| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 1 - 15 January 2020 | |
|
| |
|
| |
| |
| |
|
| |
| |
|
| |
| |
| | | Untitled, from the series stussy our tribe 2018 © The Sartists, courtesy of the artist | | | | | | | | | | | | | ... until 11 March 2020 | | | | | | | | | | | | | | What is fashionable and what does it convey about ourselves? How do we adorn ourselves? How do we use fashion to show who we are, who we think we are, or who we want to be? The exhibition Adorned – The Fashionable Show presents intriguing and challenging fashion related photography projects created by a new generation of visual artists. They all work with fashion, but most of them are not straightforward fashion photographers. For them, fashion and style are primarily tools to construct or question identities, to empower people and to play with cultures, gender, race and ages. While some participating artists have already been discovered by well-established fashion brands, others continue to work from within their own communities. They are outspoken, challenging, critical or provocative, but always highly relevant in a time defined by fundamental power shifts in which access, diversity and identity are key words. | | |
| |
|
|
| |
| |
| | | Untitled, from the series Fixing shadows; Julius and I, 2018 © Eric Gyamfi | | | | | | | | ... until 11 March 2020 | | | | | | | | | | | | | | Eric Gyamfi (1990, Ghana) is the winner of the 13th Foam Paul Huf Award, which is awarded annually by an international jury to talented photographers under the age of 35. Gyamfi uses a wide array of visual techniques to create visual narratives that hover somewhere in between autobiography and fiction. His work comprises collages, texts, audio and photographs developed according to various methods, including cyanotype and silk screen printing. His portraits and diaristic installations are highly personal, yet transcend the artist’s individual experience. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Fight Series No. 21, 2019 © Anja Niemi, courtesy The Ravestijn Gallery | | | | | | | | ... until 18 January 2020 | | | | | | | | | | | | | Anja Niemi’s new, all black/white series shows an unaccompanied woman, dressed in black with a face that is turned away from the lens, driving to a solitary house in the desert. Here she trades her clothes for that of a boxer. The boxing paraphernalia builds upon the idea that each photograph and setting is a site of mental training and introspective battle. As with all of Niemi’s work, the narratives she constructs and then performs in as both author and character simultaneously, act as allegorical amplifiers to the conversations that lie beneath.
Anja Niemi (b. 1976, Norway) always works alone; placing herself within her own meticulous tableaux, she constructs fictional stories where she is both the author and the character. In Darlene & Me (2014), Niemi plays the parts of two identical women living against the backdrop of a sparse, bleached house in the desert. The dualism in each performative photograph speaks clearly of the internal, and often opposing, voices we are all so attune with. In this way, as with all of her work, Niemi appeals to ideas that are innate to the human condition, rather than being confined to a personal mediation. And whilst her poetic narratives are wholly imagined (although frequently inspired by film and literature), they act as an intimate space to catalyse real conversations about identity, conformity and the relationship we have with ourselves. | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | Shirley Wegner, Night Explosion (2013), C Print
© Shirley Wegner, Courtesy Farideh Cadot Paris and the artist | | | | | | | | | | 11 January – 26 April, 2020 | | | Opening: Friday, 10 January, 7–9 pm
Opening remarks: Dr. Marie Christine Jádi, Curator | | | | | | | | | | | | | What is real and what is fake? What truths do we believe to see? Or is it all just an illusion? These questions have accompanied photography since its beginnings. Today in our contemporary media culture they play a more prominent role than ever before, and they are at the core of this exhibition, which is centered around the theme of "nature" and the imitation of the natural. Replicating a natural form entails different problems than reproducing a human-made form, which is in itself artificial. As true masters of illusion, the artists produce miniatures of imaginary places, seascapes, snow-covered landscapes, mountains, urban spaces, and the forces of nature. It is becoming increasingly difficult to discern the model from the real in photography, which often leaves viewers with the impression of a deceptively real image of nature.
