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| PHOTOGRAPHY INTERNATIONAL | | 8 — 15 March 2023 | |
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| | The Hasselblad Foundation is delighted to announce Carrie Mae Weems as the 2023 Hasselblad Award laureate. The award ceremony will take place in Gothenburg, Sweden on 13 October 2023. That same day, an exhibition of her work will open at the Hasselblad Center and a new publication will be released.
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| | | | | | | Mary Ellen Mark: The Damm Family in Their Car, Los Angeles 1987
© Mary Ellen Mark/ The Mary Ellen Mark Foundation |
| | | | PHOTOS, AND THEIR STORIES, FROM THE FRICKE COLLECTION | | | | | | | Wed 8 Mar 17:30
9 Mar – 25 Jun 2023 | | | | | |
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| | | New York Grain Terminal, 2016 © Sem Langendijk. | | | | | | | | 10 March – 18 June 2023 | | | | | | | | | | | | | Sem Langendijk's first solo exhibition, Haven, shows the result of a long-term photographic investigation into the process and effects of gentrification and the social inequality it generates. While living and working space is created for some, others are constantly forced to make room. Foam shows Haven at a time when many city dwellers are looking for affordable housing and when many Amsterdam residents can no longer afford to live in the neighbourhood they once grew up in.
Who owns the city? In his research project Haven, Sem Langendijk attempts to capture the environment of his youth: a place that no longer exists. While growing up in a community of labourers, artists, squatters and outsiders in the western harbours of Amsterdam, Langendijk saw the city slowly but surely change its course. The city’s fringe was transformed into a smoothed-out quay with a new skyline, luxury apartments and large-scale architecture. Haven examines the environments of different port cities in various phases of transition, highlighting the transformation of disused docklands and the communities that reside there — showing not only a process of urban development but alyo of social exclusion.
Once fallen into disuse, port areas are the type of sanctuary for creatives who, with limited resources, shape their living environment in idiosyncratic ways. Uplifting these post-industrial environments into creative hubs, it’s just a matter of time before they have to make way for new construction projects in which there is no longer room for them. With an air of nostalgia, Sem Langendijk quietly observes the process of transformation … | | |
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| | MARIKEN WESSELS
THE SCULPTOR VI, 2023
Mixed media: archival Inkjet print with ceramics on dibond, hand-stained wooden frame with museum glass
63,4 cm x 87 cm
Unique piece | | | | | | | | | | | 11 March - 22 April 2023 | | | | Opening: Saturday 11 March 2023, 17:00 - 19:00 | | | | | | | | | | | | | "Everything in the world began with a yes. One molecule said yes to another molecule and life was born."
- Clarice Lispector, The Hour of the Star
The Ravestijn Gallery is proud to bring together new work by Dutch artists Ruth van Beek and Mariken Wessels. In this exhibition, their two distinct visions are brought into dialogue. Their mutual interest in exploring the act of creation, their muses and their gestures of intervening into existing material overlap in the space to form a powerful reflection on what it is to be a female artist.
In Ruth van Beek’s new book The Oldest Thing and spatial installation of collages Objects from the Household, it is ordinary objects that take on a body and life of their own. With a practice that is deeply interwoven into her everyday experience, van Beek looks inwards at how her vast archive works. In doing so, she explores the thin borders between studio and domestic life, the repetition of daily tasks and the origins of her interests in manuals and household books, tracing them all the way back to her mother’s influence. In the artist’s hands, images of banal objects become "moving matter," undergoing a process of deconstruction through which strange and ambiguous forms are uncovered and teased into focus. In the constellations of images on view, a visual rhyme of ovals emerges, paying tribute to the recurring tasks of the everyday while also revealing an enigmatic world that exists beyond it.
