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| PHOTOGRAPHY INTERNATIONAL | | 10 - 17 October 2018 | |
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| | | | From October 11th, 2018 to January 26th, 2019, more than thirty photo events, exhibitions, screenings, meetings, conferences, will be in the frame of Festival La Photographie Marseille» , in 19 locations with 60 photographers. Since its creation in 2011, the festival's main focus has been the discovery of young talents with the Maison Blanche award. |
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| | Created as a unique section of Art Market Budapest,
Art Photo Budapest» , 11-14 October 2018, is now its onsite satellite fair dedicated entirely to the art of photography in a separate and complete exhibition hall, Art Photo Budapest is the only international photography fair in Central and Eastern Europe. |
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| | The Duel, 2016
C-type print, 112 x 150 cm, Edition of 7
© Anja Niemi | | | Anja Niemi » She Could Have Been A Cowboy | | | | until 27 October 2018 | | | | | | | | | | | | | Suppose I were to tell you
about this cowboy
who’s not really a cowboy,
not in the regular sense of the term,
not in the sense that she drives cattle,
or rides horses,
or wears cowboy hats, not yet anyway. This cowboy is imaginary but she exists,
like a sculpture trapped
inside a block of marble
waiting for her line of flight,
waiting for the sculptor
to start chiseling away at the stone. by Lena Niemi * The Ravestijn Gallery is proud to present an exhibition of the latest series by Norwegian artist Anja Niemi who continues her investigations of the self. This time she turns the lens to a life lived under the constraints of conformity. Every day her ctional character nds herself trapped in the same pink dress, but what she really wants is to be a cowboy, dressed in fringe and leather, riding horses in the Wild West. Through this series of photographs with multiple layers and possible interpretations, Niemi delivers her most political work to date. “The story is not really about being a cowboy. It’s about wanting to be another.” Anja Niemi In order to visualize the imaginary world of her character Niemi had to experience it for herself. Alone in a rental car, dressed as a cowboy, Niemi visited and photographed all the places on her character’s annotated maps. She hiked up and down the mountains of America’s national parks and rode a horse on the same eld John Wayne lmed one of his famous horse battles. Always trying to be what her character would have wanted, unafraid and unaffected by others. Niemi works alone, photographing, staging and acting out the characters in all of her images. Anja Niemi (b 1976) is a critically acclaimed and highly collectible Norwegian ne art photographer. Niemi will have her first retrospective museum show at Fotografiska in Stockholm opening February 2019, and will have her first monograph published by Thames & Hudson to coincide. * The poem by Lena Niemi, sister of Anja, is an excerpt from a longer text accompanying Anja Niemi’s photographs in the book ‘She Could Have Been A Cowboy’.
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| | | | | | | | Max Pinckers »Red Ink« - Leica Oskar Barnack Award 2018 |
| | | | | | | | | | | Wed 10 Oct 17:30
11 Oct – 31 Oct 2018 | | | | | |
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| | | | | | | Alinka Echeverría: The Road to Tepeyac, Mexico City, 2010, © Alinka Echeverría, 2010
Courtesy The Ravestijn Gallery Amsterdam |
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10 Oct – 12 Dec 2018 | | | | | |
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| | | | | | | | André Kirchner: Tanzbierbar Romantica, Schöneberg, 1985 |
| | | | | | | | Fotografien von 1981 bis 1990 | | Thu 11 Oct 19:00
12 Oct – 16 Dec 2018 | | | | | |
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| | Maria Austria | Szene aus »Mojin Shokan« vom Tenjo Sajiki-Theater
Tokio, Mickery Theater, Amsterdam 1973