This is exemplified in Sonja Braas' works, in which we are violently confronted with the full dramatic force of catastrophes such as volcanic eruptions, tornados, or floods. Inspiring terror and fear, these natural spectacles are also exceptionally beautiful. Referencing romantic notions of the sublime, her images are best understood as commentaries on the omnipresent flood of images that surrounds us.
Thomas Wrede presents remote, unspecified, and inhospitable landscapes in his photographs. For his works, he selects a segment of a landscape, variable in size, where he places model buildings, miniature vehicles, or small toy trees. The proportions within the image shift, giving rise to a sense of confusion on the part of the viewer.
Julian Charrière works in a similar manner, by transforming piles of earth into monumental mountain panoramas … | | |
| |
|
|
| |
| |
|
| | | | | | | | Sabine Wild: L1001950, 2019, Auflage 5 + 1 AP |
| | | | | | | | | |
|
| |
| |
|
| |
| |
| | | David on swing, West Virginia 1987, from the series "Moonshine", 44 x 29,5 cm, Archival Pigment Print, Ed. of 5 + 2 AP’s | | | | | | | | 11 January – 7 March, 2020 | | | | Opening: Friday, 10 January, 7-9pm | | | | | | | | | | | | | Bertien van Manen, an icon of documentary photography, will be honored with an extensive retrospective exhibition in her hometown of Amsterdam at Stedelijk Museum in spring. Coinciding with this large museum show, Robert Morat Gallery is pleased to be able to present a survey show titled "Book Stories" in Berlin.
Throughout her career, renowned Dutch photographer Bertien van Manen (*1942, The Hague) has been known for her publications. Her first two photo books, "One Hundred Summers, One Hundred Winters" (De Verbeelding, Amsterdam, 1994) and "East Wind, West Wind" (De Verbeelding, Amsterdam, 2001), have established her reputation as an artist and uncompromising documentarist; today both are rare, sought-after collectibles on the photobook market. The book project "Give Me Your Image" (Steidl, Göttingen, 2006) led to great international recognition and solo exhibitions at the Museum of Modern Art in New York, the Museum für Gestaltung in Zurich, the Fine Arts Museum in Boston or the Museum Ludwig in Budapest. | | |
| |
|
|
| |
| |
|
| | | | | | | | © Susanne Hefti, A Truly Non-Affirmative Research, 2017 |
| | | | Förderpreise der Wüstenrot Stiftung | | | | | | | Sat 11 Jan 17:00
12 Jan – 8 Mar 2020 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
| |
| | | © Florian Böhm from the Phaidon book: "Dieter Rams As Little Design As Possible" by Sophie Lovell | | | | | | | | ... until 31 January 2020 | | | | | | | | | | | | | DIETER RAMS SEEN BY FLORIAN BÖHM consists of detailed images of iconic objects by Dieter Rams, photographed in the archives of the Braun-Sammlung in Kronberg. Böhm offers also exclusive insights into the private house of Dieter Rams. For the first time, a selection of pictures from the catalogue "AS LITTLE DESIGN AS POSSIBLE" by Sophie Lovell (2011 published by Phaidon) are exhibited.
The solo exhibition DIETER RAMS SEEB BY FLORIAN BÖHM takes place in the contemporary and modern exhibition space for photography of the Goethe-Institut, located in the center of Bordeaux. Before Florian Böhm, photographs by Jörg Brüggemann/Ostkreuz, Hans Engels, Maurice Weiss/Ostkreuz, Herbert List, and Stefan Moses among others, were exhibited. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
| |
|
| |
|
| | | | | | | Gohar Dashti
Home, 2017
Archival digital pigment print
collection of Azita Bina and Elmar Seibel |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Bruce Davidson, Subway Brooklyn Gang 1959 | | | | | | | | | | | | | 11 January – 27 March 2020 | | | Opening: Saturday, 11 January, 6 – 9:30pm
Introduction: Hans-Michael Koetzle (freelance writer, photo curator and publicist) | | | | | | | | | | | | | The Cologne-based in focus Gallery - Burkhard Arnold can look back on three decades of successful work in the field of art mediation in January 2020. Founded at the beginning of 1990 in Hochstadenstraße as an author's gallery, it quickly developed into a professionally managed company that has become an indispensable part of Cologne's cultural landscape.
