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| PHOTOGRAPHY INTERNATIONAL | | 1 - 10 September 2019 | |
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| | Shalom Smoking at Christiaan’s House - Self Service, 2006
Print 102 x 154 cm; Edition of 3 + 1AP
Pigment print on watercolor paper, mounted, white painted wooden frame, museumglass.
Other sizes are available as part of the total edition of 3 by request.
© Inez & Vinoodh | | | | | | I See You in Everything | | | | September 7 - October 19, 2019 | | | | Opening Friday September 6th 2019 from 17:00 - 19:00 | | | | | | | | | | | | | The Ravestijn Gallery is proud to present I See You in Everything, the first solo exhibition at the gallery of the artist duo, Inez van Lamsweerde and Vinoodh Matadin, better known by their collaborative name Inez & Vinoodh. Without a singular theme or period, the exhibition will comprise of an array of work selected from a colossal career that sprawls over thirty years including photographs made for Vogue Paris, New York Times Magazine, Purple and The Face.
Such a myriad of work is emblematic of Inez & Vinoodh; unrestricted by a fixed aesthetic and allowing their approach to be determined by those in front of the camera, the idea behind each photograph always take precedence. Each work is authored by their collective name and by eschewing further information of their individual roles, we are reminded of their devotion to the image and the person, rather than to context and expectation. And whilst their methodology is constantly responding and fluctuating, it is a persistent duality (both in their artistic work and in life as partners) that creates their unifying and unmistakable character. As Inez says herself, “there’s always a tension between the beautiful and the grotesque, the spiritual and the mundane, high fashion and low fashion, male and female”. Indeed, this duality can be seen in many of the photographs included in the exhibition. In Lucy Fer, the Estonian supermodel Carmen Kass is transmuted into a mythological three-headed creature; a vast flood of wiry haired faces sits atop her naked body and here the elegance and realism of the human form is pitted against monstrous fantasy. | | |
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| | | © Paul Cupido | | | | | | | | ... until 2 October 2019 | | | | | | | | | | | | | Kahmann Gallery is pleased to introduce Dutch artist Paul Cupido (NL, 1972) with his first solo exhibition in the Netherlands.
Cupido's ongoing project 'Searching for Mu', is a deep exploration of the philosophical concept of absence, or 'mu', and the fragile beauty found inn the evanescence of life.
His residency in the Brazilian Amazon in 2018, was dedicated to examining the concept of the ephemeral and the symbolic affinity between the body and the earth. Letting go of the ego and reconnecting with deeper levels of consciousness are also important themes in this work, which so far has included two artist books, photography and film. | | |
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| | Guy Tillim
"Harare, Zimbabwe", 2016
Pigment ink on cotton paper
Diptych: 135 x 90 cm each
Courtesy: Galerie Kuckei + Kuckei, Berlin | | | Guy Tillim » Museum of the Revolution | | | | ... until 5 October 2019 | | | | | | | | | | | | | Kuckei + Kuckei is pleased to present "Museum of the Revolution" after it has been exhibited at Fondation Henri Cartier-Bresson earlier this year in Paris.
These photographs were made on long walks through the streets of the African cities of Johannesburg, Durban, Maputo, Beira, Harare, Nairobi, Kampala, Addis Ababa, Luanda, Libreville, Accra, Abidjan, Dakar and Dar Es Salaam between 2014 and 2018.
The series takes its title from the Museum of the Revolution on the Avenida 24 Julho, in Maputo, the capital of Mozambique. The avenue was named soon after the establishment of Lourenço Marques as the Portuguese colonial capital. The 24th of July 1875 marked the end of a Luso-British conflict for possession of the territory that was decided in favour of Portugal.
One hundred years later the name of the avenue remained the same, but its meaning changed. Mozambique’s independence from Portugal was proclaimed on June 25, 1975; the capital was renamed Maputo, and now the 24th of July is Nationalisation Day, celebrating the transfer of ownership of all Portuguese property and buildings to the state. A 15-year civil war followed, ending in 1992. The People’s Republic of Mozambique became the Republic of Mozambique and a new era began.
