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| PHOTOGRAPHY INTERNATIONAL | | 5 – 12 October 2022 | |
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| | From 6 to 16 October 212 Photography Istanbul will be hosting various local and international artists from solo exhibitions to thematic events with an expanding schedule of EXHIBITIONS, WORKSHOPS, TALKS, FILM SCREENINGS, PERFORMANCES. |
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| | Next week Frieze London 2022 and Frieze Masters 2022 will open on 12 and 13 October.
Already this week there are many current and upcoming exhibitions with photography and video art in London » . |
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| | Rachel Boillot (b. 1987), “Postmistress Ida, Sherard, MS,” 2013
Chromogenic print, 19 1/2 × 24 1/4 inches.
The Do Good Fund, Inc., 2015–42. © Rachel Boillot. | | | | | | Southern Photography from the Do Good Fund
125 photographs by 73 artists | | | | | | | | 8 October 2022 – 8 January 2023 | | | Exhibition Reception: Friday, October 21, 2022, 6:30 – 8 p.m.
Symposium: Saturday, October 22, 2022
Two roundtable discussions, Georgia Museum of Art auditorium | | | | | | | | | | | | | This exhibition is the first large-scale survey of the Do Good Fund’s remarkable and sweeping collection of photography made in the South from the 1950s to the present. Since its founding in 2012, the Do Good Fund has built a museum-quality collection of photography that charts a visual narrative of the ever-changing American South. The collection includes images by more than 25 Guggenheim Fellows, five Magnum Photographers and two Henri Cartier-Bresson Award winners as well as images by lesser-known or emerging photographers from the region. In part a survey of the art and artists within Do Good’s holdings, the exhibition is also and more crucially a scholarly investigation of southern photography since World War II.
Highlighting a wide-ranging group of photographers — diverse in gender, race, ethnicity and region — the exhibition features 125 photographs by 73 artists. It unfolds within six sections that examine each of the project’s core themes: land, labor, law and protest, food, ritual and kinship. These themes are inherently expansive and internally paradoxical. Within this thematic structure, the project raises key questions that identify and problematize fixed ideas of an “American South” and “southern photography.” How do photographs navigate the interface between nature and culture in the South, as well as the ravages of extraction, settlement and sprawl? How do photographers string together histories of quotidian labor, creativity and caretaking and the region’s painful histories of enslaved and incarcerated labor? How have photographs captured the performance of southern community and identity through civic and religious rituals? How has the medium signaled exclusion and estrangement, yet also belonging and kinship in the America… | | |
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| | | | | | | Slow Fade to Black (Josephine Baker)
from the series Slow Fade to Black, 2009–2011
© Carrie Mae Weems
courtesy Jack Shainman Gallery, New York
and Galerie Barbara Thumm, Berlin |
| | | | | | | | Un gran giro de lo posible | | | | | | | 5 Oct – 15 Jan 2023 | | | | | | | 5 Oct – 15 Jan 2023 | | | | | | | | | | | 5 Oct – 15 Jan 2023 | | | | | |
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| | | “Christa kommt im Flugzeug“ , Postkarte, 1935, © Staatliche Museen zu Berlin, Kunstbibliothek | | | Bird's-Eye View / Worm's-Eye View | | | | Photography for Children | | | | | | | 9 October, 2022 - 19 February, 2023 | | | | A special exhibition of the Kunstbibliothek – Staatliche Museen zu Berlin | | | | | | | | | | | | | For the first time, the Museum für Fotografie in Berlin is opening its doors primarily to children. The show focuses on the concrete-sensual materiality of original photographs and complements them with a selection of prints, drawings, sculptures, and films. The colorful mix of around 240 works illustrates the uses, forms of design, and expressions of photography from its beginnings to the present.