Today, in focus Galerie is one of the oldest photo galleries in Germany with an international exhibition program. In concrete terms, "classics" of photography humaniste such as Willy Ronis, Édouard Boubat or Sabine Weiss are among the artists represented in focus, as are Marc Riboud, Elliott Erwitt or Thomas Hoepker as members of the Magnum Group. The early highlight of the gallery's work was certainly its homage to Bruce Davidson. In addition to other solo exhibitions with works by the Hamburg fashion photographer F. C. Gundlach, the Czech Jan Saudek, the Frenchman Jeanloup Sieff, the Swiss René Groebli or Lucien Clergue, also known as a co-founder of Rencontres d'Arles, group exhibitions were held again and again, which, on the one hand, discussed a theme in sometimes controversial positions, and, on the other hand, helped artists of the gallery to make a "collective" appearance. The exhibition of 2016, a tribute to Marilyn Monroe with photographs by Elliott Erwitt, Edward Clark, André de Dienes, Arnold Newman, Eve Arnold, and George Barris, is a good example.
With the conceptual works of Thomas Kellner, the temporary installations of the Dutch artist Scarlett Hooft-Graafland that affect landart, the photographs of the Austrian artist Sissi Farassat embroidered with Swarovski crystals and threads, and several other contemporary po… | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | Pascal Sébah
Kiosque de Choubra Galeries
1860s
33.50 x 25.80 cm
Albuminabzug | | | | | | | Photographs of the 19th century | | | | | | | | ... until 25 January 2020 | | | | | | | | | | | | | In the second half of the 19th century, photography was not just about conveying information and knowledge. It should also show that she influenced visual habits and perceptual aesthetics. The works collected in this exhibition are an overview that transcends the images of well-known monuments and monuments, forming an extensive collection that brings the distant - both temporally and geographically - into private life.
The exhibited works bring us back in time to couples strolling on the Siegesallee in Berlin, to the gloomy streets of Glasgow, to the archaeological excavation site of Pompeii. It will take us to the picturesque forest of Barbizon near Fontainebleau, to oriental stalls or the proud riders of Algiers and their horses.
The photographs shown originate from very different backgrounds: commissioned works by the state, in the sense of the french Mission Heliographique, which served the documentation of monuments.
The views of Venice usually come from studios or studios that specialize in architectural photography for tourists and their travel albums.
Photographs of the Études d'après nature served painters as a teaching tool and template. This artistic landscape photography, created in the forest of Barbizon near Fontainebleau, is closely interwoven with "the work of the artists who, as the so-called School of Barbizon, revived open-air painting in the mid-19th century".
The photographic documentation of archaeological sites, ruins and expeditions is a unique source of unknown or unexplored places.
The medium of photography is capable of capturing moments that exist only once. Figuratively speaking, it is a peephole into another time. A snapshot in the truest sense of the wor… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | CARL MYDANS On the 6:25 from Grand Central to Stamford, 1963
Gelatin silver print
©CARL MYDANS / LIFE | | | | | | | Selected prints from the LIFE Magazine Collection (1936-2002) | | | | | | | | ... until 1 February 2020 | | | | | | | | | | | | | | Atlas Gallery is pleased to present LIFE, an exhibition of photographs celebrating the golden age of the first American all-photographic magazine. LIFE’s photographers documented the most important events, memorable people and places in modern history. The exhibition will showcase the work of stellar names associated with the magazine, such as Andreas Feininger, Joe Rosenthal, Margaret Bourke-White, Alfred Eisenstaedt, John Dominis, John Loengard, Nina Leen and J.R. Eyerman, whose professional engagement in the events of the 20th century led to an epic form of photojournalism that captured both momentous and intimate moments with unparalleled perception. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | Judy Linn, burning car, 1986.
