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| PHOTOGRAPHY INTERNATIONAL | | 8 – 15 December 2021 | |
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| | | | Call for Entries: until 1 March, 2022 |
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| | | Title unknown, 1950s © Estate of Shigeru Onishi, care of Tomoharu Onishi, courtesy of MEM, Tokyo | | | | | | | | ... until 9 January 2022 | | | | | | | | | | | | | Foam proudly presents the brilliant but forgotten work from the short photographic career of Shigeru Onishi (1928-1994). Onishi graduated in topology at the University of Hokkaido in 1953, after which he began applying his mathematical theories to photography. Although he abandoned photography after 1957, he did produce a short-lived but extraordinarily unique body of work with which he distanced himself from other movements and ideas in the Japanese photography of his time.
In his photographs, Shigeru Onishi attempts to transcend time and space: his works renounce photography as a snapshot, capturing a moment in time. He disregarded all the rules of the darkroom. For instance, he 'painted' the photographic emulsion onto the photo paper with a brush, deliberately creating irregularities in the development of the image. He used acids to cause deliberate discolouration, and hot chemical baths of up to 80 degrees Celcius to manipulate the development process of his prints. The result is a collection of dreamy - and sometimes sinister - photo montages, in which nudes, cityscapes, trees, portraits and interiors seem to merge. The art critic Shuzo Takiguchi described Onishi's work as "strange obscured coalescences of space and time" ("Through the Mechanism of Photography", Nabis Gallery, 1955).
The performative power of Onishi's work, which lies in the use of photography as an 'act' and as an expression of feeling rather than a document, seems to be an early precursor to the raw, poetic images of Takuma Nakahira, Daido Moriyama and the other photographers of the short-lived but influential artist collective, Provoke (1968-70). Although Onishi found brief recognition for his photography between 1955 and 1957, his mathematical theories led him to purs… | | |
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| | Aitor Ortiz
Estorninos 005 (detail)
© Aitor Ortiz
courtesy Galerie Springer Berlin | | | | | | | | | | | ... until 29 January 2022 | | | | | | | | | | | | | In the exhibition Natural Appearance by Maria Jauregui Ponte and Aitor Ortiz, Galerie Springer Berlin is showing two series that have emerged independently of each other, but which are dedicated to the same theme, namely the appearance of nature. Both artists have used photography to capture the visible and the invisible in different ways.
In the series Wo Fuchs und Hase (Where Fox and Hare), which Maria Jauregui Ponte has been working on since 2018, the gallery is showing pictures from a small location in Mecklenburg. The cycle deals with wild animals that share their living space with people. By day, they live withdrawn, distanced from human beings. As soon as it gets dark and residents have withdrawn to their houses, the animal world re-conquers the terrain. Maria Jauregui makes this reconquering visible with the help of a wildlife camera. In the daytime, the artist takes the camera with her as she searches for traces the animals have left behind in the night;
Ortiz photographs the fascinating formations of swarms of starlings on the Basque Country’s Atlantic coast. Isolated from their natural background, they form dark specks on empty canvases. These structures or clusters are jointly coordinated by hundreds or thousands of creatures. They constitute an agile, unpredictable choreography in which the individual disappears. Ortiz captures this natural wonder with his camera and alienates it with technical sophistication.
Maria Jauregui Ponte, born in the Basque Country in 1972, has been living and working in Berlin since 1996. She is a self-taught photographer and honed her skills in internships and assistantships before studying at the New School for Photography, graduating in 2012. Ponte sees photograph… | | |
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| | Humboldt Forum, Berlin, 2020 from the series Bauensemble
© Andreas Gehrke | | | | | | | | ... until 11 February 2022 | | | | | | | | | | | | | 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. | | |
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| | Rania Matar, Alae, Beirut, Lebanon, 2020
25 1/2 x 30 inches - (other sizes & pricing available)
Pigment print from a limited edition of 8 | | | | | | | | ... until 15 December 2021 | | | | | | | | | | | | | Robert Klein Gallery is pleased to present a selection of photographs by Boston-based photographer Rania Matar in SHE, a series of portraits depicting women and womanhood across cultural boundaries.
The women photographed in SHE contain multitudes: They’re playful but self-assured; soft yet strong; curious and adventurous. From Massachusetts to Beirut, Matar collaborates with young women to create images that reflect their experiences leaving home and entering adulthood.