In Mariken Wessels’ new series of sculptures of Mama and collage works The Sculptor, it is the female body that becomes matter. Positioning herself at the end of a long line of male artists who have produced highly- sexualised female fertility idols, Wessels’ own interpretation of the female body abstracts it, liberating it from its status as muse to a male imagination. In her hands, body parts repeat, stack and morph to form monumental bronze and ceramic sculptures that exist beyond the erotic, drawing into focus instead the artist’s long term interest in corporality. In The Sculptor, the female bodies in these 1970s porn images have been cut out and partly replaced by chunks of clay, in which fingerprints are left visible, leaving the male ‘artist’ alone in his arduous efforts of creation. | | |
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| | | | | | | Daniel & Geo Fuchs
nature & destruction, James, 2018
fine art pigment print auf Dibond |
| | | | | | | | | | | | Sat 11 Mar 16:00
3 Mar – 15 Apr 2023 | | | | | |
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| | Sebastião Salgado
ANAVILHANAS NATIONAL PARK, STATE OF AMAZONAS, BRAZIL, 2009
Platinum-Palladium Print
29,9 x 41 inches / 76 x 112 centimeters
© Sebastião Salgado, Courtesy Robert Klein Gallery, Boston | | | | | | | | ... until 17 March 2023 | | | | | | | | | | | | | "MAGNUM OPUS" CONSISTS OF FIFTY SELECTED PHOTOGRAPHS REPRESENTING SEBASTIÃO SALGADO'S MAJOR WORKS OVER FIVE DECADES OF PHOTOGRAPHIC EXPEDITIONS AROUND THE WORLD.
This is the first time that an important selection of Sebastião Salgado’s work has been printed using platinum-palladium, which involves a sophisticated method of printing recognized for its singular beauty and which provides a unique sensation to the eye of the viewer.
CLICK HERE TO VIEW ALL AVAILABLE EDITIONS | | |
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| | Peter Piller
from: "Ungeklärte Fälle", 2006
Archive Peter Piller
Courtesy Capitain Petzel, Berlin
archival pigment print, framed
© VG Bild-Kunst, Bonn 2022 | | | Peter Piller »
there are a couple of things that bother me | | | | 11 March – 21 May, 2023 | | | | Opening: Friday 10 March, 7pm | | | | | | | | | | | | | In the spring of 2023, the Kunsthalle Düsseldorf will present the first retrospective in the Rhineland on the German artist Peter Piller (*1968 in Fritzlar), who has been a professor at the nearby Kunstakademie Düsseldorf since 2018, where he teaches a class in fine art.
During his studies in Hamburg, Piller began working on the Peter Piller Archive, in which thousands of images and photos that he meticulously collected from sources such as magazines, the internet, postcards, and aerial photographs are organized, categorized, and assembled in series. His most important tools have always been his gift for precise observation and a subtle sense of humor, which allow Piller to discover serial, curious, and unusual elements in images that appear extremely banal and trivial, and to relate them to others. These include the aerial photo archive von erde schöner, based on 20,000 aerial photos and categorized into 23 series, which Piller has been working on since 2002.
His drawings and his own photographs are also always serial. For example, as part of the series Peripheriewanderungen, which he began in 1994, the artist wandered around places and subsequently made drawings and photographs of his walks. The drawings in particular are strongly associative and reflect personal impressions and emotions triggered by the walks rather than being actual documentations or maps. For the series behind time (2017), Piller traveled to various places around the world to observe and photograph rare and special birds.
However, instead of depicting them in their full glory, as ornithologists would, the artist always shows them at the exact moment they leave his field of view and ironically names the photographs after the name of the species of bird… | | |
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| | | | | | | | "5th Avenue 69", 2014, Pigmentdruck © Gudrun Kemsa, VG Bild-Kunst, Bonn 2023 |
| | | | | | | | Fotografien und Videoinstallationen | | | 12 Mar – 7 May 2023 | | | | | |
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| | Walter Schels
NY Transformations I, 1967
Double exposure, Pigment Print on Hahnemühle Baryta paper, mounted
110 x 140 cm
Edition of 6 + 2 AP | | | | | | | | 11 March — 20 April 2023 | | | Opening: Friday, 10 March, 6—8 pm
Walter Schels will be present. | | | | | | | | | | | | | In the mid-1960s, Walter Schels, as a young man, came to New York, where he lived for several years and to which he returned again and again. He was immediately fascinated by the lights and facades of the city and the views that were offered to him there. This resulted in atmospheric, almost abstract images that are as complex and unique as New York itself.
For this exhibition, Walter Schels has unearthed treasures in his archive, gone into the darkroom to enlarge some negatives for the first time, and made a selection of rare vintage prints, most of them unique.
"I still look at the world through the camera’s rectangular viewfinder. New York back then was inexhaustible in its colors. The steam seeping out of manhole covers, the fire escapes, the steel glittering in the sunlight, the ostentatious facades, the sunny days in Central Park—without a camera, all of this would have passed me by." Walter Schels
Walter Schels, born in 1936 in Landshut, southern Germany, worked from 1957 to 1965 as a window dresser in Barcelona, Canada and Geneva before moving to New York to become a photographer. In 1970 he returned to Germany and became known for his character studies of artists, politicians and famous names from the world of arts and letters. For decades he has portrayed animals and flowers with the same intensity.