Archival inkjet print, image size: 10 1/2 x 16 inches, paper size: 13 x 18 inches, edition of 12. |
| | | | | | | | | | | | Sun 12 Jan 14:00
12 Jan – 29 Feb 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Kurt Benning und Hermann Kleinknecht: Videoporträt Inga Tränkler, ehemaliges Fotomodell (Filmstill) München 22.01.2001, Länge: 53 Minuten © Stiftung Kurt Benning; H. Kleinknecht | | | Faces of the city | | | | | | | ... until 23 February 2020 | | | |
| In "Bilder für Alle" (A Picture for Everyone), the exhibition further presents a selection of open portrait projects by artists working in the spirit of Benning and Kleinknecht | | | | | | | | | | | | | In 1996, artists Kurt Benning (1945–2017) and Hermann Kleinknecht (b. 1943) started work on a long-term project – "Videoporträts" (video portraits). It involved getting members of the Munich art scene along with ordinary people of all social classes, professions and ages to talk about the things that matter to them. What started out as a project focusing solely on leading figures in the Munich art scene soon broadened its scope to include people from all walks of life, from art historians to building contractors, writers to taxi drivers and tax advisors to seamstresses. What emerged was an extremely diverse collection of (self-)portraits of individuals who reveal themselves not only through the spoken word but also through tone of voice, gesture and body language. The Münchner Stadtmuseum has showcased around 50 of these video pieces featuring eminent Munich personalities alongside some of the city’s less well-known inhabitants. By depicting a broad spectrum of very different people, these video portraits provide a compelling snapshot of contemporary Munich society. In "Bilder für Alle" (A Picture for Everyone), the exhibition further presents a selection of open projects by artists working in the spirit of Benning and Kleinknecht to democratize the medium of the portrait, traditionally the preserve of the most privileged social classes.
As part of an exhibition of dog photography at the Münchner Stadtmuseum in 1989, museum photographer Kerstin Schuhbaum (b. 1957) placed dogs and their owners in the middle of the exhibition, against the backdrop of a plain white linen sheet, and took their photographs. Her aim was to investigate whether there is any … | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Tim Greathouse Sur Rodney Sur, 1983 |
| | | | | | | | drawings, paintings and photographs | | | Thu 9 Jan 18:00
9 Jan – 29 Feb 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Des Oiseaux 23 (2019)
Archival pigment print
Edition of 6
33 x 48 cm
© Terri Weifenbach | | | | | | | | 9 January – 22 February 2020 | | | |
Terri Weifenbach will lead 3 photo book workshops:
Friday 17 January, 2020, 10-12am | Friday 31 January, 2020, 10-12am | Friday 14 February, 2020, 10-12am | | | | | | | | | | | | | Galerie Miranda is delighted to present a solo exhibition of recent works by Terri Weifenbach (b. USA, 1957), the artist's first solo show in France. The exhibition will feature selected prints from Weifenbach’s landmark series Des Oiseaux (2019), Centers of Gravity (2017) and The Politics of Flowers (2005). Given the importance in Weifenbach’s practice of bookmaking, the exhibition will also include rare artist books that will be exhibited alongside the prints. For the duration of the exhibition Terri Weifenbach will host at Galerie Miranda a cycle of private photobookmaking ateliers for small groups, which will be open upon reservation on a first-come basis.
Des Oiseaux (2019): Photographed in the garden of the artist's home in Washington DC, the images in this series capture the secret life of the many species of birds that inhabit our cities. Often photographing at ground level, the artist reveals the dives and looping spirals of sparrows, finches, and warblers hidden in tree trunks and amongst the leaves. The changing seasons are captured through the evolving colours of the garden and the artist deploys both a blurred and an ultra-precise focus that construct an intimate observation into this small and delicate world.