In the Museum of the Revolution there is a panoramic painting produced by North Korean artists depicting the liberation of the capital from Portuguese colonial rule. It illustrates the rhetoric of a revolution as the leader and followers parade through the streets and avenues, laid out with grandeur by the colonial powers. These streets, named and renamed, function as silent witnesses to the ebb and flow of political, economic and social shifts of power and have become a museum of… | | |
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| | | | | | | | Karen Stuke: Wilsonovo nádraží, Prag aus der Serie "Wandelhalle – Auf den Spuren von Sebalds Austerlitz", 2013 |
| | | | | | | | Auf den Spuren von Sebalds Austerlitz | | | – 27 Oct 2019 | | | | | |
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| | Cao Fei
Asia One, 2018 (Video Still)
Single-Chanel Videoinstallaion, 63’
© Cao Fei & Sprüth Magers & Vitamin Creative | | | MICRO ERA | | | | Media Art from China | | | | | | | 5 September 2019 – 26 January 2020 | | | | Opening: Wednesday, 4 September, 7pm | | | | | | | | | | | | | A special exhibition of the Nationalgalerie – Staatliche Museen zu Berlin and the Gesellschaft für Deutsch-Chinesischen kulturellen Austausch e.V. (GeKA e.V. 德中文化交流基金会), on the occasion of the 25th anniversary of the city partnership Berlin-Beijing, funded by the Lotto Stiftung Berlin In the frame of the 25th anniversary of the city partnership Berlin-Beijing Berlin’s Kulturforum will present the group exhibition "Micro Era. Media Art from China". The two artists Cao Fei (*1978) and Lu Yang (*1984) asked the artists Fang Di (*1987) and Zhang Peili (*1957) for a dialogue. The artists selected the works together with the Chinese and German curators Anna-Catharina Gebbers (Hamburger Bahnhof – Museum für Gegen-wart – Berlin), Victor Wang (freelance curator, Shanghai/London) and Yang Beichen (freelance curator and film reseacher, Beijing) accompanied by Pi Li (M +, Hong Kong) as curatorial advisor. The exhibition project was initiated by Yu Zhang 张 彧, president of the Gesellschaft für Deutsch-Chinesischen kulturellen Austausch e.V. (GeKA e.V. 德中文 化交流基金会).
"Micro Era" is tied in with the group exhibition living in time. 29 contemporary artists from China, which was presented in 2001 at the Hamburger Bahnhof – Museum für Gegenwart – Berlin. This exhibition already showed works of Cao Fei as well as Zhang Peili and was also devised by a Chinese-German team of curators, to which, amongst others, Pi Li also belonged. The exhibition showed how contemporary Chinese artists have responded to the economic, political, ideological but also technological cha… | | |
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| | | | | | | | © Christoph Schieder, ohne Titel, aus der Serie "periphic", 2010-2019 |
| | | | | | | | | | | | Wed 4 Sep 19:00
5 Sep – 10 Nov 2019 | | | | | |
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| | | | | | | | Ulrike Ottinger vor ihrem Werk „Allen Ginsberg“, Paris, 1965 | Foto: privat |
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| | | | | | | | © Daniela Friebel, aus der Arbeit "Revier", 2018 |
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| | | John Divola: Vandalism Series, 1973-1975, 64 x 61,5 cm, Gelatin Silver Print, Ed. of 12 + 2 AP's | | | | | | | | 7 September – 19 October, 2019 | | | | Opening: Friday, 6 September, 7pm | | | | | | | | | | | | | In the early 1970s, Californian photographer John Divola was one of the first to question the limits of his medium, exploring concepts of sculpture, installation, performance and intervention in his iconic, formative series Vandalism (1973-1975). Robert Morat Gallery is thrilled to be able to show this important body of work in Berlin.
Between 1973 and 1975, the American photographer John Divola – then in his mid twenties and without a studio of his own – travelled across Los Angeles in search of dilapidated properties in which to make photographs. Armed with a camera, spray paint, string and cardboard, the artist would produce one of his most significant photographic projects entitled Vandalism. In this visceral, black and white series of images Divola vandalised vacant homes with abstract constellations of graffiti-like marks, ritualistic configurations of string hooked to pins, and torn arrangements of card, before cataloguing the results. The project vigorously merged the documentary approach with staged interventions echoing performance, sculpture and installation art. Serving as a conceptual sabotaging of the delineations between such documentary and artistic practices, at a time when the ‘truthfulness’ of photography was being called into question, Vandalism helped to establish Divola’s highly distinctive photographic language.