"Whereas in earlier projects, I photographed young women in relationship to the curated and controlled environment of their bedrooms," says Matar, "I am photographing them here in the larger environment they find themselves in after they leave home, the more global and complicated backdrop that now constitutes their lives in transitions."
Below, Matar shares the stories behind four of the works that are now on view at the gallery. | | |
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| | FLORE
FL-893 Aicha à la cruche, 2019
from the series "MAROC"
Pigment print with mixed media
30 cm, edition of 7 | | | FLORE » Le Temps du souvenir | | | | ... until 18 January 2022 | | | | | | | | | | | | | In FLORE’s work, memory acquires a unique temporality, oscillating between reminiscence and becoming. It describes the disturbing moment which intertwine that which has been lived with what might happen.
The exhibition provides an encounter between the two series "Maroc, un temps suspendu" and "L’odeur de la nuit était celle du jasmin" which, each in their own way, describe how we live memories.
"The Time of Memory" is long, heartbreaking and tender, from which the artist retrieves moments of such fragile grace that one wishes to dwell in them.
FLORE’s work is haunted by memory, a tentative reconstruction of a childhood lost, while also creating a time of becoming through an imagination that is unceasingly reborn, like a thread between Indochina and Morocco.
Breaking beyond the bounds of the photographic medium, FLORE’s works manifest a particularly rich exploration of plasticity. In their composition, the series also resemble memories. Heliogravures, pigment prints of Polaroids, silver gelatine prints, marouflage on gold: each series proceeds by integrating and recomposing representations of fleeting moments which, in spite of their diversity, tell a coherent story. Memory is restored in a dialogue between photography and painting. | | |
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| | Omer Fast: Still aus dem Film AUGUST, 2016
3D-Film mit Sound, 15:30 min
Im Auftrag von Martin Gropius Bau/ Berliner Festspiele
© Filmgalerie 451/ Stefan Ciupek/ Julia M. Müller | | | | | | | | | | | ... until 23 January 2022 | | | | | | | | | | | | | The Deichtorhallen Hamburg has opened »PHOXXI«, the Temporary House of Photography, a new exhibition venue in Hamburg. PHOXXI will present international contemporary positions in photography at the main branch of the Deichtorhallen, thus bridging the three-year period during which the southern hall, where the House of Photography has been located since 2005, will be closed for renovations. The opening exhibitions will feature works by JACK DAVISON, OMER FAST, and FRIDA ORUPABO.
The name »PHOXXI« comes from the artistic discipline of photography and the Roman numeral »XXI«, thus signifying a transformation of photography and the dialogue with contemporary conceptions of photography in the 21st century.
The exterior of the building was designed by the Berlin-based artist Anselm Reyle, who teaches at the University of Fine Arts (HFBK) in Hamburg, and whose work was presented in a solo exhibition at the Deichtorhallen in 2012. His colorful design for the facade places works from the F. C. Gundlach Collection, among others, in an exciting dialogue with his characteristic stripes. Reyle became known at the early 2000s for works whose formal language ties in with the achievements of abstract art and which have a fascinating sense of spatial presence as objects.
The 50-by-12.5-meter, multi-story building offers a total surface area of around 820 square meters to accommodate a large exhibition space, an auditorium, and office space. The facilities are rounded out with a cloakroom and shop next to the foyer. In addition, during the renovation of the south hall, some photogra… | | |
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| | | Ragnar Axelsson from the series 'Faces of the North' | | | | | | | | The first retrospective. | | | | 15 December 2021 – 27 February 2022 | | | | | | | | | | | | | The first retrospective exhibition by Ragnar Axelsson from the series' Faces of the North, Glacier, Last Days of the Arctic, and Arctic Heroes. The eminent Icelandic photographer's themes are the changes in the physical and traditional realities of the North.
For over 40 years, Ragnar Axelsson (RAX, b. 1958) has photographed people, animals, and landscapes in the most remote regions of Greenland, Iceland, and Siberia. In simple black and white photos, he captures the elementary human experience in nature on the edge of the habitable world.
RAX highlights the extraordinary relationships between people, animals, and places in the Arctic and their extreme environment - relationships that change in profound and complex ways due to unprecedented climate change.
RAX was a photojournalist at Morgunblaðið from 1976-2018. He has worked as a freelancer in Latvia, Lithuania, Mozambique, South Africa, China, and Ukraine. His photographs are widely published (i.e., Life, Newsweek, Stern, GEO, National Geographic, Time, and Polk) and have received numerous awards. | | |
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| | | | | | | Marcel Bascoulard (1913 - 1978)
Untitled, n.d.