In various long-term photographic series, on blind people, the disabled, prematurely-born children and transsexuals, for instance, Schels has pursued exceptional situations in human life. He has received many awards for his series depicting hospice patients shortly before and shortly after their death, including the Hansel Mieth Prize, the World Press Photo Award, a gold medal from the Art Directors Club,… | | |
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| | | | | | | M. Gloverlover, 2023, Archival Pigment Print, 100 x 75 cm
© Thorsten Brinkmann / VG-Bildkunst, Bonn 2023 |
| | | | | | | | | | | | Wed 15 Mar 19:00
16 Mar – 3 May 2023 | | | | | |
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| | Lucinda Devlin: Bath, Pocono Palace, Marshall’s Creek, Pennsylvania, 1980
From the series Pleasure Ground
© Lucinda Devlin, courtesy Galerie m, Bochum | | | | | | | | 10 March – 16 July, 2023 | | | | | | | | | | | | | 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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| | | Arthur Jafa, Bloods II, 2020 © Arthur Jafa Courtesy of the artist and Gladstone Gallery | | | | | | | | | | | | | 3 March – 11 June 2023 | | | | The winner of the £30,000 prize will be announced at a special evening award ceremony on 11 May 2023, with the other finalists each receiving £5,000. | | | | | | | | | | | | | This year’s shortlisted artists all push the boundaries of photography and exemplify its resonance and relevance as a cultural force today.
Bieke Depoorter explores the complex ethical relationship and boundaries between photographer and subject, shown through the intense scrutiny of her relationship with her own subjects, Michael and Agata.
Drawing upon the West African tradition of studio portraiture, Samuel Fosso creates startling new identities through self-portraiture, based on social archetypes as well as real historical figures.
Arthur Jafa uncompromisingly articulates Black experience, providing us with an exercise in visual literacy, confronting us with a new Black aesthetic which avoids fixed hierarchies and linear storytelling.
Giving sculptural form to photo collage, Frida Orupabo reimagines the historical Black female body through her extraordinary multi-layered collages and Instagram posts using material circulated online. | | |
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| | Zora J Murff
White Girl, 2022 (Detail)
Pigment print
28 x 35 inches
© Zora J Murff / Webber Gallery | | | Zora J Murff » We Here For Some Jive Conspiracy | | | | ... until 31 March 2023 | | | | | | | | | | | | | "We Here For Some Jive Conspiracy" is the title of Webber's inaugural LA exhibition by American artist Zora J Murff. Murff's practice is consistent in its fierce and open questioning of racial and cultural constructs – this specific iteration of works being geared toward the histories and social climate of Los Angeles. This is not the first time the artist has chosen to focus on one place in order to detail a more expansive case-study of America's complex and deep racial history - photographed in Omaha, Nebraska, At No Point In Between (2021) exists as a photographic study of a Black community which has been shaped by a legacy of injustice and oppression.
Here in this LA installation, Murff continues to utilise photography's objective power alongside our faith in the image to probe our existing relationships with racial indifferences, whilst weaving in an array of historical documents alongside a growing archive of memes, online social phenomena, and pop culture references.
This amalgamation of materials, time and information comes together through a collaging of the gallery walls and floor in homage to fly-postering as a means of direct, provocative communication. The piece White Girl is comprised of a long repeating series of the famous image of OJ Simpson's white Bronco being driven down Interstate 405 in 1994, both the scene and the individual now serving as an emblem of LA's racial and fanatical character.
An arguably intrinsic link exists between the televised courtroom trial and the Rodney King riots that took place just a few years prior, with Murff reproducing the images of Reginald Denny being pulled from his truck and assaulted at a large and unavoidable scale in the gallery. … | | |
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| | | | | | | | Carolee Schneemann Cp, 2004, Gelatin Silver Print |
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| | DAVE HEATH (1931-2016)
NY MoMA, 1966
© Dave Heath / courtesy Stephen Bulger Gallery & Howard Greenberg Gallery | | | | | | | | ... until 6 May 2023 | | | | | | | | | | | | | For its spring 2023 programme, Galerie Miranda is delighted to present an exhibition of vintage photographs by Dave Heath (1931-2016, US/Canada), the first European gallery exhibition of Dave Heath's work. Entitled Alone, together, the exhibition at Galerie Miranda presents emblematic works that express Heath's central themes of loneliness and alienation in modern society.