John Divola (American, b. 1949), one of the most distiguished visual artists of his generation, earned a BA from California State University, Northridge (1971) and an MA from University of California, Los Angeles (1973). His images challenge the boundaries between fiction and reality, as well as the limitations of art to describe life. Vandalism (1974-1975)… | | |
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| | | | | | | Oskar Schmidt
Girl with Peonies (Sassa), 2019
Pigment Print, 95 x 76 cm
Courtesy Galerie Tobias Naehring, Leipzig |
| | | | | | | | | | | | Mon 9 Sep 18:00
10 Sep – 5 Oct 2019 | | | | | |
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| | | | | | | Ants from the series
"grass peonie bum", 2017
© Maisie Cousins / Courtesy of the artist and TJ Boulting |
| | | | Werke von 20 Nachwuchskünstlern | | | | | | | 6 Sep – 1 Nov 2019 | | | | | |
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| | | Laura J. Padgett (Detail) | | | | | | | | 7 September — 19 October, 2019 | | | Opening reception: 6 September, 6—10 pm
Introduction: Friederike Fast, Curator, Marta Herford | | | | | | | | | | | | | In her most recent work, Laura J. Padgett continues her exploration into public and private space and the places in between. The way in which we structure and delineate our environment is always an expression of our relationship to society and is coincident to the visual. In many situations the gaze replaces our physical ability to enter a particular location.
The artist’s main theme remains photography’s ability to depict things while fostering conceptual narratives that can be experienced by means of perception.
How do we understand surfaces and space? How do we consciously negotiate these complex conditions? The visible, lines, colors, shapes and structures also express peoples’ relationships to their immediate surroundings and living conditions. The photographs open up these spaces, making them navigable.
The films and photographs shown in the exhibition have been produced during the last two years and thematise the relationship between the still and the moving image as well as between public and private space. The shifts between image and depiction, the notion of presence, in addition to questions regarding perception, are ongoing themes in Padgett’s work and address our relationship towards the visual and the narrative.
Laura J. Padgett (b. 1958 in Cambridge, USA) received her BFA in painting from Pratt Institute in Brooklyn, New York. She continued her studies in film and photography with Peter Kubelka and Herbert Schwöbel at the Städelschule from 1983 to1985 and received her MA in Art History and Aesthetics in 1994 from the Johann-Wolfgang-Goethe University, both in Frankfurt am Main.
Since the 1990s Laura J. Padgett has produced a complex body of work. She exhibit… | | |
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| | Boris Becker: Bunker, Hamburg, Löwenstraße, 1987
© Boris Becker; VG Bild-Kunst, Bonn, 2019 | | | | | | | | Photographs of Architectures and Artefacts | | | | 6 September 2019 – 9 February 2020 | | | | Opening: Thursday, 5 September, 7 p.m. | | | | | | | | | | | | | This is the first show to be dedicated to Boris Becker’s (b. 1961) "High-rise Bunkers" series, which he worked on between 1984 and 1990. To make the selection, the artist sifted through his archive of bunker images, considering them from a contemporary perspective.
The photographs were taken in over 45 German towns. Becker concentrated primarily on high-rise bunkers from the Second World War, which had been built after 1940 and were intended for the protection of civilians. During his photographic research he was confronted not only by an amazingly large number of these buildings, but also numerous noteworthy forms of construction.
Air-raid shelters in particular were expressly designed to disguise their function. Architectural camouflage was used, for example, so that bunkers were made to look like an ordinary home, a church or a fortress. As he photographed them, the artist found himself wondering to what extent our visual perception is guided by our subjective point of view and external influences. How congruent is an object’s appearance with its true nature, and what are we to make of this clandestine interference with our image of reality? For Boris Becker, the cursory and reflexive way we have of looking at the world is a central artistic parameter, which he investigates in his work based on various types of motif. To expand on this idea, the exhibition includes, for example, some more recent large-format works in colour that are related in formal and associative terms, underscoring the artist’s interest in historical themes and manifest architectural forms.