Vintage silver print
5 x 3.5 inches |
| | | | | | | | | | | | 11 Dec 2021 – 22 Jan 2022 | | | | | |
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| | CHLOE SELLS
The Seraphim, 2019
Chromogenic print with acrylic paint
39 x 55 cm
Unique | | | Chloe Sells » I'll be coming back as lightning | | | | ... until 15 January 2022 | | | | | | | | | | | | | For her second show at Galerie Miranda, Chloe Sells will present her latest body of work that includes a book project with images from her time as one of the last personal assistants to the celebrated cult journalist, Hunter S. Thompson, author of Fear and Loathing in Las Vegas: a savage journey to the heart of the American dream (1971) and other writings on American politics and life.
Sells draws upon this experience to not only depict the intimate home and lifestyle of the author but to also revel in the powerful landscapes of their shared home, Aspen, Colorado. In an expressive series of images the artist combines documentary works and hand-printed photographs that are overlaid with traditional marbling techniques from Italy and Japan. The result is a series of unique tableaux, as much paintings as photographs: a psychedelic ride through the Rocky Mountains and into the living room of one of the most unconventional minds of the 20th century. To accompany the work Sells has created her third monograph with GOST publishing house. | | |
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| | | © Sara Bastai | | | | | | | | 14 December 2021 – 30 January 2022 | | | | Opening: Tuesday, 14 December, 6pm | | | | | | | | | | | | | | To keep pace with contemporary creation, Images Vevey has joined forces with ECAL/Ecole cantonale d’art de Lausanne, to launch Images Vevey x ECAL, a new prize offering a first solo exhibition to a student completing his/her studies in photography. The first ever Images Vevey x ECAL prize has been awarded to Sara Bastai for her RAM_2.0 project involving artificial intelligence. The artist ran the hundreds of photos in her smartphone through an algorithm, which analysed the images and described what it observed. She then photographed new scenarios based on the generated captions. This created a dialogue between the artist and the machine, exploring the notion of memory through the eyes of technology. | | |
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| | | Radial Grammar (3D re-edit), 2021 © Batia Suter | | | Batia Suter » Radial Grammar (3D re-edit), 2021 | | | | 14 December 2021 – 30 January 2022 | | | | | | | | | | | | | | Batia Suter has been collecting books and magazines for over twenty years. Most of them are second-hand and include scien- tific papers, glossaries, promotional catalogues, art and history books, periodicals on the animal kingdom, and much more. These pages provide the raw material for her artistic practice, whereby she extracts, decontextualises, and correlates images to reveal them in a new light. Her extensive project Radial Grammar is showcased in an exhibition, a book, and a video. This visual montage evokes a bookshop packed with treasures and encyclopaedias. In L'Appartement, the projection evokes the giant sphere of the Chiesa Madre in the town of Gibellina, Italy. Suter designed this slide show for a monumental video- mapping as part of the for the bienniale Images Gibellina 2021. The fluidity takes us on a mysterious visual journey through ico- nography, the formal and narrative characteristics of images. | | |
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| | Aircraft: The New Anatomy, 2020
© Maxime Guyon | | | Maxime Guyon » Aircraft: The New Anatomy, 2020 | | | | 14 December 2021 – 30 January 2022 | | | | | | | | | | | | | | From 2017 to 2020, Maxime Guyon explored the most significant aviation factories and met numerous protagonists of this impressive sector of the economy. His keen eye for detail and aesthetics is apparent in his series of photographs questioning the fascinating evolution of the aeronautical industry and the rat race for technological performance. The book entitled Aircraft: The New Anatomy published by Lars Müller in Zurich, presents a collation of his work. Complemented with an essay by Nicolas Nova, a Swiss-French researcher and anthropologist, these images serve as an evolving metaphor and launchpad for a broader reflection on human-made artefacts and the ambivalent link between nature and technology. | | |
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| | Animal Imago, 2013
© Lucia Nimcova | | | | | | | | 14 December 2021 – 30 January 2022 | | | | | | | | | | | | | | When artist Lucia Nimcova goes on a trip, she has a penchant for photographing the animals she notices on her excursions. Sending these images of urban creatures as postcards to friends and family initiates a reflection on communication. How do we, as city creatures of the 21st century, compare to other animals? What can we learn if we really try to listen to them, collaborate with them or put ourselves in their place? Can we understand one another? This tamed, humanised fauna farcically questions our status as a "superior" species. Fifteen of the artist’s street photographs have been collated in a display specifically designed for children. | | |
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| | | | | | | | | | | | | | Thu 16 Dec 10:00
16 Dec – 19 Dec 2021 | | | | | |
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| | Lot 38
Willy RONIS 1910 - 2009
Gare Saint-Lazare - Paris, 1955
Estimation 1,500 - 2,000 € | | | | | | | Stéphane Kovalsky Collection | | | Auction: Wednesday, 15 December 2021, 7pm
Online Catalogue: here
Preview:
Fri, Sat 10, 11 December, 11am-6pm
Mon, Tue 13, 14 December, 11am-6pm
Contact:
Elodie Landais
+33 1 42 99 20 84
[email protected] | |
| | | | | | | | | | | | | The Auction will pay tribute to the photographic work of Willy Ronis, with some 200 exceptional photos coming under the hammer. There are both iconic and more intimate images tracing the career of this renowned photographer. An event not to be missed by collectors worldwide who will have an exclusive opportunity to discover both emblematic and previously unseen prints.
