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| PHOTOGRAPHY INTERNATIONAL | | 10 — 17 April 2024 | |
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| | | Deel van mij, deel van elkaar, 2024 © Guurtje Wever. | | | Icoon | | | | | | | | 11 April – 1 July 2024 | | | | Opening: Thursday 11 April 18:30h | | | | | | | | | | | | | Foam and MAQAM proudly present the group exhibition Icoon, developed in collaboration with the city council of Amsterdam. The works in the exhibition are created by eight young talents, produced during a five-part workshop series and launched with a publication under the same name.
Renowned professionals such as Dana Lixenberg, Linda van Deursen and Zeinab El Bouni collaborated closely with the participants and guided them in making autonomous work. This resulted in a collection of inspiring stories and images reflecting the diversity and power of everyday icons. | | |
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| | Michael Wesely mit Hein Gorny:
Alexanderplatz, Berlin 1946/2023
© VG Bild-Kunst, Bonn 2024 | | | | | | | | 12 April – 1 September 2024 | | | | Opening: Thursday, 11 April, 7pm | | | | | | | | | | | | | How can a city’s spatial and architectural development dynamics be visualised photographically? How can photography capture time and life? In two new bodies of work, the internationally renowned photographer Michael Wesely traces fragments of past realities preserved in historical architectural photographs of Berlin. In doing so, he explores the archival dimensions of the medium of photography.
For "Doubleday", Wesely precisely superimposes his own photographs over old photographs of 19th and 20th-century architecture in Berlin, creating breathtaking leaps in time between the past and the present: 19th-century strollers on Alexanderplatz encounter today’s tourists; reconstructed copies of the buildings are superimposed onto ruins; and a park has taken the place of Monbijou Palace.
In his "Human Conditions" series, the artist focuses on the traces of people’s lives around 1900 enclosed in the Prussian Photogrammetric Institute’s large-format photographs. Wesely is particularly fascinated by the spooky disappearance of people in motion, whose contours have not been captured by the long exposure times, and whose shadowy figures he meticulously exlicits.
The Museum für Fotografie is also presenting works by Michael Wesely from previous years. These include the recently completed cycle about Leipziger Platz and Potsdamer Platz that followed the development of the new city quarter from 1997 to 2021. Another group of works shows demonstrations and protest gatherings, each of which Wesely photographed with exposure times of a few minutes and whose transient nature has left only traces and ghostly apparitions. These photographs are brought into dialogue with photojournalistic images of urban life and d… | | |
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| | Alfred Ehrhardt
Training sailing ship of the navy "Horst Wessel", Hamburg, 1930s/40s
Silver gelatin paper
24,0 x 15,8 cm
© Alfred Ehrhardt Stiftung | Rolf Tietgens
Altona fish market on Sunday morning
from: "Der Hafen", Rolf Tietgens, Heinrich Ellermann Verlag
Hamburg, 1939
© Rolf Tietgens |
| | | | | | | | | | April 13 – July 7, 2024 | | | Opening: Friday, April 12, 7–9pm
Curated by Prof. Dr. Eckhardt Köhn | | | | | | | | | | | | | Rolf Tietgens (1911–84) is regarded one of the most important photographers of the 1930s, but only a handful of people in Germany are familiar with his oeuvre. His work fell into obscurity after he emigrated to New York at the end of 1938, threatened with persecution as a homosexual artist in Germany. Since he never returned to his homeland, his body of work remained forgotten for quite some time. Today his book Der Hafen (The Port), published by the renowned Heinrich Ellermann Verlag in 1939 to mark the 750th anniversary celebrations of the port of Hamburg, has to be considered one of the preeminent photo books of the 1930s. It can be regarded as the most sophisticated elaboration of this subject matter in the history of German photography.
Tietgens confidently employs the vocabulary of Neues Sehen to lend his images a symbolic dimension with a personal touch. The port appears as a multifaceted, archaic setting where humans have impacted and defined the transition from water to land. Shipping traffic and the associated technical processes are only one part of a complex organism encompassing the spheres of architecture and work as well as those of commerce and nighttime entertainment. In an unpublished promotional text, Rolf Tietgens described his aesthetic concept as follows: "We sought to capture aspects of the port’s fluctuating appearance, whose overall impression nevertheless remains the same, and to link these with other captured moments. The result is a book of images that can perhaps convey what PORT means; moreover, it seeks to depict the life and unique spirit of the port of Hamburg."