They take us back to a dark chapter of German history, the years of the Second World War, but also to the 1980s, because the photographer shows in his pi… | | |
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| | John Cohen
Macchu Tussec Dancers, Juli, Peru, 1956
27.7 x 35.40 cm
Gelatin silver print
© John Cohen, courtesy L. Parker Stephenson Photographs, NYC | | | | | | | 10 years of Gallery Julian Sander | | | | 7 September ‐ 19 Oktober 2019 | | | | Opening: Friday, 6 September, 6-10 pm | | | | | | | | | | | | | On the occasion of its 10th anniversary Galerie Julian Sander pays homage to the first exhibition of the gallery, which at that time was located in Bonn under the name FEROZ. Under the title "Stories", the gallery displayed a series of photographs personally selected by John Cohen.
"The pictures I own, as well as the pictures I am now showing are imbued with the gentle nature that is John. He allows us to be a part of the world, which he has traveled and to see the people and places he has met, all without pretense. The intimacies of these images inform our experience is as if we were present at their making. Photographs of children playing, adults contemplating, and musicians baring their heart in the music they play. There are stories being told here." (Julian Sander, April 2011)
From the mid 1950s to the early 60s, Cohen documented some of the –now historical– moments in the emerging art world in New York: gallery happenings, the abstract expressionist scene, and Bob Dylan’s arrival in the city. He also worked with legendary photographer Robert Frank during his filming for Pull My Daisy. Cohen has been greatly influential in the world of American folk music. Apart from the stories, Cohen's pictures also tell of emotions and feelings. From the devotion for something. Be it music, family, friends or art. Dedication also means enthusiasm - courage - passion - commitment - attention - devotion, but also - sacrifice - renunciation - loss and above all: love.
All this can be found in the works of John Cohen. From the clubs and bars of New York to the worn out faces of the deep south. From the avant-garde aspirations of the Beat Generation to the economic crisis in Kentucky. From gospel to folk music. From artists to farmers and m… | | |
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| | | Bernard of Hollywood: Cleo Moore, 1954 | | | | | | | | 7 September – 12 October, 2019 | | | | Opening: Saturday, 7 September, 7-9:30 pm | | | | | | | | | | | | | The exhibition is dedicated to the exiting Pin Ups and girls' pictures of the german-american photographer Bruno Bernard, better known as Bernard of Hollywood (1911-1987).
In 1934 Bernard promoted in criminal psychology in Germany and emigrated 1936 to the USA because of hisJewish ancestry. There he photographed in Los Angeles since 1938 and opened his studio two years later in Hollywoods Sunset Blvd 9055, where he run succesfully the studio for twentyfive years.
At this place he photographed many aspiring Hollywoodstarlets, but also many great film stars of his time. Bernard is considered a discoverer of Marilyn Monroe, because she (who worked under her birthname Norma Jean Baker) got her first film contract through his contacts.
Carole Kismaric, the curator of the exhibition "Fame after Photography" of the Museum of Modern Art, NY, wrote in the exhibition catalog: "Bernard had a way of making his subjects seem more human [than other pinup photographers]. When you see his pictures, you want to stop and look at them because of the obvious connection between the subject and the camera." (Los Angeles Times, 2002)
The in focus gallery in Cologne purchased a part of the estate and presents about 70 selected works next to personal documents and rare sketches of the creation of single works in the exhibition "Girls, Girls, Girls". These artworks mostly are vintage prints that had been printed between 1946 and 1960.
A special attention will be paid to Bernard's muse Lily St. Cyr, probably the most famous exotic dancer of this time and original photographs of his book "Guide to pin-up photography" published in 1950.
A Pin-up is a full-lenght picture which portrays of pret… | | |
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| | | | | | | | Siegespark, Denkmal für die Helden des 1. Weltkrieges, Moskau, Mai 2017 © Frank Gaudlitz |
| | | | | | | | Fotopreis der Michael Horbach Stiftung 2019 | | | – 30 Oct 2019 | | | | | |
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| | | | | | | Carmen, Evening Dress by Patou, Au Réveil, August 1957
From an indivisible portfolio titled Made in France
Gelatin silver print
10 x 8 in.