© Maria Austria / Maria Austria Instituut | | | | | | | | An Amsterdam Neo-Realist Photographer | | | | 18 October 2018 – 10 March 2019 | | | Opening: Wednesday, 17 October, 7 pm The exhibition is part of EMOP - European Month of Photography Berlin. | | | | | | | | | | | | | Born in Karlsbad (Karlovy Vary) in 1915, Maria Austria (Marie Karoline Oestreicher) completed her photography training at the "Graphische Lehr- und Versuchsanstalt" in Vienna in 1936. She briefly worked freelance but in 1937, with the persecution of Jews on the rise in Austria, she decided to move to Amsterdam. When German troops occupied the Netherlands, she again faced persecution as a Jew. She and her sister, the textile designer Lisbeth Oestreicher, gave up their atelier "Model en Foto Austria" and went underground, surviving without papers. Until 1945 her life was marked by escape, displacement and working for the Resistance. World War II ended in the Netherlands on 5 May 1945. Destruction and death were still all around, but slowly an atmosphere of awakening and starting afresh crept onto the streets. Around Europe, this was the time of neo-realism, the humanist photography made world famous by Edward Steichen and his exhibition "The Family of Man". Maria Austria’s photographs during this period also tell of humanity and compassion. There are scenes of life on the streets, in the cafés, on the market-places, but also Austria’s "Amsterdam 1950" with its typical Dutch-and-bicycle motif. In the 1960s she passionately recorded guest performances by La Mama from New York and Tenjo Sajiki from Japan, both known for their radically avant-garde theatre. She captured this extremely physical acting in pithy black-and-white close-ups. Never seen in Germany before are Maria Austria’s views of the "Achterhuis", the back annex that became a secret home for persecuted Jews, including the Franks and their two daughters Anne and Margot, who hid here from 1942 until they were bet… | | |
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| | | | | | | André Gelpke: Sylt, 1980, aus der Mappe: Fluchtgedanken,
Silbergelatine, 23,7 x 30,1 cm
© Sammlung Schupmann |
| | | | Fotografie in Westdeutschland 1945 – 2000 aus der Sammlung Schupmann | | | | | | Sat 13 Oct 19:00
14 Oct 2018 – 6 Jan 2019 | | | | | |
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| | | | | | | Jürgen Teller: Desiree und Candice Neil, 1998
© Jürgen Teller |
| | | | | | | | | | | Thu 11 Oct 18:30
12 Oct 2018 – 11 Jan 2019 | | | | | |
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| | | | | | | | Oscar Muñoz: Narcisos, 2002 © ConstanceMensh Courtesy: Philadephia Museum of Art |
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| | | from the Ophelia series © Carla van de Puttelaar | | | | | | | | 14 October 2018 – 13 January 2019 | | | | Opening reception: Saturday 13 October 16:00 | | | | | | | | | | | | | | In this exhibition Carla van de Puttelaar will show foremost new works in which women and flowers will be featured, often combined, based on the story of Hamlet's Ophelia. The inspiration for this work is expressed by Carla as follows: "The theme of Ophelia combines love, life and death in a very theatrical manner. It has inspired artists for several centuries and this was even enhanced by John Everett Millais’ epic painting of the subject. The theme also has aspects of sensuality and vulnerability that intertwine with my work. Ophelia was the tragic beloved from Shakespeare’s Hamlet, who drowned upon having fallen into a stream from a willow tree and who was found floating, surrounded by flowers. Ophelia has long lingered in my work, already long ago I had encountered her in the work of the Pre-Raphaelites, but only in 2017 the theme started to flourish when women, plants and flowers encountered each other in my work. There was a special stillness I experienced and tried to capture of flowers on skin, tendrils following curves, entwined and adopted in deep black in submission to another world." | | |
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| | | | | | | | Photographer unknown. A. Rodchenko and V. Stepanova descending from the airplane. (for the film The General Line by Sergei Eisenstein), 1926 Courtesy Rodchenko and Stepanova Archives, Moscow |
| | | | Art, Intimacy and the Avant-garde | | | | | | 10 Oct 2018 – 27 Jan 2019 | | | | | |
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| | Guido Guidi
"E45 San Vittore", 1988
Photograph; C-type print on paper
19.5 x 24.5 cm