Since both the original prints and negatives from Tietgen’s port book are lost, the images are … | | |
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| | Candida Höfer
Semper Oper Dresden II 2023
© VG Bild-Kunst, Bonn 2024 | | | Candida Höfer » Contexts. A Dresden Reflection | | | | ... until 21 July 2024 | | | | | | | | | | | | | The exhibition "Candida Höfer: Contexts. Reflections on Dresden" presents for the first time large-format works focusing on Dresden’s opera house, the Semperoper, produced by the internationally renowned artist. Höfer uses photography to reflect on the interior spaces and organisational structures of architectures of cultural representation. In this "contexts" exhibition she presents her work in dialogue with works fromthe Kupferstich-Kabinett.
Each of Höfer’s fourteen new photographs imagines a specific context of her practice as an artistic photographer: process, organisation, and techniques of production; cultural, scientific, and historical backgrounds; anthropological and geographical references. Each work of Semper Oper Dresden interacts with woodcuts, engravings, and etchings by such artists as Albrecht Dürer, Daniel Hopfer, and Giovanni Battista Piranesi. This gives rise to questions regarding similarities and differences in artistic thinking about various types of architecture and spaces as venues for cultural rituals. Spaces for rehearsal, storage, performance, leisure, and working inside the opera house, thus, become a lens to look at the context of the museum as a place of research, collecting, archiving, exhibiting, and working.
On the one hand, by presenting the artist's contemporary practice alongside works from the collection, a connection is established between her photographs and the prints featuring two-dimensional representations of space. On the other hand, the environment of the venue itself becomes a subject of reflection with an exhibition architecture of Kuehn Malvezzi Architekten that creates a context-conscious presentation. Through this interplay of different contexts, each image is able to retain the openness to interpretation that is characteristic of Höfer’s works.
Candida Höfer (born in Eberswalde in 1944) In 1973, she was admitted to the Düsseldorf Art Academy, where she belonged to the first generation of artists studying in the class of Bernd and Hilla Becher, now regarded as the international photographic avant-garde of post-war modernism in Germany. In September 2024, she was awarded the Käthe Kollwitz Prize of the Academy of Arts, Berlin, Germany. The artist lives in Cologne. | | |
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| | Burning building, Derry city, Northern Ireland, c. 1969
© Estate of Akihiko Okamura | | | | | | | | 11 April – 6 July 2024 | | | | Opening: Thursday 11 April 6pm | | | | | | | | | | | | | Photo Museum Ireland is delighted to present the world premiere of The Memories of Others exhibition, photobook and film on the Irish work of Japanese photographer Akihiko Okamura.
From the late 1960s to the early 1980s, renowned Japanese war photographer Akihiko Okamura (1929-1985) created a remarkable, compelling and largely unseen body of work in Ireland, north and south. This exhibition also launches a major programme which include sa documentary film and the first publication on Okamura’s Irish work. After covering the Vietnam War, Akihiko Okamura went to Ireland in 1968 to visit the country of JFK’s ancestors. Soon after, in 1969, he decided to move to Ireland with his family. From then on, he continually photographed the Troubles in the North and his life with his family in the South, until he suddenly passed away, in 1985. His photographs of Ireland, which have barely been seen before, demonstrate a unique artistic vision. This uniqueness is partly because Okamura chose to live in Ireland: of all the international photographers active during those years, he was in this sense a singular case of absolute commitment to Irish and Northern Irish history. This fusion with his subject matter led him to create images which were innovative both in terms of his own practice and of the photographic representation of the Troubles. His profound, personal relationship with Ireland allowed him to develop a new method of documenting conflict: poetic and ethereal moments of peace in a time of war.