© The Richard Avedon Foundation |
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| | | | | | | Alinka Echeverría
Simulation V—Matter Brought to Light
2015-2018
Precession of the Feminine series
UV printing on tempered glass, variable dimensions
© Alinka Echeverría |
| | | | | | | | MOMENTA | Biennale de l'image | | | Fri 6 Sep 17:30
5 Sep – 1 Dec 2019 | | | | | |
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| | Vladimir Lagrange
Doves of peace
1962 | | | | | | | | September 5 – November 17, 2019 | | | | | | | | | | | | | The Lumiere Brothers Center for Photography opens a new exhibition season with a jubilee retrospective of Vladimir Lagrange, whose work has become the very image of the “thaw” of the 1960s. The photographer’s overwhelming desire to observe the world, his attention towards people, and the amazing sense of the spirit of the era have provided us with an extensive archive. Lagrange’s works became a recognized classic of Soviet art, while remaining in consonance with what was happening with photography in the world—the rise of the humanistic movement, the work of the young photographic agency Magnum.
More than a hundred of Lagrange’s works, from the 60s to the 90s, will allow the viewer to see the changes in the moods of successive periods of history. The retrospective will include classic and well-known photographs—Granny (1961), Goalkeeper (1961), Doves of Peace (1962), Young Ballerinas (1962), as well as lesser known works. The exhibition will cover about forty years of Lagrange’s creative work and reflect his growth as an artist and also the influence of time on his style, presentation and themes. | | |
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| | | tommy kha, Kati, Midtown Manhattan, 2013 | | | | | | | | 4 September – 20 October 2019 | | | | Opening reception: Wednesday 4 September 6pm | | | | | | | | | | | | | LMAKgallery is pleased to start off our Fall season with Tommy Kha’s Return to Sender opening Wednesday September 4, 2019. This is Kha’s debut solo at LMAKgallery. Featuring three bodies of works that have not been seen in New York, Kha’s ability to maneuver a camera, direct and function as model to best show his uncanny ability to explore a concept of intimacy and otherness.
Return to Sender (AKA - The Kissing Series) explores these ideas of intimacy, the role of the photographer in self-portraiture, and the ways in which Asians and Queer bodies are portrayed in western culture. In this exhibition, a group of 4 x 6 inches photographs are mounted and displayed in rows, while next to a wall vinyl image that folds in the corner at the point of the kiss. On top of the vinyl print, a series of kissing frames have been stacked to create a collage of visual plains. The exhibition culminates to a slide-projections, which documents of the numerous engagements. Kha’s work has to do with roles that, in varied ways, are defined by cultural indifference along with the experience of apartness.
The other series titled All Kings Jump Ships, pictures from an aftermath of unseen performances that demonstrate Kha’s play of light and shadow and create iconic imagery. He is able to capture frailty, humility and tenderness through mostly inanimate objects, except for a sparse figure here or there. Connecting to the viewer through recognizable moments that are rarely made visible as he leaves these raw moments beautifully exposed.
To tie the two series together Us part of A Real Imitation is featured as it embodies the artist’s sense of otherness and offers to be a bridge between the two narrat… | | |
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| | | | | | | José Giribás Marambio: Border fortification at the corner Eberswalder Str. / Oderberger Str.
in East Berlin district Prenzlauer Berg on 18.08.1978. |
| | | | | | | | The Fall of the Berlin Wall | | | Thu 5 Sep 18:00
5 Sep – 4 Oct 2019 | | | | | |
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| | | | | | | ALEX PRAGER
Big West, 2019
Archival pigment print
59 x 76.27 inches
149.9 x 193.7 cm |
| | | | | | | | | | | | Thu 5 Sep 18:00
5 Sep – 26 Oct 2019 | | | | | |
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| | Karl BLOSSFELDT
Eranthis hyemalis (Wintering, winter aconite), 1928
1st edition photogravure
23,4 x 32,3 cm
© Karl Blossfeldt courtesy of Galerie Miranda | Charles JONES
Beans Windsom (1891-1905)
Unique gold toned gelatin silver printing out paper
15 x 10,5 cm
© Charles Jones courtesy of Galerie Miranda |
| | | HISTOIRES NATURELLES | | | | | | | 3 September - 26 October, 2019 | | | | Vernissage: Saturday, 7 September, 4-7 pm | | | | | | | | | | | | | Presenting turn of the century vintage works by these two master photographers, Galerie Miranda and Michael Hoppen Gallery pay tribute to the timeless theme of the wonder and beauty of the natural world, perhaps more relevant today than ever.
