| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 6 – 12 October 2021 | |
|
| |
|
| |
| |
| | Celebrating the 10th anniversary, MIA Fair is rescheduled from May to Thursday, 7th to Sunday 10th October 2021 at the new venue of SUPERSTUDIO MAXI in Milan. MIA Fair offers a unique approch by presenting Solo Show and Group Show with a specific curatorial project. |
| | | | | | | | | |
|
|
| |
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | NEW YEAR, 2021
Archival pigment print on rag baryta paper, mounted, framed with museum glass
Available in three sizes, all within the same edition of 5
© Michael Bailey-Gates, courtesy THE RAVESTIJN GALLERY, Amsterdam | | | | | | | | ... until 23 October 2021 | | | | | | | | | | | | | The Ravestijn Gallery is proud to announce A Glint in The Kindling, the inaugural European exhibition of American artist Michael Bailey-Gates. A Glint in The Kindling will bring together photographs from artist’s growing oeuvre to introduce a new audience to their belief in a world where gender, identity and sexuality are boundless conditions.
Michael Bailey-Gates uses photography to dissolve the binary world and affirm new ways of being that are in perpetual motion. In their intimate, often theatrical photographs of themselves and their friends, the definitions we’ve been conditioned to use become futile. Man and woman; masculine and feminine; straight and gay; all ebb into irrelevance. Even gender itself seems somehow immaterial.
How, for example, is one meant to talk about Birthday, in which Bailey-Gates sits on the floor against a blank backdrop, naked and cradling a baby on the verge of tears. The makeup Bailey-Gates is wearing is striking but flawless, their head adorned with hair that cascades down to their shoulders. Describing Birthday in literal terms is simple enough, but to try and talk about it any further isn’t. Most would describe Bailey-Gates’ hair as feminine, their serene face too. Yet most would then describe their physique as masculine, before describing the act of cradling as maternal. The more we see-saw between rigid definitions, however, the more we realise it’s those very definitions that restrict our perception of who Bailey- Gates is in the photograph. The words we usually rely on feel superficial, inadequate to express the human in front of us. In turn, looking at Birthday evokes more questions about how we’ve been taught to look at others than about Bailey-Gates themselves. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | "Parsifal" von Richard Wagner
L’Opéra Bastille Paris 2008
Regie: Krzysztof Warlikowski
Bühne: Malgorzata Szczęśniak
Kundry: Waltraud Meier
© Ruth Walz | | | | | | | | 8 October 2021 – 13 February 2022 | | | | | | | | | | | | | In a large solo exhibition, the Museum für Fotografie (Museum of Photography) presents theatre photographs by Ruth Walz from the past 50 years. Between 1976 and 1990, Walz masterfully documented legendary productions by Peter Stein, Luc Bondy and Robert Wilson, among others, for the Schaubühne Berlin. She also accompanied many other milestones of recent European theatre and opera history as a photographer.
In the decade and a half that Ruth Walz (b. 1941 in Bremen) was closely allied with the Schaubühne ensemble, she perseveringly and no less poignantly captured the productions of Peter Stein, Klaus-Michael Grüber, Luc Bondy and Robert Wilson in the memorable spaces of Karl Ernst Herrmann, Gilles Aillaud and Eduardo Arroyo and the costumes of Moidele Bickel and Susanne Raschig. Following this successful and benchmark-setting era, she trained her lens on companions as they performed on many of Europe’s theatre and opera stages. During this period she also expanded her photographic range technically (from analogue to digital) and through new friendships with theatre directors, including Krzystof Warlikowski, Peter Sellars, Dmitri Tcherniakov and Romeo Castellucci.
Photography at the Theatre
Her instinct for choosing the "decisive moment", which is no less valid in the theatre than in street photography, has produced compelling portraits of eminent actors and actresses through the years. Ruth Walz’s close-ups capture the actors’ countenances more minutely than we have ever seen them, while her long shots evoke enduring spatial narratives. Intimate gestures and eloquent facial expressions intertwine with the choral interplay of the ensemble. | | |
| |
|
|
| |
| |
| | | Suse Byk, Laban Gruppe von Hertha Feist Berlin, Tanzstudie Don Juan, 1925 –1926, © Staatliche Museen zu Berlin, Kunstbibliothek | | | Theatre at the Museum für Fotografie | | | | 8 October 2021 – 13 February 2022 | | | | | | | | | | | | | Like a detective sifting through clues, the presentation elucidates a previously little known chapter in the history of the former Landwehrkasino, now the Museum für Fotografie (Museum of Photography). A century ago, a theatre was established in the Kaisersaal (Imperial Hall), the museum’s largest exhibition space ‒ located on the 2nd storey. The exhibition uses theatre photos, programmes, cast lists, postcards and posters to introduce its eventful history.