Unlike other representations of the North of Ireland at that time, Okamura’s photographs are almost all in colour. Made in the North as well as in the South of Ireland, his photographs broke from the photojournalistic tradition, cre… | | |
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| | Chris Killip
Girls Playing in the street, Wallsend, Tyneside, 1976
© Chris Killip Photography Trust/Magnum Photos | | | | | | | | ... until 19 May 2024 | | | | Visiting the exhibition is possible as part of regular guided tours, on the "Open Saturday" on 20 April 2024 and during the Night of the Museums on 4 May 2024. | | | | | | | | | | | | | | | With this exhibition, the Deutsche Börse Photography Foundation honours the work of influential British photographer Chris Killip (1946-2020). Among the roughly 140 photographs on display, a particular focus lies on the time Killip spent on the Isle of Man and in the north of England. "Chris Killip. A Retrospective" is the most comprehensive presentation of his oeuvre in Germany to date.
Chris Killip poignantly documented the lives of people in the north of England, who were particularly affected by the economic shifts of the 1970s and 1980s. His portraits, landscapes and architectural photographs show both the consequences and challenges of deindustrialisation and those brought on by the political changes in the wake of Margaret Thatcher’s accession to power in 1979. Killip captured the harsh everyday lives of workers and their families in unsparing yet empathetic black and white images. They bear witness to the personal relationships he established with his protagonists over long periods. To this day, his social documentary approach continues to exert a formative influence on the visual language of subsequent generations of photographers.
Chris Killip was born on the Isle of Man in 1946, the son of a pub owner. By chance, he discovered photography at the age of 17 when he came across an image by Henri Cartier-Bresson in a French magazine. It touched him so deeply that he decided to drop out of his hotel apprenticeship and become a photographer. After a brief stint as a beach photographer, he moved to London in 1964 and worked as an assistant to advertising photographers for several years. His 1969 encounter with the work of Walker Evans and Paul Strand in New York inspired him to return to the Isle of Man to phot… | | |
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| | | | | | | | Hochzeitsfoto Spanien © Juan de la Cruz Megías |
| | | | Die Kunst der Hochzeitsfotografie | | | | | | | 15 Apr 2024 – 24 Feb 2025 | | | | | |
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| | Claudia Andujar
Sem Título - da série Sonhos Yanomami
[Untitled from Yanomami Dreams series], 2002
© Claudia Andujar. Courtesy Galeria Vermelho, São Paulo | | | | | | | | ... until 19 May 2024 | | | | | | | | | | | | | The Swiss-born Brazilian photographer and activist Claudia Andujar (*1931) serves as a role model for many politically motivated artists today. She is not only an outstanding photographer but also an activist who uses her artistic voice to draw attention to social injustices and defend the rights of indigenous communities. Her political commitment is reflected in her photography, which is not only artistically documentary but also carries a clear political message.
After fleeing the Nazis, she decided to pursue a career as a photojournalist and became involved in the fight against dictatorship and violence in her new home of Brazil. From the early 1970s, she documented not only the daily life of the Yanomami indigenous community in the Amazon in northern Brazil, but also the conflicts they faced due to mining, land disputes, and diseases. Andujar henceforth dedicated her life and work to the struggle for the rights of the Yanomami, a community she joined.
As part of her five decades of dedication to the protection of the Yanomami, Andujar has taken over 60,000 photographs. She has advocated for the Yanomami through her art and has also become a vehement supporter of their rights. Her efforts helped to draw international attention to the threats they face. Many indigenous activists today refer to Andujar’s impactful work over the past decades.
Today, Claudia Andujar is considered one of the most important figures in photography in South America. Her works have been exhibited in renowned museums and galleries around the world, including the Museum of Modern Art (MoMA) in New York. She has received numerous awards and recognitions for her artistic and social work. | | |
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| | Elfriede Stegemeyer
Untitled (self portrait), c. 1933
Gelatin Silver Print on Agfa-Brovira paper
17.9 x 23.5 cm | | | Elfriede Stegemeyer »
Photographs 1932 – 1938 from the Gerd Sander Collection | | | | 13 April – 6 July 2024 | | | | Opening: Friday 12 April 6pm | | | | | | | | | | | | | "Elfriede Stegemeyer / elde steeg. Photographs 1932 - 1938 from the Gerd Sander Collection", continues the series of exhibitions focused on the collection of the galerist and collector, Gerd Sander.