Charles Jones (1866-1959, England) was a gardener who worked on a private estate in Lincolnshire, England, cultivating rich flower beds and fruit and vegetable gardens. Jones was also a skilled photographer and printer, documenting throughout his life the fruit of his labour. The works were never exhibited during his lifetime, and only discovered in 1981 when art historian and photography collector Sean Sexton bought at a London antique market a trunk containing hundreds of unique Jones' prints. Photographing the fruit, flowers and vegetables from the estate gardens, presented against a neutral background that elevated them to the status of a portrait, anticipating later works by modernist masters (Edward Weston, August Kotzsch and Joseph Sudek to name a few), and the industrial typologies of Bernd and Hilla Becher. With a natural command for composition, Jones produced gold toned gelatin silver prints from glass plate negatives; the vegetables, fruit and flowers seem to shimmer with the warmth of the sun, in a deep tribute to the beauty of the natural world. Galerie Miranda will present these unique vintage prints (made during the latter part of the 19th century) featuring the vegetable portraits: peas, celery, marrows, cabbages, beets, cucumbers... | | |
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| | | | | | | Thomas Florschuetz
Ohne Titel (Palast) 56, 2006/2007
C-Print, Diasec
183 x 253 cm
© VG Bild-Kunst, Bonn 2019 |
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| | | | | | | Hans-Peter Feldmann: aus "100 Jahre", 1996-2000
Neues Museum Nürnberg, Dauerleihgabe der Bundesrepublik Deutschland
© VG Bild-Kunst, Bonn, 2019
Foto: Annette Kradisch |
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| | | | | | | Dana Lixenberg: Trouble, 2009
aus der Serie: Imperial Courts 1993−2015
Courtesy of the Artist and GRIMM, Amsterdam | New York |
| | | | | | | | | | | | ... until 28 September 2019 | | | | | |
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| | | | | | | | Irina Pap: Studierende der Nationalen Taras-Schewtschenko-Universität in Kiew lesen die Geschichte Juri Gagarins in der Zeitung, 1961 |
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| | | Michael Najjar: new earth, 2017 | | | | | | | | ... until 8 October 2019 | | | | | | | | | | | | | For living systems Earth has been the primary environment for eons. Climatic changes or other shifts in the information flow have resulted in the rise and fall of thousands of species over time. Now the human species faces existential threats arising from environmental transformation, overpopulation, climate change, terraforming, diminishing resources, and shortages in the energy, food and water supply. Human systems create and use new technologies as tools of social evolution. We now live in a techno-system functioning cooperatively with humanity and the natural system of the planet. This system called "Technosphere" is the defining matrix and main driver behind the ongoing transition of this planet into the new geological epoch of humankind, the Anthropocene. The Technosphere has now reached an enormous, not yet determinate potential to alter the surface of the Earth as well as its great depths – from the orbital level to the deep sea.
A key element for the survival of the human species is water. It is the most abundant chemical compound in the universe. It’s ubiquitous in our own solar system and fundamental to all life operations in space and on our home planet. Water has even been recently detected in far distant galaxies more than 12 billion light-years away. It's vital in supporting human habitation for things like drinking water, agriculture, radiation shielding, and oxygen. But water is also the key element in a process called "terraforming", whereby a hostile environment, like a planet that is too cold, too hot, or with an unbreathable atmosphere, can be altered to make it suitable for human life. | | |
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| | | | | | | | Tony Ray-Jones. Beachy Head Tripper Boat, 1967 © Tony Ray-Jones, National Science and Media Museum/SSPL |
| | | | | | | | PHotoEspaña 2019 | | | – 20 Oct 2019 | | | | | |
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| | | | | | | | © Takashi Homma Courtesy of TARO NASU |
| | | | | | | | | | | | Sat 7 Sep 18:00
7 Sep – 12 Oct 2019 | | | | | |
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| | Barbara Kasten: Architectural Site 17, High Museum of Art, Atlanta, GA, August 29, 1988
© Barbara Kasten / Kadel Willborn, Düsseldorf | | | Color Mania | | | | The Material of Color in Photography and Film | | | | | | | 7 September – 24 November, 2019 | | | | Opening: Friday, 6 September, 6pm | | | | | | | | | | | | | Fotomuseum Winterthur is presenting the exhibition "Color Mania – The Material of Color in Photography and Film". The show exhibits film strips, large-format images and original prints, by which the development and history of color as a material in photography and film are illustrated. Works by contemporary photographers and artists Dunja Evers, Raphael Hefti, Barbara Kasten and Alexandra Navratil demonstrate how historical methods are applied today.