Following the highly successful first sale of photographs from the Stéphane Kovalsky Collection in 2016, Artcurial is delighted to present the second part of the sale "Willy Ronis: Iconic & Unseen", Collection Stéphane Kovalsky, taking place on 15 December in Paris.
The sale, comprising over 200 works of both iconic and more intimate images, looks back at the career of this important artist photographer, who was friends with Henri Cartier-Bresson, Robert Doisneau and Edouard Boubat.
The photographs in the sale all come from the estate of Willy Ronis, one of the collections of Stéphane Kovalsky, the artist's grandson. He would like, with this sale, to pay a personal tribute to his grandfather, as well as recall his place in the history of photography during the second half of the 20th century.
Willy Ronis was born in Paris in 1910, in modest surroundings. His father owned a photographic studio and gave his son his first camera at the age of sixteen. Willy Ronis began by taking photos of the Eiffel Tower and he signed the family photos. He soon abandoned stereotypical subjects, preferring to record what he saw on the spot. He was present during the workers' demonstrations in the 1930s. Society was changing and he was a witness to this. His father died in 1936 and the family business went into bankruptcy. This… | | |
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| | | | | | Butterflies Frolicking on the Mud: Engendering Sensible Capital | | | | | | | 18 Dec 2021 – 31 Mar 2022 | | | | | |
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| | | | | | | | Leopoldo Cebrián Alonso — Cortesía de TEA Tenerife Espacio de las Artes |
| | | | International Photography Festival of Tenerife | | | | | | | – 9 Jan 2022 | | | | | |
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| | | | | | 19 exhibitions of Greek and international photography, of 94 artists from 18 countries | | | | | | | – 20 Feb 2022 | | | | | |
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| | | Wang Yimo, Rhapsody in the World, 2021. Light box printing cloth, dimension variable. Courtesy of the artist. | | | | | | | | | | | | | ... until 3 Janyuar 2022 | | | | | | | | | | | | | The Seventh Jimei x Arles International Photo Festival will open in Xiamen on November 26, 2021, and run until January 3, 2022.
The Jimei x Arles International Photo Festival was co-founded in Xiamen's Jimei District in 2015, and it is jointly organized by Three Shadows Photography Art Centre and Tianxia Jimei Media. Since its founding, Jimei x Arles has presented more than 200 exhibitions from China and the rest of Asia, as well as a selection of excellent shows from Les Rencontres d'Arles. To date, the festival has attracted 350,000 visitors.
For this edition of Jimei x Arles, Christoph Wiesner, director of Les Rencontres d'Arles, and RongRong, Chinese contemporary photographer and co-founder of Three Shadows Photography Art Centre, will serve as Co-Directors, with noted photography critic Gu Zheng serving as Art Director. This year's festival will present 25 exhibitions featuring more than 50 artists from France, Singapore, Brazil, the Czech Republic, mainland China, and elsewhere, including four brilliant exhibitions from Les Rencontres d'Arles, ten Discovery Award exhibitions highlighting young Chinese photographers, three Greetings from Singapore exhibitions, one China Pulse exhibition presenting how photography developed at one Chinese art academy, three Crossover Photography exhibitions, one Tribute exhibition, one Collector's Tale exhibition, and two Local Action exhibitions showcasing Xiamen.