© Guido Guidi | | | | | | | | 12 October – 21 December 2018 | | | | | | | | | | | | | Large Glass is delighted to exhibit a selection of 27 prints by Italian Photographer Guido Guidi, to coincide with the exceptional publication "Per Strada", published by MACK at the end of October. The via Emilia (the road) is the Roman road that runs from Milan to Rimini, via Bologna, through Guido Guidi’s home city Cesena. It is also the road that Guidi has travelled along since he was fifteen and is the thread that joins the 285 photographs, taken between 1980 and 1994, illustrated in the three-volume book. His close observation of the ordinary things is what constitutes beauty and life both on and around the via Emilia, as he remarked in the accompanying interview: "It is a way of bowing down before things. And that is the religious aspect, a respect for things, for the blade of grass and wanting to give back by means of a precise photograph, where the execution of the detail is perfect, absolute, with no grain. The photograph must be absolute, transparent and cannot be corrected and reviewed later. As Didi-Huberman says, for the ancient painters of the 1400s, the act of imitagere or copying nature was in itself an act of devotion. Not necessarily mastery or technical virtuosity but an act of devotion towards things, the 'things which are nothing' as Pasolini says." Guido Guidi is one of Italy’s most respected photographers and over a career spanning more than four decades, Neorealist film and conceptual art have had a significant role in shaping his unsentimental but also intensely personal images. | | |
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| | | | | | | Ionesco Suite #2, 2013
Inkjet print on Hahnemühle fineart baryta 320g paper
110×140 cm, Edition of 7 and 2 AP
Courtesy of Wemhoner Collection © MASBEDO |
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| | | Taliban portrait, Kandahar, Afghanistan, 2002 © Collection T. Dworzak/Magnum Photos | | | | | | | | | | | | | 17 October 2018 – 27 January 2019 | | | | | | | | | | | | | This landmark exhibition celebrates the 70th anniversary of the renowned photo agency Magnum Photos created by Robert Capa, Henri Cartier-Bresson, George Rodger, and Chim (David Seymour) in 1947. Tracing the ideas and ideals behind the founding and development of the legendary cooperative, curator Clément Chéroux explores the history of the second half of the 20th century through the lens of 75 masters, providing a new and insightful perspective on the contribution of these photographers to our collective visual memory. Featuring group and individual projects, the exhibition includes over two hundred prints as well as books, magazines, videos, and rarely before seen archival documents. Among many others, it features the work of Christopher Anderson, Jonas Bendiksen, Henri Cartier-Bresson, Cornell and Robert Capa, Chim (David Seymour), Raymond Depardon, Bieke Depoorter, Elliott Erwitt, Martine Franck, Leonard Freed, Paul Fusco, Cristina Garcia Rodero, Burt Glinn, Jim Goldberg, Joseph Koudelka, Sergio Larrain, Susan Meiselas, Wayne Miller, Martin Parr, Marc Riboud, Alessandra Sanguinetti, W. Eugene Smith, Alec Soth, Chris Steele-Perkins, Dennis Stock, Mikhael Subotzky, and Alex Webb. The exhibition is a co-production between ICP and Magnum Photos. It is curated by Clément Chéroux, with Clara Bouveresse and ICP Associate Curator Pauline Vermare. | | |
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| | | | | | | | Yasumasa Morimura, Une moderne Olympia, 2018. Courtesy of the artist and ShugoArts, Tokyo. © Yasumasa Morimura |
| | | | | | | | | | | Sat 13 Oct 19:30
12 Oct – 20 Dec 2018 | | | | | |
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| | | | | | | | from the Mama series © Aneta Grzeszykowska |
| | | | | | | | | | | Sun 14 Oct 18:00
14 Oct – 18 Nov 2018 | | | | | |
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| | | Washington Square, New York, circa 1959 © Dave Heath Courtesy Howard Greenberg Gallery, New York et Stephen Bulger Gallery, Toronto | | | Dave Heath » Dialogues with Solitudes | | | | until 23 December 2018 | | | | | | | | | | | | | “A Dialogue With Solitude is a self-portrait, the result of a quest for anonymous figures in whom I recognize myself.”
- Dave Heath
Dave Heath occupies a unique place in the history of American photography. Influenced by W. Eugene Smith and the photographers of the Chicago School, including Aaron Siskind and Harry Callahan, he cannot, however, be considered as either a documentary or an experimental photographer. His photography is above all a way of bearing witness to his presence in the world by recognizing an alter ego in others absorbed in their inner torment. He was one of the first, in the 1950s, to express the sense of alienation and isolation inherent to modern society in such a radical manner.
Abandoned by his parents at the age of four in 1935, Dave Heath had a difficult childhood in Philadelphia, spent in orphanages and foster homes. At fifteen, a photo essay in Life on a young orphan in Seattle, “Bad Boy’s Story” by Ralph Crane, was to have a decisive impact on his future: “I immediately recognized myself in this story and photography as my means of expression.”
