYPSIS, 2021
C-print mounted on Dibond,
hand-distressed welded aluminum frame, optium plexi
139.7cm x 97.8cm |
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| | | | | | | | Andres Serrano, America (Snoop Dogg), 2002 |
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| | | | | | | | Sohei Nishino "Short Stories: Beppu" |
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| | | © Stefanie Moshammer | | | | | | | | 28 June – 5 November 2023 | | | | Opening 7th session at L’Appartement: Wednesday 28 June 18:00 | | | | | | | | | | | | | Each Poison, A Pillow combines documentation and personal memories to present a candid approach to a taboo topic: alcoholism in women. Drawing on her childhood and discussions with her mother, Stefanie Moshammer designed an installation to evoke the particular characteristics of this addiction through a variety of media, including photography, videos, textiles, scientific studies, advertising and screenshots.
Each Poison, A Pillow also gave rise to a book published by Éditions Images Vevey. | | |
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| | | On Menstruation Myths © Laia Abril | | | | | | | | 28 June – 5 November 2023 | | | | Opening 7th session at L’Appartement: Wednesday 28 June 18:00 | | | | | | | | | | | | | | Laia Abril’s project, On Menstruation Myths reveals the plight of those experiencing this biological mechanism in societies that despise it. The artist used texts and images to explore myths and beliefs of various cultural origins, alongside unsettling statistics on the way of life for girls and women during their menstrual cycle. Displaying both research and visual metaphors, the installation allows a better comprehension of the tragic repercussions of miseducation and silence regarding the menstrual calendar. | | |
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| | | © Jeff Wall | | | Jeff Wall » A Sudden Gust of Wind (after Hokusai) | | | | 28 June – 5 November 2023 | | | | Opening 7th session at L’Appartement: Wednesday 28 June 18:00 | | | | | | | | | | | | | | The famous Canadian visual artist Jeff Wall collaborated with the independent photography book publishing company TBW Books to turn his large photograph A Sudden Gust of Wind (after Hokusai) into a book-object. When his work is hung on a wall, the ambient air flow gently moves the 98 unbound lightweight sheets of paper, recalling the original photograph of four people and a sheaf of papers swept away by the wind, a scene inspired by a woodcut by the Japanese artist Hokusai. | | |
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| | | © Augustin Lignier | | | | | | | | 28 June – 5 November 2023 | | | | Opening 7th session at L’Appartement: Wednesday 28 June 18:00 | | | | | | | | | | | | | The second Prix Images Vevey x ECAL was awarded to Augustin Lignier.
For his Master’s project, he built a pristine white cube inside his bedroom and, every day for almost two months, he locked himself inside it. As he repetitively and obsessively triggered the shutter release, he put his body’s limits to the test to experiment with the apparatus. This performative and conceptual approach resulted in Container, a project that questions the alienating relationship between a photographer and their camera. | | |
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| | Los 26
Thomas Florschuetz
Ohne Titel (Ricochet) | | | | | | | | | | | | | Auction: 21 – 29 June 2023 | | | The first lot expires at 6pm
Price range from € 100 – 7.000
Online catalog: here | | | | | | | | | | | | | Photographs have established themselves as a fixed item on the program of Van Ham's ONLINE ONLY auctions. The offer ranges from classical photography from Man Ray’s studio to representatives of the Becher class such as Candina Höfer and Thomas Struth to contemporary stars such as Katharina Sievering.
Online catalog: here | | |
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| | | | | | by France PhotoBook | | | | | | | 4 – 8 Jul 2023 | | | | | |
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| | | | | | | | A STATE OF CONSCIOUSNESS | | | | | | | | 3 July – 24 September 2023 | | | | Opening week: 3 - 9 July 2023 | | | | | | | | | | | | | In 1970, Arles photographer Lucien Clergue, writer Michel Tournier and historian Jean‑Maurice Rouquette founded the Rencontres d’Arles, an annual photography festival.
At the time, photography was still regarded as a “minor” art and had not come of age. The festival in Arles played an important role in enabling it to gain recognition from institutions. Starting out as a series of encounters between photography enthusiasts, over the years the event gained importance and much popularity, with soaring success in the early 2000s due to a growing public interest in photography.
LEADING ARTISTS
For over 50 years, photography’s greatest names have participated in the Rencontres d’Arles, a veritable breeding ground for new talent. Anticipating medium changes and technologie evolutions, offering the experience of the image to all: these are the festival’s ambitions. Its program is made rich through a diversity of perspectives, with photographers and curators hailing from different backgrounds. Occasionally a whole program section is offered to an artist, as the case for Martin Parr, Raymond Depardon, Nan Goldin and Arles’ own fashion designer Christian Lacroix. At other times, breaking down the divides, photography is made in relation with cinema, music or architecture. Year after year, the festival tries to interpret a changing world through the eyes of photographers, unquestionably the best at telling story.
ART IN THE CITY
Between early July and late September, the public is invited to explore 40 exhibitions at various heritage sites throughout the city, from 12th-century chapels and cloisters to 19th-century industrial buildings and contemporary, if not unexpected sites (such as the Monoprix and its façade, classified 20th-century heritage). | | |
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| | | | | | R/evolutions | | | | | | | 30 Jun – 27 Aug 2023 | | | | | |
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| | | © Abbas, Festival La Gacilly-Baden Photo | | | | | | | open air festival - ORIENT ! | | | | | | | Baden near Vienna:
The largest outdoor photography festival in Europe will take place
from 15 June until 15 October 2023.
festival-lagacilly-baden.photo | |
| | | | | | | | | | | | | REBELLIOUS AND DEEPLY ROOTED IMAGES OF HOPE FROM THE ORIENT!