Ten associatively grouped chapters offer a wealth of images and photographic stories. They include episodes about finding, collecting and photographic storytelling; about reading numbers, letters or clouds as well as about discoveries in everyday life, at school and on trips. Photographs of animals and nature can be found in them, memories of families and friendship, but also automaton portraits and photographic games of color, light, mirror and material. The exhibition spans the spectrum from the snapshot to the classic advertising shot from the professional studio and the socially committed photo reportage to artistic forms of design and concepts. These include Pictorialism around 1900, the New Vision of the 1920s, or photographic art, mail art, and positions of staged photography. The exhibits come from the rich collections of the Kunstbibliothek, supplemented by loans from the Staatlichen Museen zu Berlin as well as from artists and private collections, and present a "school of seeing“. In addition, a reading island with photographically illustrated picture books creates space to immerse oneself in new worlds. This media diversity not only holds exciting discoveries in store for a young audience. Rather, it conveys how differently people look at life, making the exhibition an experience for young and old alike.
The exhibition catalog is… | | |
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| | Johan Österholm
Antique Sky Collages, 2021
Silver gelatinous on 19th century book paper
39,4 x 30,4 cm | | | | | | | | ... until 29 October, 2022 | | | | | | | | | | | | | The urge to document what is no longer visible. To remake, capture, and conserve what was there for millennia and has been largely obscured over the last 150 years urges Österholm on. In his work, the artist recreates the night sky as it appeared in the 1800s before public gas lanterns lit up metropolises and subsequently darkened the firmament.
After cutting out pages from nineteenth-century astronomy tomes, the process involves covering the yellowed paper with liquid silver gelatin, in effect making light sensitive paper that is as old as the photographic medium itself. Placing found archived glassplate negatives depicting the heavens on the now photosensitive paper, Österholm exposes these to the harsh light of an ordinary streetlamp for prolonged periods of time.
The very same light that dimmed the view of the stars, now illuminates them. Bright pinks, deep purples, and warm oranges sprinkled with lens flares and bright dots emerge. Printed backsides of the paper may peek through, rips, tears, and creases flesh out the work. The unique prints are finite. Österholm’s material will become rarer and rarer, the pages will run out and the sky he is trying to capture will become more and more difficult to see. Light begets light, a return to the darkness is no longer imaginable.
In the series "Lightfall", Österholm takes it one step further and directly confronts the skyscapes with imagery of gas lanterns. Here he subverts photographs of Charles Marville, the official photographer of Paris who was tasked with documenting the rapidly changing city in the 1860s and 70s. Unknowingly to Marville these images of the new lightning apparatuses that dissolved the gloom of the city’s alleyways and brought spl… | | |
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| | Catherine Henriette
Le bateau rouge, 2014
From the series "Conte d'hiver"
66 x 99 cm
Edition of 5 | | | | | | | | 6 October – 12 November 2022 | | | | | | | | | | | | | | |
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| | | | | | | | © Kunie Sugiura《 Atsuko Tanaka+Akira Kanayama AP2》 2004 |
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| | | Luca Nostri: Piazza Baracca, Lugo, 2020 © Luca Nostri | | | | | | | A window into contemporary Romagna photography | | | | | | | | ... until 15 October 2022 | | | | | | | | | | | | | Otto volte due presents a selection of new and recent work by eight contemporary Romagna photographers, affording insight into the unique cultural and artistic phenomena of the region.
These photographers are part of a vibrant artistic community across a network of small towns in Emilia-Romagna. Antonello Frongia, professor of photography at Roma Tre University, writes: ‘having trained with Guido Guidi and in a fertile climate of mutual exchange, these artists, born between 1963 and 1987, have honed a photographic and artistic culture that expresses itself through independent sensitivities, languages and research.’ | | |
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| | | | | | | | © Jin-me Yoon – The Scotiabank Photography Award 2022 |
| | | | A retrospective of Canada’s Foremost Photography Prize | | | | | | | 12 Oct 2022 – 7 Jan 2023 | | | | | |
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| | | | | | | | in swimming pool © María Svarbova |
| | | | | | | | | | | | Fri 7 Oct 20:00
7 Oct 2022 – 12 Feb 2023 | | | | | |
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| | | | | | | | | | | | | | Wed 12 Oct 18:00
11 Oct – 4 Nov 2022 | | | | | |
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| | JO ANN CALLIS
Untitled, from Early Color portfolio, c. 1976
Archival Pigment print 16 x 20 inch / 40,6 x 50,8 cm
© Jo Ann Callis / Galerie Miranda | | | | | | | | | | | ... until 13 November 2022 | | | | | | | | | | | | | To open its autumn 2022 program, Galerie Miranda announces a two-person exhibition by celebrated American artists Jo Ann Callis (b. 1940) and Jan Groover (b.1943-d.2012), both at the heart of the 1970s American 'new color' school of photography. The Paris exhibition will feature selected vintage and contemporary color prints from the landmark series Early Color (1976) by Callis and Kitchen Still Lifes (1979) by Groover.