In 1952, when he was twenty-one years old, Dave Heath was enlisted in the army and sent to Korea as a machine gunner. There he captured his first “inner landscapes”, photographing fellow soldiers outside the battlefields, in intimate, self-absorbed moments, while striving to grasp “the vulnerability of a consciousness turned inwards.”
American street scenes in Philadelphia, Chicago, and New York (where he settled in 1957), allowed him to refine his search. Rather than simply capturing a scene or an event – almost all of his photographs give no indication of location, date, or action &ndash… | | |
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| | | | | | | Luke Guinaldo, Huntington Beach, California, US young surfer, 2016-2018
© Stephan Vanfleteren, Courtesy Kahmann Gallery, Amsterdam |
| | | | | | | | | | | 13 Oct 2018 – 13 Jan 2019 | | | Special Tour and book signing:
Sunday 21 October | | |
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| | | | | | | | Thomas Freiler - aus der Serie: "Donau". 1988/ 2017. 16-teilig, 50,4×50,4cm, Inkjet Prints |
| | | | | | | | | | | Tue 16 Oct 19:00
8 Oct 2018 – 19 Jan 2019 | | | | | |
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| | | | | | | Day 44: Dresden, Hung and his wife Trang take wedding photos. They are both born in Vietnam but live in Leipzig for 20 years running a restaurant.
© Andreas Teichmann |
| | | | | | | | | | | | | | | | Wed 10 Oct 19:30
11 Oct – 25 Nov 2018 | | | | | |
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Deborah Kelly
Speaks-in-Tongues,2016-2017
Collage, pure pigment, ink, on Garza handmade cotton paper
31 x 40,5 cm |
Deborah Kelly
Spirit of the Hedgerow, 2017
Collage, pure pigment, ink, on Garza handmade cotton paper
40,5 x 31 cm |
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| | | | | | | | | until 4 November 2018 | | | | | | | | | | | | | "Life in the Ruins" at Fabian & Claude Walter Galerie in Zurich is Deborah Kelly’s first solo exhibition in Switzerland, curated by Daniel Blochwitz. Discarded books and encyclopedias are as much source material for Deborah Kelly (*1962) as her avid studies, her boundless curiosity and vivid imagination. She describes it as her "obsession with constructing new possibilities for the symbolic order from abandoned books, and their sorrowful status as the ruins of a civilization – which is ours." As the Australian artist travels the globe from residency to biennial to workshop to arts festival and back home, she investigates local folklore, religious imagery, stories and personal experiences while picking up wildly diverse printed materials on her way. It’s as if she collects fragments of the world’s memory, which she reassembles into eloquent, spirited and allegorical fantasies, audacious proposals and cautionary tales that speak to the state of this very world. The resulting artworks seem like exercises in resistance: refusing the vanishing of our material, corporeal, social, and natural world that threatens to become a digital, virtual, asocial, asexual and man-made dystopia. They also seem like lessons in dissent: protesting the loss of voice and agency, but also the erosion of liberty and solidarity. After all, collages and photomontages always appear in times when other modes of artistic expression fail to capture the mood and urgency of crises. Deborah Kelly presents us in Life in the Ruins with her-story, showing us that another world is not just possible, but has always been there. | | |
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| | Benita Suchodrev
"48 HOURS BLACKPOOL"
Texts by Matthias Harder, Helmut Newton Foundation
and Benita Suchodrev
Hardcover 30 x 24 cm
160 pages
120 duotone illustrations
German / English | | | | | | | New Release Kehrer Verlag
Book Signing PARIS PHOTO | | | Thursday 8 November 2018, 2pm
Booth SE 06 / KEHRER | | | | benitasuchodrev.com | www.kehrerverlag.com | | | | | | | | | | | | | "Benita Suchodrev transforms the street into a stage. She makes something visible that most of us overlook: the face in the crowd." (Dr. Matthias Harder, Helmut Newton Foundation)
"Seaside resorts are normally places of rest and contemplation; in 48 Hours Blackpool Benita Suchodrev shows us something very different. In the chaos laid bare by the rough winds of Brexit England, everyone and everything are stirred up by the storm. Benita Suchodrev's camera is the Eye of the hurricane." (Michael Biedowicz, DIE ZEIT)