A PHOTOGRAPHIC JOURNEY BETWEEN LIGHT AND SHADOW.
ORIENT! focuses on photographers from Iran, Afghanistan and Pakistan. Three countries that all belong to the Persian cultural area. Three predominantly Muslim countries with Indo-European populations that remain subject to the laws of religion and obscurantism. Three countries that we know little about, although they have captured the hearts of all travellers like Marco Polo. Three countries whose photographers are the defenders of positive thinking and ambassadors of environmental awareness. Three countries that are home to a millennia-old civilisation, a unique artistic creativity and courageous authors who have chosen photography to define their place in society. Photographers from these countries have always chosen to break conventions in order to develop an innovative style and look at people and gods with a humanistic eye. Honour to whom honour is due: Abbas, Gohar Dashti and Hamed Noori, Ebrahim Noroozi, Maryam Firuzi, Hashem Shakeri, Paul Almasy, Véronique de Viguerie, Fatimah Hossaini, Shah Marai and Wakil Kohsar, Sarah Caron.
Since its inception, the festival has never wavered from its mission to show the beauty of nature as well
as to address the need to protect it. Through the prism of photography, we aim to highlight the challenges of a sustainable world without naivety. At the same time, the sometimes dramatic reality is never disregarded. All photographs are signs of our unshakeable belief in the future. The photographers at
our festival are determined to be witnesses and part of the effort to preserve our most beautiful common asset - planet Earth: Mélanie Wenger, Bernard Descamps, Gabriele Cecconi, Stephan Gladieu, Money Sharma, Reporters Without Borders, Brigitte Kössner-Skoff and Gerhard Skoff, Antonin Borgeaud, Jérôme Blin, Alisa Martynova, Maxime Taillez, Chloé Azzopardi.
This year, the bilateral photo project of the Morbihan schools in Brittany and Lower Austria is dedicated to the theme of openings. Whether in the literal or figurative sense, the concept of opening also encompasses communication and journeys to new places or people. Ultimately, it raises the question of the construction of our individual and collective identity and our relationship with others.
Photography undoubtedly remains the most incisive tool for changing public opinion and for preserving glimmers of humanity. The Austrian photographers Rudolf Koppitz and Horst Stasny also stand in this tradition. From Gregor Schörg, the festival will show the second part of his work on the wilderness area Dürrenstein-Lassingtal. The exhibition of Lower Austrian professional photographers and the exhibition of the winning photos of the world's largest photo competition, CEWE's "Our World is Beautiful", with almost 700,000 pictures from 170 countries, will round up the festival, as will the retrospective of 2021 in the pictures of the artist in residence Pascal Maitre. In addition, the Austrian photographer Cathrine Stukhard was commissioned to portray the World Heritage Site of Vichy and place it in the context of UNESCO's eleven "Great Spa Towns of Europe", which also include Baden near Vienna.
Under the guiding principle of Culture of Solidarity, the cooperation with the festival partners Garden Tulln, Celje in Slovenia and Month of Photography Bratislava will continue in 2023. | | |
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| | | | | | Groningen - Friesland - Drenthe | | | | | | | – 10 Dec 2023 | | | | | |
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| | | | | | open air festival - NATURAL HERITAGE | | | | | | | – 1 Oct 2023 | | | | | |
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| | | | | | Soft and weak like water | | | | | | | – 9 Jul 2023 | | | | | |
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| | | | | | uMoya: The Sacred Return of Lost Things | | | | | | | – 17 Sep 2023 | | | | | |
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| | | © Alice Martins | | | | | | | 70 ARTISTS / 16 EXHIBITIONS | | | | | | | | ... until 2 July 2023 | | | | | | | | | | | | | The third edition of Porto’s photography biennial, entitled ‘Acts of Empathy’, focuses on assessing today’s social, ecological, and economic resources, and re-imagining a regenerative future. Bienal’23 co-artistic directors Jayne Dyer and Virgílio Ferreira invited 70 artists and 14 guest curators in 14 locations in Porto, transforming them into dynamic creative spaces where visitors are invited to participate in artistic ‘Acts of Empathy’.
Bienal’23 explores our ability to feel, collaborate and drive change through artistic acts of connectivity, reparation, and healing via CONECTAR, EXPANDIR, SUSTENTAR, VIVIFICAR (Connect, Expand, Sustain, Vivify), four sections that intersect local and global perspectives.
While SUSTENTAR features creative laboratories in Portuguese urban centers that look into urban and regional sustainability issues, VIVIFICAR, through artistic residencies with communities, addresses one of the most pressing issues in low-density territories: the settlement of populations. Because these two sections demand concrete solutions and actions, EXPANDIR brings an experimental dimension by presenting academic and professional socio-ecological initiatives for emerging artists. CONECTAR fosters diverse cultural and artistic ecosystems through the interchange of exhibition projects, ideas, and transdisciplinary practices on a national and worldwide scale.
Bienal'23 features projects that are supported by deliberate artist engagement in community and environmental activities in order to foster reparative acts and empathy for the future. | | |
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| | | | | | | | © The Late Estate Broomberg Chanarin 2015 The Goodman Gallery |
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© 28 June 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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