Centers of Gravity (2017): When working on Des Oiseaux, Weifenbach was often intrigued by details and it was natural for her to find the gestures of the flying and standing birds worth noting for themselves. She chose to separate the birds from their background and print in black and white in order to bring full attention to the birds' shapes, gestures and details. In the prints they are uniquely individual representations of a single moment. I… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | La Bête / La Bête, un conte moderne
© Yasmina Benabderrahmane / ADAGP, Paris, 2020 | | | | | | | | 15 January – 12 April 2020 | | | | | | | | | | | | | Yasmina Benabderrahmane is the winner of the LE BAL AWARD FOR YOUNG CREATION WITH THE ADAGP 2019. The purpose of this prize is to accompany for two years the realisation of a creative project that falls within the broad spectrum of the image-documentary, fixed and moving, questioning our human experience. La Bête, A modern Tale by Yasmina Benabderrahmane will be installed at LE BAL from January 15th to April 12th, 2020. A book co-published by MACK and LE BAL accompanies the exhibition.
This is a story between two shores: yesterday’s Morocco, with raw materials at ground and body level, and today’s Morocco, in concrete and rock. Since 2012, Yasmina Benabderrahmane has been travelling across the sand dunes and plains of her native country, which after fourteen years of absence she attemps to reclaim through a visual language.
In the Bouregreg Valley, a few kilometres from Rabat, a new cultural centre, theatre and archaeological museum are being built, a colossal project instigated by the King that resembles a crouching beast, a figure of modernity eating away at the landscape and gradually altering the physiognomy of an ancestral country. The “Beast” does not sleep, it expands, snores, and settles into the landscape, growing larger day after day, imposing its shell-like architecture.
Further on, lie the rough, deserted, bare plains of Chichaoua, in the Atlas Moutains where traditions are passed on from one generation to another in dead calm villages, and where tales told in soft voices bring families together during the celebration of Eid Al-Adha.
"I aspire to show what we don't see and to divert what we do see. " — YASMINA BENABDERRAHMANE | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| | Paul Caponigro » | | | | | | | | | | | | SIXTY YEARS A solo photographic exhibition by one of the foremost master photographers still working today. | | Fri 10 Jan 17:00 10 Jan – 29 Feb 2020 | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | | | | | | | Sat 8 Feb 18:00
10 Jan – 8 Feb 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | | | Traces of light - Traces of time : Studio portraits from Switzerland and Cameroon | | | Thu 9 Jan 18:00
9 Jan – 9 Feb 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Bastiaan Woudt, Left: Tinotenda III, 2015, right: Hairpiece, Mukono, 2017
Archival Pigment Print on Inova Baryta Papier, 120 x 90 cm each, Edition 10 & 2 AP | | | | | | | | ... until 22 February 2020 | | | | | | | | | | | | | Bastiaan Woudt has enjoyed a meteoric rise to success within the world of contemporary photography. After starting his own photography practice from scratch a mere five years ago, with no experience or formal training, he has developed into a photographer with his own distinct signature style – abstract yet sharp, with a strong focus on detail.
As a student of the history of photography, learnt through devouring photobooks and visiting museums and fairs, Bastiaan Woudt has a strong preference for classic subjects, such as portraits and nudes, and we see references to illustrious periods from photography throughout his work, such as Surrealism and both the fashion and documentary photography of the 1960s and 70s. But through a sophisticated use of both camera and post-production techniques, which he has taught himself by heavily experimenting with both, he gives his own graphic and wholly contemporary twist to the classical.
Bastiaan Woudt’s work was exhibited in museums, at fairs and in galleries worldwide. In 2014 he was chosen as New Dutch Photography Talent, in 2016 he was named one of the biggest talents working today by the prestigious magazine The British Journal of Photography, furthering his position as a talent on the rise. In 2017 he won the Van Vlissingen Art Foundation Award. In 2019, his extensive monograph "Hidden" was published by Ypublishers.