Working at the peak of the American women's liberation movement, neither artist specifically declared themselves to be feminist artists yet both were producing works within and about their home environment, in the vein of militant feminist artists such as Martha Rosler (Semiotics of the Kitchen, 1975) and Judy Chicago (The Dinner Party, 1974-9). In Los Angeles in the 1970s, Jo Ann Callis was juggling two young children, numerous home moves, night school and a pending divorce. Despite these obstacles, she worked constantly to produce her seminal series Early Color. Influenced notably by Paul Outerbridge but also Hans Bellmer and Pierre Molinier, her cinematographic scenes capture the tensions and anxiety of a claustrophobic domestic environment where freedom, pleasure and curiosity are bridled. Hitchcockian by their exquisite composition, Callis created all the decors for the series that she photographed for the most part in her converted Los Angeles garage, with friends as models and the domestic objects at hand as props - string, tape, sheets, lamps, sand, honey and her household chairs, tables and plants.
Similarly, for her celebrated Kitchen Still Lifes series, Jan Groover created poetry out of a kitchen sink piled up with fork tines, butter knife blades, scalloped… | | |
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| | | | | | | Rolf H. Krauss, Sukzession 45°, Stadthalle I, 1976,
Staatsgalerie Stuttgart, Graphische Sammlung,
erworben 1989, Sammlung Dr. Rolf H. Krauss |
| | | | Sammlung Rolf H. Krauss | | | | | | | Thu 6 Oct 18:00
7 Oct 2022 – 5 Feb 2023 | | | | | |
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| | Untitled 2020
from M/E
© Rinko Kawauchi | | | | | | | | 8 October – 18 December 2022 | | | | | | | | | | | | | M/E is the first solo exhibition by Rinko Kawauchi in six years, and her largest ever exhibition at a Japanese museum. The exhibition approaches the core of Kawauchi’s creative process ─ its essential nature and the issues it seeks to address ─ through photography, video, and other media.
Conceived as an installation based on lengthy discussions with the artist, M/E ─ On this sphere Endlessly interlinking offers visitors the physical experience of coming face-to-face with Kawauchi’s work in a space designed by architect Hideyuki Nakayama. Centered around, and taking its title from, Kawauchi’s new series M/E, the exhibition explores her activities over the past decade.
〈M/E〉
A new series from Kawauchi, begun in 2019. From glaciers in Iceland and snowy landscapes in Hokkaido to family and living creatures around Kawauchi’s home during the Covid-19 pandemic, this series examines nature from both micro and macro perspectives. M/E is the core of the exhibition and is displayed in a structure that makes use of the entire venue space. | | |
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| | | | | | | Wetzlarer Dom mit handschriftlichem Vermerk A. Meydenbauers
© Historisches Archiv Wetzlar |
| | | | | | | | Pioniere der Photogrammetrie | | | Fri 7 Oct 10:00
8 Oct 2022 – 29 Jan 2023 | | | | | |
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| | | | | | The photography section of Art Market Budapest | | | | | | | 6 – 9 Oct 2022 | | | | | |
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| | | | | | | | | | | | | | Wed, Thu 12, 13 Oct
14 – 16 Oct 2022 | | | | | |
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| | | | | | | | | | | | | | Thu 6 Oct 20:00
6 – 30 Oct 2022 | | | | | |
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| | | © Pentti Sammallahti | | | Festival La Gacilly-Baden Photo 2022 | | | | DUE NORTH | | | | | | | | | | | | | | | | | | | | DUE NORTH is an opportunity to highlight the often little-known creative power of artists from Northern Europe who, since the dawn of photography, have maintained an almost carnal connection with the ruggedness of their homeland. For the inhabitants of Denmark, Finland, Iceland, Norway and Sweden, solitude and wild nature are integral to their relationship with the world. They do not exploit the fruits of nature blindly, but try to understand how everything works and observe it with a caring eye. Their knowledge and constant desire to learn more about flora and fauna lead them to be very committed to respecting nature.