The exhibitions will be primarily presented in the Jimei Citizen Square Main Exhibition Hall and the Three Shadows Photography Art Centre Xiamen, as well as other sites across the island of Xiamen. During the opening weekend (November 26 to 28) and the entire run of the festival, art lovers and the general public will be able to enjo… | | |
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| | | | African Photobook of the Year | | | | Call for Entries: until 1 March, 2022 | | | The prize will apply to a book published between January 1, 2019 and January 1, 2022.
www.eigerfoundation.org | | | | | | | | | | | | | Initiated by the EIGER FOUNDATION in September 2021, the EIGER FOUNDATION African Photobook of the Year Awards celebrates the photobook’s contribution to the evolving narrative of photography, with a focus on the African continent.
1. Conditions for Entry
* The EIGER FOUNDATION African Photobook of the Year Award distingues a book in which the dominant content is photography, featuring the work of one or more photographer(s). The book must be produced in physical form.
* Books must be produced or published between January 1, 2019, and January 1, 2022.
* Entries for either award may only be submitted by the photographer, the publisher, or a third party acting with the consent of the photographer.
* Books must be by an African photographer or a publisher established on the African continent.
* Books on an African theme by non-African photographers or non-African publishers are also admitted.
* Exhibition catalogues or museum publications, as well as text-only publications, are not eligible.
* The book may be comprised of photographs of any genre or topic.
2. How to Enter
You can generate your submission here before March, 1, 2022.
Please note that you will need to provide the following information on the submittable entry form:
* Book title, year of publication, and publisher information
* Book blurb, a short description/summary of the book
* The photographer or author’s name
* Book dimensions, number of pages
* Distribution information
* An image or render of the book cover (JPG file)
* A digital copy of your book in PDF format
There is no fee for the entry for the Eiger Foundation Book Awards.
By submitting your work to the EIGER Foundation African Photobook of the Year Awards, you are found to be in agreement of the terms and conditions.
3. Prizes
* A $20,000 prize will be awarded to the photographer(s)/artist(s) whose finished, publicly available photobook is judged to be the best of the year.
* Five books will be selected for the shortlist, presented on the EIGER FOUNDATION website accompanied by the jury’s comments. The four runner-ups of the shortlisted photographers will receive a prize of $3,000 each.
* The shortlist will be produced on, or before, the 1 September 2022, and the winner will be announced shortly after.
4. Terms and Conditions
www.eigerfoundation.org | | |
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| | August Sander: Zirkusartisten, 1926–1932
© Die Photographische Sammlung/SK Stiftung Kultur August Sander Archiv, Köln
VG Bild-Kunst, Bonn, 2021 | | | August Sander Award - Prize for Portrait Photography 2022 | | | | Open for artists up to 40 years old | | | | Deadline: 28 January 2022 | | | | Application: here | | | | | | | | | | | | | The August Sander Prize for portrait photography, donated by Ulla Bartenbach and Prof. Dr. Kurt Bartenbach, will be awarded for the third time in 2022 in cooperation with Die Photographische Sammlung/SK Stiftung Kultur, Cologne.
The idea behind the award is to promote young contemporary artistic approaches in the sense of objective and conceptual photography. Against the background of August Sander's important portrait photographs, the photographic works of the applicants should primarily relate to the theme of the human portrait. The prize is awarded every two years. Eligible are national and international artists up to and including the age of 40 with a focus on photography. The prize is endowed with 5,000 €. In addition, the Photographische Sammlung/SK Stiftung Kultur will organize an exhibition of the award winner's work, if possible and by individual agreement.
A series of no more than 20 photographs that has already been largely developed is suitable for submission. Only works that follow a thematically bound image group or sequence will be evaluated; individual images will not be considered. The works submitted should not have won a prize in other competitions.
The jury is composed of five members Albrecht Fuchs, artist, Cologne; Dr. Roland Augustin, Saarlandmuseum/Moderne Galerie, Saarbrücken; Prof. Dr. Ursula Frohne, art historian, Westfälische Wilhelms-Universität, Münster; Dr. Anja Bartenbach, donor family, Cologne; Gabriele Conrath-Scholl, director, Die Photographische Sammlung/SK Stiftung Kultur, Cologne.
A shortlist will be published at the end of March 2022. The winner, resulting from the shortlist, will be announced at the end of April 2022.
The award ceremony will take place in September 2022 at Die Photographische Sammlung/SK Stiftung Kultur in a festive setting in Cologne.
The deadline for entries is January 28, 2022.
The detailed call for entries can be downloaded here | | |
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© 8 December 2021 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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