Influenced by W. Eugene Smith, in whose workshops he participated, as well as the photographers of the Chicago School including Aaron Siskind and Harry Callahan, Dave Heath worked mainly on the streets while living in Philadelphia, Chicago and New York, seeking to capture the fractures and growing unease in booming American post-war society, prior to the rise of the civil rights movement and opposition to the Vietnam War.
His seminal publication A Dialogue with Solitude was conceived in 1961 and finally published in 1965 after difficulty in finding a publisher, then reprinted in 2000 with a preface by Robert Frank. The book stunned with its emotional potency, thanks to Heath's sensitive translation of an intimate experience of the world, something lived and felt: tension in the city streets, between the constrained proximity of bodies and the isolation of individuals in the crowd, who fill his frame with their 'absent presence'. Heath photographed strangers of all class and generation; riding the train, watching other passers by or just staring pensively into the distance, lost in thought.
In his own words, Heath endeavoured to convey not a sense of futility and despair, but an acceptance of life's tragic aspects. He also captured glimmers of joy and tenderness that intersect the series like brilliant rays of sunshine.
The selection at Galerie M… | | |
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| | | | | | | | | | | | | CHRONORAMA Photographic Treasures of the 20th Century | | 12 Mar 2023 – 7 Jan 2024 | | | | | | | |
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| | Barbara Iweins.
Katalog series.
Courtesy of the artist. | | | | | | | | 8 March – 22 April 2023 | | | | Opening: Wednesday 8 March at 6pm, in the presence of the artist. | | | | | | | | | | | | | From 8 March to 14 May 2023, L'Appartement – Espace Images Vevey presents its sixth session of exhibitions: "Katalog by Barbara Iweins". Images Vevey is handing Barbara Iweins the keys to L’Appartement to present her photographic and neurotic project presenting the 12,795 photos of the 12,795 objects of her house.
After her nerve-wracking eleventh move and her divorce, Barbara embarked on a unique introspective project, photographing the 12,795 objects in her house, one by one, from the kitchen to the bathroom, via the living room, her three children’s bedrooms, and the basement. She then catalogued these objects by colour, material, and frequency of use. Her inventory echoes Jacques Prévert’s poem with a fascinating mirror of our consumer society and includes detailed statistics such as “37% of my children’s Playmobil figurines are bald”.
L’Appartement – Espace Images Vevey represents Barbara’s twelfth move, this time into an idealised house which, through the rooms, objects, and the artist’s confessions, reveals an intimate and universal self-portrait of a 21st-century mother.
A neurotic collector, as she defines herself, Barbara Iweins is a Belgian photographer who began her artistic career in Amsterdam. She is fascinated by the vulnerability of humans and has never stopped pushing the limits of intimacy. For her series Au coin de ma rue (2010), she entered little by little into the private lives of strangers. In 7AM/7PM (2013), she invited these same strangers to sleep at her home, to capture the innocence and fragility as they awoke. On her return to Brussels, she used her own private life for the first time for a case study: Katalog. | | |
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| | Kwame Brathwaite
Changing Times, 1973
Archival pigment print, mounted
30 x 30 in. (76.2 x 76.2 cm.)
Est. 15,000—20,000 USD | | | | | | | | | | Sale closes on Wednesday, March 8 (18:00 CET) | | | | | | | | | | | | | Now open for bids on Artnet Auctions, Beyond Fashion presents over 80 years of fashion photography by the likes of Guy Bourdin, Irving Penn, Kwame Brathwaite, Zanele Muholi, David LaChapelle, Helmut Newton, and more.
The sale features classic photographs by the likes of George Hoyningen-Huene, iconic works such as Ormond Gigli’s famous Girls in the Windows (1960), and hot new works by contemporary artists Bastiaan Woudt and Zanele Muholi.
Discover photographers’ arresting shots of revered fashion figures such as Kate Moss, Anna Kournikova, Christy Turlington, Shalom Harlow, and actress Sean Young in the above photograph by Helmut Newton. | | |
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| | | | | | | | | | | | | | Thu 16 Mar
17 Mar – 9 Apr 2023 | | | | | |
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| | | | | | #2 collection Bruno Decharme | | | | | | | – 19 Mar 2023 | | | | | |
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| | | | | | IN OUR VEINS FLOW INK AND FIRE | | | | | | | – 10 Apr 2023 | | | | | |
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| | | | | | Thinking Historically in the Present | | | | | | | – 11 Jun 2023 | | | | | |
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© 8 Mar 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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