The Landwehrkasino was built in 1909 as a meeting place and dining club for the reserve officers’ corps. After the First World War, the German military was in dire financial straits, so it was decided that the prestigious heart of the Kasino building, the Kaisersaal, would have to be rented out. Gustav Charlé opened the Neues Theater am Zoo there in August 1921. The stage was located in Berlin’s "New West", the hub of "Golden Twenties" entertainment culture around the Kaiser-Wilhelm-Gedächtniskirche (Kaiser Wilhelm Memorial Church) and the Kurfürstendamm. It offered a broad and varied programme, with the spectrum of works ranging from Shakespeare to Wedekind to Roda Roda, and including operettas, dance theatre, piano evenings and comedy drama.
From the Neues Theater am Zoo to the Deutsches Volkstheater
The theatre experienced a rapid succession of sensational successes, bankruptcies and management changes. In 1929 Joachim von Ostau took over the stage and renamed it the Deutsches Volkstheater. Barely a year later, Ostau’s plan to establish a culturally relevant theatre had already failed. Like many other theatres, the stage shut down because of the world economic crisis in the early 1930… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | | | | | | Lee Maelzer: Stones & Pylons, 2017, collage on paper, 16.5 x 15.5 cm |
| | | | | | | | | | | | Sat 9 Oct 14:00
10 Oct – 31 Oct 2021 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Humboldt Forum, Berlin, 2020 aus der Serie Bauensemble
© Andreas Gehrke | | | | | | | | 7 October 2021 – 11 February 2022 | | | | Opening: Thursday 7 October 2021, 6:30pm | | | | | | | | | | | | | Emptiness only appears to be nothing. But really it conceals a wealth of meanings. Emptiness ranges from abandoned and left-behind spaces, undefined areas left to their own devices, to historical voids which have become memorials. But it also encompasses planned and designed emptiness, open spaces in dense urban contexts, the aura of exhibition spaces, and the grandeur of prestigious buildings.
Andreas Gehrke places the aesthetics of emptiness at the centre of his photographic work. He conceives his spatial perspectives as portraits and even finds a concrete counterpart in assemblages devoid of people. In the exhibition "Räume – Espaces" he shows the juxtaposition and entanglement of abundance and deprivation, order and chaos, presence and absence – as well as conception and coincidence – as interconnections of our built environment. Over three chapters, the exhibition dedicates itself to various states and connotations of emptiness. It shows spaces left behind and undefined areas undergoing a process of conversion, as well as planned and designed emptiness, the aura of exhibition spaces, and the grandeur of prestigious buildings.
Andreas Gehrke is a photographer and publisher whose work has been exhibited at the German Architecture Museum, Frankfurt, and PS1, New York, among others. Since 1999, he has been working internationally under the pseudonym Noshe, realising commissioned works for architecture practices such as David Chipperfield and Sauerbruch Hutton, and magazines and publishers such as Wallpaper*, AD Germany, Distanz and Hatje Cantz. In 2013 he founded the publishing house Drittel Books whose programme has already published numerous photobooks. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | Margaret Watkins: Untitled (Graflex Camera), c. 1920
vintage gelatin silver print, 21.1 x 16.2 cm
© Margaret Watkins / Collection of Joseph Mulholland, Glasgow |
| | | | | | | | | | | | 13 Oct 2021 – 16 Jan 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Ludere aus Blindfell, c-print analog, 2015, 93 x 74 cm © Nadja Bournonville |
| | | | oder die Suche nach dem Jetzt | | | | | | | Fri 8 Oct 19:00
8 Oct – 26 Nov 2021 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Helga Paris: aus der Serie "Siebenbürgen", 1980 |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | "SOLD", 2016-2018 © Ernst Coppejans |
| | | | | | | | Fotomanifestatie Enschede 2021 | | | | | | | Fotomanifestatie Enschede 2021 | | | Sun 10 Oct 16:00
10 Oct 2021 – 9 Jan 2022 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | © Daniel Reuter | | | | | | | | | | | | | 2 October 2021 – 9 January 2022 | | | | | | | | | | | | | Exhibition of the 4th participation of Lët'z Arles (association that supports and promotes photography and artists linked to Luxembourg) at the Rencontres d'Arles in France 2021.