Elfriede Stegemeyer (1908 - 1988) is one of many female representatives of the photographic avant-garde active during the Weimar Republic. The fact that her name is less well known today than that of other photographers of the style Neues Sehen (New Photography), even within photographic circles, is due to the political circumstances of the time in which she produced the majority of her photographic work.
In 1932, the twenty-four-year-old Stegemeyer discovers photography. Her early photographic work is inspired by the spirit of modernism. In the newly established photography class at the Kölner Werkschulen (Cologne Trade School), she quickly learned the technical basics of working with the camera. From the start she makes confident and imaginative use of the creative methods of Neues Sehen (New Vision) and Neu Objektive Photographie (New Objective Photography). Radical top and bottom views, close-ups, strong contrasts and tightly framed image cropping which abstract the subject, as well as rhythmically structured compositions, are part of her creative repertoire. Stegemeyer experiments with camera-less techniques in the darkroom creating photograms and photo-montages, with which she later creates collages. The new photography of the 1930s has an unmistakable influence on her work.
Stegemeyer cultivated close contacts with the artists group known as the Cologne Progressives. Later she explicitly pointed out the importance of the abstract, geometric compositions of Franz Wilhelm Seiwert and Otto Fre… | | |
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| | | Mohlokomedi wa Tora , 2018, Scene 2 © Lebohang Kganye. Courtesy of the artist | | | | | | | | | | | | | ... until 2 June 2024 | | | | | | | | | | | | | This long-standing annual Prize, originally established in 1996 by the Photographers' Gallery in London, identifies and rewards artists for their projects that have made a significant contribution to photography over the previous 12 months.
Over its 27-year history, the Prize has become renowned as one of the most important international awards for photographers, spotlighting outstanding, innovative and thought-provoking work. The 2024 shortlisted projects all critically engage with urgent concerns, from the remnants of war and conflict, experiences of diasporic communities and decolonisation, to contested land, heritage, equality and gender. Together these artists demonstrate photography's unique capacity to reveal what is invisible, forgotten or marginalised and imagine a path to redress.
The annual exhibition of shortlisted projects will be on show at The Photographers' Gallery, London from 23 February to 2 June 2024. It will then be on display from 15 June to 15 September 2024 at the Deutsche Börse Photography Foundation in Eschborn/Frankfurt.
The winner of the £30,000 prize will be announced at an award ceremony held at The Photographers' Gallery on 16 May 2024, with the other finalists each receiving £5,000. Full details of the Prize exhibition and award evening will be announced in early 2024. | | |
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| | | | | | | Thomas Hoepker: Old man with his pet bird in Ritan Park, Beijing, China, 1984
© Thomas Hoepker / Magnum Photos |
| | | | Von skurrilen und herzerwärmenden Alltagssituationen | | | | | | | Sun 14 Apr 12:00
14 Apr – 16 Jun 2024 | | | | | |
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| | | | | | | | Cyborgian Rhapsody: Immortality, 2023, digital video [still] |
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| | Vivian Maier
Chicago, 1961
Posthumous gelatin silver print, printed in 2023
© Estate Vivian Maier / Courtesy Maloof Collection / Howard Greenberg Gallery, New York / Les Douches la Galerie, Paris | | | Made in USA | | | | | | | 11 April – 25 May 2024 | | | | Opening: Wednesday 10 April 2024 5pm | | | | | | | | | | | | | | One of them, Sabine Weiss, was born in 1924. The other one, Vivian Maier, was born in 1926. Both chose the street as their field of action and had a deep empathy for the passers-by they photographed. One of them, Sabine Weiss, was born in Switzerland but became a naturalized French citizen. The other, Vivian Maier, is American, but her mother was of French origin, from the Champsaur region in the Alps. One became a professional photographer. The other spent a long time looking after children while practicing photography in her spare time, just for the pleasure of the eyes. One was a cheerful, sociable woman who achieved international recognition fairly quickly. The other was a discreet and even solitary woman whose work was discovered in 2007, two years after her death. This double exhibition, Sabine Weiss-Vivian Maier - Made in USA, is a major first. It is set in the theatre of the American city - New York, Chicago, Washington, Philadelphia - that ultimately brought them together. This dialogue attempts to show their genuine curiosity about everyday life and their deep attention to physiognomies, attitudes and dress. It shows, once again, that photography was vital to both of them. | | |
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| | Christopher Anderson, Canada (1970)
from the series Family Trilogy, 2020
| | | | | | | | | | | | | | | | ... until 14 April 2024 | | | | | | | | | | | | | Christopher Anderson naturally began photographing his family after his son Atlas came into the world in 2008. When his daughter Pia was born, he continued the fatherly attempt to stop time and not let a single moment of this new life slip away. Marion features throughout these albums, as a woman, mother, and partner. As a documentary photographer, Christopher Anderson had never considered these personal photos as a ‘series’, but his opinion changed when war photographer Tim Hetherington pointed out that “They’re all about the passage of time.” Christopher Anderson began seeing his family pictures in a new light and realised that they may well be his best work. Pia, Son and Marion were published as three separate books, forming a unique and moving intimate family trilogy.