Right from their inception in the nineteenth century, photography and film have been colorful media and art forms, though this is largely unknown to the general public and often overlooked in art historical and academic debates. Color was added to the first photographs, among them daguerreotypes, from 1839 onward and cyanotypes from the 1840s attained their characteristic blue tinge from the chemical reactions of the photographic printing process. Likewise, early cinematic works from the 1890s, such as Loïe Fuller’s dance films, were tinted, toned and hand-colored spectacles.
Since then, a great deal has happened, as in the course of their respective histories photography and film have interacted with one another, while spawning several hundred different color processes. Some of these techniques – including the Autochrome process invented by the Lumière brothers – were developed for photography and subsequently used in film. Others – such as the Gasparcolor process – were initially used in film production and only later applied to photography, marketed, in the case of Gasparcolor, as Cibachrome by the Swiss company Ciba.
"Color Mania" examines the web of connections and processes of exchange between the media of photography and f… | | |
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| | | | | | | F.C. Gundlach
"Vor der Cheopspyramide"
Karin Mossberg für Radium
Gizeh, Ägypten 1966 |
| | | | | | | | | | | | Thu 5 Sep 18:00
6 Sep – 27 Oct 2019 | | | | | |
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| | | © Philipp Keel, Bild rechts: Julie, 2014, Color Print on Arches Water Color Rough 650g, Edition 3 of 5 & 2 AP, 153 x 102.8 cm (print) / Bild links: Palm and a Palm Leaf, 2019, Imbue Print, Edition of 7 & 2 AP, 71 x 56 cm (print) | | | | | | | | 5 September ‐ 19 October, 2019 | | | Vernissage: Thursday, 5 September, 6-9pm
Guest Speakder: Benedict Wells, Author | | | | | | | | | | | | | "The most glorious summers are often also the most painful. Because we rarely feel more alive. And at their end, we are all the more reminded that everything will have to pass by eventually. If you look at Philipp Keel's new works for 'Last Summer', you notice the absence of people--aside from a single nude. Instead, there are predominantly images of palm trees, pools, drinks, in addition to still lifes, that initially seem cool and summery, as well as interspersed snapshots and playful poetry glanced from the tail of his eye. All the images are united by the artist's attention to special details and moods, but closer inspection reveals the melancholy that permeates many of the works. Often the moment has already passed or can only be seen blurred at the edges of consciousness. What remains is a feeling of transience, perhaps even a touch of loneliness.
One of the great strengths of these works is that the images remain subtle and reserved. The viewer can find in them what s/he wants to find. Sometimes the melancholy is light-hearted and only like a gentle, not unpleasant tug at a taut chord deep inside us. But sometimes there's more to it than meets the eye. 'Last Summer' leads us to a threshold. The evening has dawned, one stands alone on the porch with a drink and looks out, notices the laughter of friends in the background, sees the last daylight fading. The memory serves us sometimes flickering, sometimes clear images of a day that passed far too quickly. Maybe one becomes momentarily wistful, but perhaps one might simply turn around and return to the others."
Benedict Wells, July 2019 | | |
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| | | | | | International contemporary art fair | | | | | | | Thu 5 Sep
6 – 8 Sep 2019 | | | | | |
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6 – 8 Sep 2019 | | | | | |
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| | | | | | | | | | | | | | Thu 5 Sep
5 Sep – 5 Nov 2019 | | | | | |
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| | | Grotte de glace de Vatnajökull (Islande), 2014 © Richard Mosse | | | | | | | | | | | | | until 22 September 2019 | | | | | | | | | | | | | | In September, MBAL invites you to visit the Alt.+1000 contemporary photography festival being held in three different venues. MBAL has formed a partnership with this festival renowned for exhibitions of contemporary photography with mountain themes. The museum, through its exhibitions focusing on landscape and its representation in historical and contemporary photography, is the first of the three venues taking part in the Alt.+1000 festival. To extend this focus on the landscape, MBAL invites visitors to explore the two other sites involved in the festival: the Grand-Cachot-de-Vent farm, a superb 16th century building located in La Chaux-du-Milieu, and Lake Taillères. This photographic journey taking place in three locations will allow visitors to fully experience the landscape in the imposing natural setting of the Neuchâtel mountains, at an altitude of 1,000 metres. | | |
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| | | | | | | Tom Wood
Great Homer Street Market, Liverpool, 1991.