Providencia - providence - in its biblical sense, describes God's intervention in the universe, an influence beyond human control. The Providencia neighborhood in Santiago, Chile, provides both the setting and the title for this new series by Daniel Reuter. His gaze explores the marks of a context of divergence recently brought to the surface, from a visually prosaic urbanity: architectural details, makeshift structures, trees and foliage, construction fences obstructing the view. Twelve large-format images enter into conversation through a hexagonal device inspired by a modernist kiosk in the Providencia district. A book accompanies the exhibition and offers an immersive exploration of this series, using several papers, plays on transparency, opacity, and materiality. (Curator: Michèle Walerich)
Lisa Kohl is interested in the relationship between artistic creation and social reality. She goes out into the field to meet people who live in precarious conditions and establishes relationships of exchange and trust with them. Lisa Kohl's works speak of flight, exile, the non-place of life or survival, invisibility, and absence. She invites us to reflect on identity, homeland, border crossing, futility, and hope. Her ERRE is an installation composed of three original works. The projection of her film HAVEN (2021) enters into dialogue with two series of photographs: SHELTER (2019) and PASSAGE // 32°32'04.7''N 117°07'26.3'&… | | |
| |
|
|
| |
| |
| |
|
| |
| |
| | Evelyn Hofer
Harlem Church, New York, 1964
© Evelyn Hofer / Galerie m Bochum | | | | | | | | 8 October 2021 – 21 January 2022 | | | | | | | | | | | | | With the exhibition "Evelyn Hofer. Encounters with the Camera", the Deutsche Börse Photography Foundation is presenting 67 works by the renowned photographer, created in the 1960s and 1970s in the USA and Europe. At the same time, "Female Perspectives from Vivian Maier to Barbara Klemm" presents works by nine female artists from the Art Collection Deutsche Börse who were active during the same period as Hofer.
The exhibition "Evelyn Hofer. Encounters with the Camera" shows images of the photographer, who is born in Marburg, Germany, in 1922. Hofer immigrated to Spain with her family in 1933 and later trained as a photographer in Switzerland. From the mid-1940s, she lived mainly in New York, where her work appeared in various major magazines such as Vogue and Harper’s Bazaar.
In addition to these commissions, Hofer subsequently composed numerous photographic essays and extensive city portraits – of Washington, New York, London and Dublin, among others. Her subjects for these works were women, men and children from different social milieus and occupational groups, with a focus on the unspectacular and everyday. Meeting them with an unembellished gaze, her portraits elicit a captivating magic. Their apparent casualness and fleetingness are a fallacy. A true perfectionist, Hofer prepared and thought through almost every shot in advance. With her keen sense of colour, form and space, Hofer created timeless photographic 'encounters' that continue to touch us in their intensity. | | |
| |
|
|
| |
| |
| | Vivian Maier
Miami, 1960
© Vivian Maier / Maloof Collection | | | | | | | | | | | | | 8 October 2021 – 21 January 2022 | | | | Opening reception: | | | | | | | | | | | | | "Female perspectives from Vivian Maier to Barbara Klemm" showcases works by nine female artists from the Art Collection Deutsche Börse. The presented contemporaries of Evelyn Hofer are Diane Arbus, Sibylle Bergemann, Barbara Klemm, Ute Mahler, Vivian Maier, Susan Meiselas, Helga Paris, Mimi Plumb and Christine Spengler.
Their photographs from the second half of the 20th century are documenting people in everyday life as well as in exceptional situations, showing private and political, street scenes and interiors and are the result of different photographic concepts. What unites them is their interest in the people they depict as well as their living conditions, which are both at the heart of the images. Whether the photographs are the consequence of a brief, spontaneous encounter or that of a long-standing examination, they all convey a closeness to the people who are their subjects and a meeting at eye level. At the same time, they all show an outstanding power of observation and the mastery of photographic portraiture which also characterises Hofer’s work. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | | | | | Karsten Thormaehlen
Frieda, 100, Frankfurt am Main, 2019
© Karsten Thormaehlen |
| | | | | | | | CURATED BY GERHARD STEIDL | | | Wed 6 Oct 17:00
– 29 Oct 2021 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Anna Halm Schudel
tulips lake, 2013
C-print on Fuji Crystal Archive on Aludibond behind 4 mm acrylic glass
70 x 50 cm
Edition of 7 | | | | | | | | ... until 18 December 2021 | | | Opening: Saturday, 9 October 2021, 7 - 9 pm.