Kristine Potter’s latest photobook, Dark Waters, focuses on the violence that permeates the territory and popular culture of the USA. She contrasts a series of portraits of women with scenery that appears serene but is in fact views of places with sordid names, such as Murder Creek, Bloody River, and Rape Pond, evoking the domestic violence that allegedly took place there in the past. Drawing on the musical genre of murder ballads from the 19th and 20th centuries, Kristine Potter alludes to the flippant popular glorification of violence towards women that still pervades today’s cultural landscape.
Advertisements generally encourage us to picture Santa Claus as a cheerful chubby man with a bushy white beard and a smart red suit, always smiling and huggable. But what’s he really like? Collector Jean-Marie Donat scoured flea markets all over Europe to compile this extraordinary collection of photographs from the 1930s to the 1970s, in which we see the beloved myth become a nightmare of triviality and awkward clumsiness. This witty series seems most likely to confirm our childhood suspicions: Is Santa Claus just an ordinary man, after all? | | |
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| | | MIA Photo Fair 2023 © Giulia Virgara | | | | | | | | | | | | | 10 – 14 April 2024 | | | | | | | | | | | | | The fair is a pivotal event for art world professionals and photography lovers. Under the new artistic direction of Francesca Malgara, it is set to take place in Milan from April 10th to 14th 2024 at the new, central location of Allianz MiCo.
The fil rouge of the 2024 edition is 'Changing'. Changing means searching an alternative to the situation of stagnation and general crisis that affect the personal, political, and economic spheres worldwide in our times.
The 2024 edition will be showcasing a variety of sections: the Main section, with a selection of leading, long-established galleries presenting their best photography perspectives; Beyond Photography - Dialogue, curated by Domenico de Chirico, dedicated to comparing photography with other media; Reportage Beyond Reportage, curated by Emanuela Mazzonis di Pralafera, highlighting the different nuances of reportage, whether documentary photography, photojournalism or street photography; a special country focus curated by Rischa Paterlini that looks into the encounter between East and West. | | |
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| | | | | | | | | | | | | | Thu 11 Apr
12 – 14 Apr 2024 | | | | | |
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| | | | | | | | | | | | | | Thu 11 Apr
12 – 14 Apr 2024 | | | | | |
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| | | | | | Critical Geography | | | | | | | – 21 Apr 2024 | | | | | |
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| | | | | | Even Better Than the Real Thing | | | | | | | – 30 Sep 2024 | | | | | |
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| | | | | | Rencontres de la jeune photographie internationale 2024 | | | | | | | – 25 May 2024 | | | | | |
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| | | | | | Festival de la jeune photographie européenne | | | | | | | – 2 Jun 2024 | | | | | |
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| | | | | | Memory is an Editing Station | | | | | | | – 28 Apr 2024 | | | | | |
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| | | | | | Ten Thousand Suns | | | | | | | – 10 Jun 2024 | | | | | |
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| | | | | | Triennial Exhibition | | | | | | | – 28 Jul 2024 | | | | | |
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© 10 April 2024 photography now UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editors: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
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