It is no wonder that the countries of the North, with their outrageous economic health, are among the most pleasant nations to live. Regularly crippled by frost and cold and accustomed to the great outdoors, they have developed a centuries-old tradition of political consensus, rejection of conflict and social development based on strict conservation of natural resources. In Copenhagen, 40% of the inhabitants cycle to work, in Stockholm the buses run on bioethanol, and in Reykjavik geothermal energy is now commonplace. Some will see the legacy of Lutheranism, others the more distant traces of the Viking tradition. You can't survive in the far north without a certain willingness to adapt. In countries where warmth and light are vital six months out of twelve, the environment is a crucial challenge. So it is understandable that Swedish teenager Greta Thunberg has become the new face of climate change for the world's youth: she knows that melting glaciers and sea ice are not far from home and that it is not a boreal illusion. If your culture is threatened by the effects of global warming, it is your duty to alert the public.
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| | | | | | Theatre of Dreams | | | | | | | – 23 Oct 2022 | | | | | |
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| | | | | | We, on the Rising Wave | | | | | | | – 6 Nov 2022 | | | | | |
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| | | | | | INTERNATIONAL PHOTO FESTIVAL | | | | | | | – 9 Oct 2022 | | | | | |
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| | Chow and Lin, 2020:06:13, 13:31:23, 2020. From the series I want to bring you around the world, 2020–22.
Archival inkjet print. Courtesy of the artists. | | | | | | | If I Had a Hammer | | | | | | | | African Cosmologies: Redux | | | | | | | ... until 6 November 2022 | | | | | | | | | | | | | | Houston’s Fotofest Biennial 2022 "If I Had a Hammer" (September 24 through November 6) considers the ways artists utilize images to unpack the ideological underpinnings that inspire collective cultural movements around the globe. Together, the twenty-three included artists propose alternative techniques of seeing and engaging with the world, working with both conventional and new medi. | | |
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| | | | | | New beginnings from images - Investigations into reality and the inner gaze: 1,800 exhibitions, 1,760 authors and 742 exhibition spaces, | | | | | | | – 31 Oct 2022 | | | | | |
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| | | Melanie Bonajo: ‘Big Spoon’, film still from ‘When the body says Yes’ . Courtesy of the artist. The Netherlands national Pavillion | | | | | | | The Milk of Dreams | | | | | | | | ... until 27 November 2022 | | | | | | | | | | | | | The 59th International Art Exhibition of La Biennale di Venezia, titled The Milk of Dreams, will open to the public from Saturday April 23 to Sunday November 27, 2022, at the Giardini and the Arsenale; it will be curated by Cecilia Alemani and organised by La Biennale di Venezia chaired by Roberto Cicutto. The Pre-opening will take place on April 20, 21 and 22; the Awards Ceremony and Inauguration will be held on 23 April 2022
Read the statement by Cecilia Alemani »
Read the statement by Roberto Cicutto »
THE INTERNATIONAL EXHIBITION
The Exhibition will take place in the Central Pavilion (Giardini) and in the Arsenale, including 213 artists from 58 countries; 180 of these are participating for the first time in the International Exhibition. 1433 the works and objects on display, 80 new projects are conceived specifically for the Biennale Arte.
The artists »
NATIONAL PARTICIPATIONS
The Exhibition will also include 80 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the city centre of Venice. 5 countries will be participating for the first time at the Biennale Arte: Republic of Cameroon, Namibia, Nepal, Sultanate of Oman, andUganda. Republic of Kazakhstan, Kyrgyz Republic and Republic of Uzbekistan participate for the first time with their own Pavilion.
The National Participations » | | |
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© 5 October 2022 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
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