"My inspiration comes from many forms of art, but in particular, the old masters of photography like Irving Penn, Richard Avedon, Man Ray, Bill Brandt, all amazing minds. They nailed what it takes to make an interesting image: Dynamics, movement, imperfection, feeling. Besides photography, there are many more ways I get inspired. Paintings, the way the Dutch masters saw the light is extraordinary. I believe that in art photography, you have to create a little dream world: a unique insight into the photographer’s mind. Black and white help to differentiate from reality. I find that color is too distracting."
- Bastiaan Woudt | | |
| |
|
|
| |
| |
| |
|
| |
|
| |
|
| | | | | | | | | | | | | | Thu 9 Jan 17:00
9 Jan – 12 Jan 2020 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | | | | | | | | | Thu 9 Jan 18:00
10 Jan – 14 Jan 2020 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
|
| |
| |
| |
|
| |
| |
|
| |
| |
|
| |
| |
| | | | | | | | Bamako Encounters - Streams of Consciousness | | | | | | | | ... until 31 January 2020 | | | | | | | | | | | | | | | The 12th edition of the Bamako Encounters - African Biennale of Photography—the singular photographic and lens-based art biennale on the African continent—will run in Bamako, Mali, from November 30, 2019 to January 31, 2020, celebrating its 25 years of existence since the first edition in 1994.
Conceived by Artistic Director Bonaventure Soh Bejeng Ndikung and a curatorial team comprised of Aziza Harmel, Astrid Sokona Lepoultier and Kwasi Ohene-Ayeh, joined by artistic advisors Akinbode Akinbiyi, Seydou Camara and scenographer Cheick Diallo this edition is an invitation to think about the artistic practice of photography as a stream of consciousness, as well as to consider photography beyond the tight corset of the photographic. The moment of a snapshot emanates from a flow of thoughts and associations reflecting the photographer’s inner voice, which is unavoidably and constantly in motion.
Titled Streams of Consciousness, after the eponymous 1977 record by Abdullah Ibrahim and Max Roach, the Biennale will employ multiple understandings of how such streams can be used as photographic tools. Tools that bridge the African continent with its various diasporas, in addition to conveying cultures and epistemologies. "Africa" has, after all, long ceased to be a concept limited to the geographical space called Africa. Africa as a planetary concept relates to people of African origin, the I & I, that are spread over the world in Asia, Oceania, Europe, the Americas and the African continent.
The exhibition will apply the notion of the stream of consciousness as a metaphor for the flux of ideas, peoples, cultures that flow across and along with rivers like the Niger, Congo, Nile or Mississippi.
This edition of the Biennale listens carefully to remoteness, invisible matters, hitherto erased voices and images, as well as celebrating politics and poetics of (in)animate ecosystems. It deliberates on the role of collectives in African photographic practices, and the possibility of collectively telling our own stories through images, arguing for the fact that in society we are not individuals, but dividuals: divisible entities that together make up a larger collective. In an effort to go beyond the frame of photography as a visual experience, this Biennale will engage with the textuality, the tangibility, the performativity and especially the sonicity of photography. The sonic properties of photography are envisioned as a stream of consciousness wherein the photographic and phonographic intersect. How can we understand the lyricism of the photographic in that space of cognitive flux? The stream in streams of consciousness is a spectrum that encompasses the conscious and unconscious and forms a space in which the notions of consciousness and unconsciousness collapse into each other. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | IMAGINED COMMUNITIES | | | | | | | – 2 Feb 2020 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | Every Step in the Right Direction | | | | | | | – 22 Mar 2020 | | | | | |
| | | | | | | |
|
| |
| |
| |
|
| |
| |
|
| |
© 11 December 2019 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
| |