Anna Halm Schudel will be present to sign her books and posters. | | | | | | | | | | | | | From the ancient mural to the baroque still life to contemporary photography: flowers are one of the most popular motifs in art history. For 25 years, Zurich-based photographer Anna Halm Schudel has been working on the traditional subject. She celebrates the luminous splendour of colours and the variety of shapes and thus the seduction of flowers. Equally passionately, the photographer follows the process of fading and wilting, shooting dry or underwater bouquets. Blossom combines decorative splendour with a memento mori.
Anna Halm Schudel loves flowers. But flowers are not just flowers. The pictures of Anna Halm Schudel make the flowers speak. They reveal themselves to us, show themselves from all sides and they make no secret of their aging process. How often do we carelessly pass a bouquet of flowers.
We may perceive the splendor of colour in an angle of the eye, but seconds later the impression has already faded. This is where Anna Halm Schudel's photographs begin. "Take your time. Look at me," the flowers that the photographer immortalized in this work would like to tell us.
Anna Halm Schudel actually comes from advertising photography with her husband Peter. The two ran a photo studio together in Zurich, so it is not surprising that Anna does not photograph the flowers somewhere outside, but in her studio, where she can indulge in the ideal position and the perfect lighting. Portraits of the flowers are not simply created, but Anna Halm Schudel gives us with her sophisticated technique an insight into a world of flowers that only bees and insects otherwise know. A magnificent nature is revealed to us – a macro-world that we know in theory, but which we have never seen in this beauty and perfection. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Mike Ying, How did you find me: Portrait of Jamey, London, 2020 |
| | | | | | | | | | | | Wed 6 Oct 18:00
– 26 Nov 2021 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | Christopher Udemezue
Untitled (Down by the Spanish River, stained in sugarcane), 2017
Digital print 43 ¹⁄₂ x 58 inches / 110.5 x 147.3 cm
Edition of 3 |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Diamond & Jiggy 2019 © Marie Tomanova |
| | | | | | | | | | | | Thu 7 Oct 18:00
7 Oct – 24 Dec 2021 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | GERARD DALLA SANTA
Paysage 31, 2016
Archival pigment print
60 x 70 cm
Limited edition of 5 | | | | | | | | ... until 30 October 2021 | | | | | | | | | | | | | Galerie Miranda is delighted to present a personal exhibition by Gérard Dalla Santa (b. 1947, France). Entitled Des Paysages Longtemps, the exhibition takes its name from a short poem by Rainer Maria Rilke.
The photographs presented in this solo show proceed from Gérard Dalla Santa's research into landscape that is anchored in two traditions: that of documentary photography and that of outdoor landscape painting (Corot, Courbet, Pissarro and Cézanne…) that considered the topography as well as the historical and collective dimension of landscape. Temporal markers punctuate the work of Gérard Dalla Santa, who captures, in the present tense of photography, the intersection between the time of landscape and the time of its representation. In his recent landscapes of river banks, the artist employs the picturesque and the banal to reveal a newfound lyricism, allowing living beings - human and animal - to enter the field on equal terms with nature.
Dalla Santa's work echoes the writings of English historian Simon Schama, whose seminal and exceptional publication 'Landscape and Memory' (Vintage books, 1995) draws upon science, geography, politics, literature, religion, art, architecture and mythology to weave a narrative of the 'necessary union' throughout history between civilization and nature. Avoiding the usual duel of conquering mankind vs. passive nature, Schama, seeks instead to reveal what binds them. To paraphrase Schama's introductory text:
"If...our entire landscape tradition is the process of a shared culture, it is by the same token a tradition built from a rich deposit of myths, memories and obsessions. The cults which we are told to seek in other native … | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Frank Meadow Sutcliffe, Excitement (Whitby, England), um 1888, Albuminabzug, © Skrein Photo Collection | | | | | | | | | | | | | ... until 17 October 2021 | | | | | | | | | | | | | The exhibition "Tell Me What You See. Skrein Photo Collection" is a tribute to the photographer and collector Christian Skrein (Vienna, AT, 1945). In the 1960s, a young Skrein embarked on a career as a photo reporter, then as an advertising and fashion photographer; later he felt drawn to the artists, designers, and architects of the young Viennese avant-garde. He was on the scene wherever the exciting new things that earned the “swinging sixties” their moniker were happening; in 1965, he photographed the Beatles on a film set in Obertauern and the Rolling Stones during their concert at Vienna’s Stadthalle.