Courtesy of the artist and Galerie Sit Down |
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| | | | | | | Jana Bissdorf, untitled
from the series "Wege zum Glück", 2018 © Jana Bissdorf
Mur(s) / Mauer(n) | FOTOHAUS ParisBerlin | Deutsche Börse Photography Foundation |
| | | | Emerging Photographies | | | | | | | – 22 Sep 2019 | | | | | |
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| | | Olaf Otto Becker © Festival La Gacilly–Baden Photo | | | Festival La Gacilly-Baden Photo | | | | HYMN TO THE EARTH | | | | | | Baden near Vienna:
... until 30 September 2019
Festival programm - 46 Events:
In addition to the impressive pictures in the parks, gardens and alleyways of Baden near Vienna, the photo festival also offers an exciting side program with guided tours, workshops and lectures.
festival-lagacilly-baden.photo | |
| | | | | | | | | | | | | | Europe’s largest photographic festival is coming to Baden near Vienna for the second time. Under the motto HYMN TO THE EARTH, esteemed international photographers will exhibit fascinating visual worlds in a gigantic open-air gallery: 39 exhibitions with 2,000 large-format images—each up to 280 square meters in size—will transform the gardens, lanes and squares of Baden for four months and across 7-kilometres, into a "picture-city". | | |
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| | | | | | | | | | | | | | Fri 23 Aug
24 Aug – 20 Oct 2019 | | | | | |
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| | | | | | | | © Maia Flore / Agence VU pour Atout France, « Imagine France by the Sea » |
| | | | open air festival | | | | | | | – 30 Sep 2019 | | | | | |
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| | | | | | | | © Maria Gawryluc - 30 Under 30 Women Photographers |
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| | | | | | | | © Johanna Heldebro, Night Watch II, from To Come Within Reach of You (Gunnar Heldebro, Hässelby Strandväg 55, 165 65 Hässelby, Sweden), 2009 |
| | | | | | | | | | | | Chapter One: 06 JUN - 25 SEP
Chapter Two: 17 OCT - 21 DEC | | | | | |
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| | | | | | | | film 40-15 © ANNIKA LARSSON |
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| | | | | | The sound of screens imploding
Centre d'Art Contemporain, Genève | | | | | | | – 29 Sep 2019 | | | | | |
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| | | Bárbara Wagner & Benjamin de Burca, Swinguerra, 2019. Film still. | | | | | | | May You Live in Interesting Times | | | | | | | | ...until 24 Nov 2019 | | | | | | | | | | | | | | | The 58th International Art Exhibition, titled May You Live In Interesting Times, will take place from 11 May to 24 November 2019 (Pre-opening on 8, 9, 10 May). The title is a phrase of English invention that has long been mistakenly cited as an ancient Chinese curse that invokes periods of uncertainty, crisis and turmoil; "interesting times", exactly as the ones we live in today. The 58th Exhibition is curated by Ralph Rugoff, currently the director of the Hayward Gallery in London. Between 1985 and 2002 he wrote art and cultural criticism for numerous periodicals, publishing widely in art magazines as well as newspapers, and published a collection of essays, Circus Americanus (1995). During the same period he began working as an independent curator. The Exhibition will also include 90 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the historic city centre of Venice. Four countries will be participating for the first time at the Biennale Arte: Ghana, Madagascar, Malaysia and Pakistan. The Dominican Republic exhibits for the first time at the Biennale Arte with its own national pavilion. | | |
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| | | | | | | | Series Mukono. Courtesy Kahman Gallery, Amsterdam and Jackson Fine Art © Bastiaan Woudt |
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| | | | | | | | | | | | | | Fri 12 Jul
5 Jul – 29 Sep 2019 | | | | | |
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© 10 July 2019 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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