In 1966, Skrein opened a studio for fashion and advertising photography in Vienna, followed after a while by a second studio in Milan. Having equipped himself with first-rate photo gear, he placed work in prominent periodicals including Vogue. His repertoire encompassed photographic experiments, street photography, photo reportages, advertising and fashion photography, and artists’ portraits. Skrein was a fixture of the Austrian and international arts scenes and acquainted with Walter Pichler, Arnulf Rainer, Hans Hollein, Friedensreich Hundertwasser, and Oswald Wiener. For a brief period, he was a leading portraitist of the circle of avant-garde artists around Galerie nächst St. Stephan, the Wiener Gruppe, and Viennese Actionism; Christo and Joseph Beuys were also among his sitters.
But then, in 1970, he abandoned his career as a photographer and put the camera aside to dedicate himself to producing and directing advertising films. The photographer Skrein now took a back seat to the impassioned collector.
The fruit of that passion, which has never waned in now more than five decades, is o… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | | | | | ENDURING ELEGANCE, 2021
C-print, 222 x 178 cm
Edition of 3
© WON SEOUNG WON |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | © Peter Puklus, The Hero Mother – How to Build a House | | | Peter Puklus » The Hero Mother – How to Build a House | | | | 13 October – 28 November 2021 | | | | Opening reception: Wednesday 13 October 18:00 | | | | | | | | | | | | | In this 2017/2018 Images Vevey Grand Prix winning series, Peter Puklus deconstructs the dynamics of pre-established female and male roles: motherhood as a presumed heroic activity and the father's assumed duty to build and protect the home. Premiered internationally at the 2018 edition of the Images Vevey Festival with an immersive installation, the project continues today as an artist's book co-published by Witty Books and Images Vevey.
By deploying an extraordinary visual and pictorial vocabulary around his own family unit, Puklus breaks down the symbols traditionally associated with maternal and paternal fig- ures. Throughout the pages, he shares with the reader his doubts, his states of mind and his vulnerability. | | |
| |
|
|
| |
| |
| | | When Strawberries Will Grow on Trees, I Will Kiss U © Nicolas Polli | | | | | | | When Strawberries Will Grow on Trees, I Will Kiss U
À table avec Nico ! | | | | 13 October – 28 November 2021 | | | | Opening reception: Wednesday 13 October 18:00 | | | | | | | | | | | | | When Strawberries Will Grow on Trees, I Will Kiss U
During three months of confinement in the spring of 2020, Nicolas Polli went through a period of profound solitude and uncertainty. He then drew on his artistic resources to stage this fragility that he had never felt so strongly. Confronting his enclosure, he frantically began to compose still life and images from everyday objects. His imagination challenges his doubts and desires. In his depopulated apartment, he gives meaning to banality. His own body also becomes the object of new attention: vulnerable, it demands a fantasized presence. Sensitivity is mixed with sensuality when Polli addresses short poems to an unknown, idealized and eroticized figure. Finally, his series When Strawberries Will Grow on Trees, I Will Kiss U paints a sin- cere and delicate portrait of a universal loneliness.
À table avec Nico !
When artist Nicolas Polli photographs the disturbing still lifes he creates in his home, magic happens: courgettes do the balanc- ing act, a few twisted spoons become characters, loaves of bread serve as slippers and cutlery seem to levitate. Fifteen jubilant images are brought together in a playful display, spe- cially designed to inspire children at the heart of L'Appartement - Espace Images Vevey. | | |
| |
|
|
| |
| |
| | | Nous voir ensemble © Marie Noury | | | | | | | | 13 October – 28 November 2021 | | | | Opening reception: Wednesday 13 October 18:00 | | | | | | | | | | | | | | How many stories can be created by a seemingly insignificant photograph presented to different members of the same family and their relatives? By compiling fragments of vernacular images, Marie Noury conducts a videographic investigation where words, expressions and gestures interact around this mysterious photograph taken from her family archive. Memories vary like interpretations. Between reveries and revelations, Nous voir ensemble questions with tenderness the power of the photographic image, of words and of emotional memory. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | | | | | | | | | | | | 7 – 10 October 2021 | | | | | | | | | | | | | | | Celebrating the 10th anniversary, MIA Fair is rescheduled from May to Thursday, 7th to Sunday 10th October 2021 at the new venue of SUPERSTUDIO MAXI (Via Moncucco 35) in Milan.
The iconic images of the British photographer Rankin will mark and enforce with their powerful energy the visual identity of the first Italian fair dedicated to fine-art photography.
The decision to move MIA Fair to Autumn 2021, after the forced cancellation of the 2020 edition, is explained by the need to ensure the best safety conditions possible for visitors and exhibitors, considering the global vaccination campaign trend, and by the opportunity to seize the effects of the expected economic rebound.
The new venue of SUPERSTUDIO MAXI, with its size of 7.400 sq.mt. will make easier to comply with social distancing rules within the anti-Covid19 regulations and will offer the opportunity to further expand the disciplinary fields of MIA Fair.
Following the success of the experience of MIA&D Singapore, held in 2014 at Marina Bay Sands in Singapore, where, for the first time in the world, an art fair presented a dialogue between photography and design, this year MIA Fair will showcase for the first time in Milan a section devoted to historical, modern and contemporary art design in conjunction with fine art photography works, highlighting the harmony between t… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
|
| |
|
| | | | | | | | | | | | | | Fri 8 Oct 19:00
8 – 24 Oct 2021 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
| |
| | | © Marcos Lopez, Festival La Gacilly-Baden Photo | | | Festival La Gacilly-Baden Photo 2021 | | | | VIVA LATINA! | | | | | | Baden near Vienna:
The largest outdoor photography festival in Europe will take place
from 18 June until 17 October 2021.
festival-lagacilly-baden.photo | |
| | | | | | | | | | | | | FESTIVAL LA GACILLY-BADEN PHOTO 2021: VIVA LATINA!
VIVA LATINA! is the theme of the 2021 Festival La Gacilly-Baden Photo. It will present photographs from Latin America that reflect the complexity of the continent’s history, full of revolutions and hopes, its jumble of traditions, in which dreams of the West mingle with shamanistic world views; as well as the fervour of its society, shaped by violence and a powerful joy of life. Whether they come from Brazil, Ecuador, Chile, Mexico or Argentina, all photographers of our Festival are firmly rooted in everyday life. They capture the diversity of the people on this continent, explore the urban chaos and lament the damage done to nature – and they do this poetically, creatively and humorously. But above all, they stand for photographic art full of energy and inventiveness.
The Festival will also celebrate the biodiversity of our planet.
The World Conservation Congress of the International Union for Conservation of Nature (IUCN) was to be held in Marseille in mid-June 2020, to be followed by the COP15 of the UN Convention on Biodiversity in Kunming, China, in October. But the ongoing pandemic shredded the schedule and these two events, so essential for the protection of our ecosystems, were postponed to 2021. We have adapted to this change and will present exhibitions in 2021 that were created by some of the best photographers in the world to document the essence and importance of biodiversity on our planet. They want to help connecting people more deeply with the realm of nature.
To visualize these two highly complex narrative strands, 22 photographers, five photographer collectives and 16 Lower Austrian schools are taking part, in a humanist frame of min… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
|
| |
|
|
| |
|
|
| |
|
| |
|
| |
|
| | | | | | INTERNATIONAL PHOTO FESTIVAL | | | | | | | – 10 Oct 2021 | | |
| | | | | | | |
|
| |
|
| | | | | | FAKE – visual distortion | | | | | | | – 14 Nov 2021 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | The Makeable Mind: 15 locations, over 70 artists | | | | | | | – 28 Nov 2021 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | biennale de la photographie | | | | | | | – 10 Oct 2021 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | Acts of Love and Rebellion | | | | | | | – 23 Oct 2021 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
|
|
| |
|
| | | | | | open air festival - DUE NORTH ! | | | | | | | – 31 Oct 2021 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | | | | | | | | | | | | ... until 1 December 2021 | | | | | | | | | | | | | | The PHOTOVILLE Festival, New York City’s FREE premier photo destination, returns on September 18 for its 10th anniversary year with a free community day, virtual online storytelling events, artist talks, workshops, demonstrations, educational programs, community programming, and open-air exhibitions across parks and public spaces throughout New York City till December 1, 2021. | | |
| |
|
|
| |
| |
|
|
| |
|
|
| |
|
|
| |
|
|
| |
|
|
| |
|
| | | | | | THOUGH IT'S DARK, STILL I SING | | | | | | | – 5 Dec 2021 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| |
|
| |
|
| | | | | | 1. internationales Festival für zeitgenössische analoge Fotografie | | | | | | | – 9 Oct 2021 | | |
| | | | | | | |
|
| |
| |
| |
| |
|
| |
| |
|
| |
© 6 OCTOBER 2021 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
| |