From sunrise to sunset, on the famous promenade and surrounding alleys in the resort town on the Irish Sea, the Russian-American-Berliner Benita Suchodrev lets life unfold before her camera. Relying on her intuition, during a couple of summer days the photographer documents her encounters with strangers. Her manner is daring and swift, always capturing the 'decisive moment.' Like all her documentary and portrait work, housed in private collections in Berlin, Moscow, and New York, the high-contrast black-and-white photographs in 48 Hours Blackpool are intense and devoid of sensationalism. Suchodrev’s debut book is a sociocultural study rich in authenticity and poetry; a contemporary but timeless journey of discovery through bingo parlors, hot dog stands, and burlesque theaters where wacky types, moms and pops, kids and seagulls go to play. | | |
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| | | | | | | | | | the only international photography fair in
Central and Eastern Europe. | | 11 – 14 Oct 2018 | | | | | |
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| | | | | | | | | | | | | Tue 16 Oct
17 Oct – 21 Oct 2018 | | | | | |
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| | Sebastião Salgado
Southern Right Whale, Patagonia, Argentina, 2004
Späterer Gelatinesilberabzug
36,8 x 50,8 cm (50 x 60,1 cm)
Schätzpreis 9000-12000 EUR | | | Invitation to consign | | | | until mid-October | | | Auction 1120 Photography: Friday, 30 November 2018
Auction 1122 Contemporary Art + Photography: Saturday, 1 December 2018 | | | | | | | | | | | | | | | | |
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| | | | | | | | | | | | | 11 Oct 2018 – 16 Jan 2019 | | | | | |
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| | | | | | | | | | | | | Fri 12 Oct 19:00
12 Oct 2018 – 30 Nov 2016 | | | | | |
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| | | © Vasantha Yogananthan, The myth of two souls of (France), 2016 | | | | | | | Confusing Public and Private | | | | | | | | – 28 November 2018 | | | | | | | | | | | | | | | As a newly emerging technology, medium and application, photography has always been associated with topics of publicity and privacy since it was invented. In the early days, photographers took essentially private pictures and viewed them in public spaces, while nowadays everyone can afford a camera phone and with mobile network and social media there appeared the demarcation of image, and in the time of constantly evolving visualization of data in contemporary art, photography has increasingly become an important medium that extends to, participate in, intervene with and helps build people’s public and daily lives. Thus, the public and private characters of photography continue to conflict, confront, integrate and spread between real and virtual spaces, and this constantly changes people’s ways of expression, relationships, behavioral habits while filling up our public and private living spaces. Eventually, with the extensive involvement of photography, public and private spaces, the boundaries between the individual and the group, and the "others" and "I" are reconstructed and redefined. During the process of these changing relationships, photography interacts and resonates in new ways with a lot of important factors such as history, reality, religion, philosophy, civilization, war, science & technology, politics and human emotions. In such a spatial-temporal environment where the public and the private are mixed, the modes of organization and thinking are extremely complex, and the atmosphere is full of a sense of ritual and absurdity, how can we start an adventure of thought – what kind of world is it? How is it related to us? It may be a Utopia or Dystopia, or even a Heterotopia or Protopia [1], and in their ideological and visual field, the way we deal with the relationship and expression of the public and private by photography will become our common goal that built on a relatively broad, distant and higher point, which is also the main point that inspired us to plan this exhibition. Therefore, this exhibition will center on photography as an interdisciplinary research field as well as its complex coexistence of the social, public and private, and it aims to explore the role and significance of photography in the tensional relationship between the public and the private... | | |
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| | | | | | 28th Edition - "Beauty & Consolation" | | | | | | – 28 Oct 2018 | | | | | |
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Richard Renaldi: 06:50, NY
from the series Manhattan Sunday, 2015
© Richard Renaldi, Robert Morat Galerie, Berlin |
Richard Renaldi: 09:24, NY
from the series Manhattan Sunday, 2015
© Richard Renaldi, Robert Morat Galerie, Berlin |
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| | | | | | | | | | | | | | 28 September – 31 October 2018 | | | | | | | | | | | | | | | The 8th edition of EMOP Berlin – European Month of Photography–Germany’s largest photo festival, will take place from 28 September to 31 October 2018. During this time, a total of 120 Berlin museums, cultural institutions, galleries, off-spaces, embassies, project spaces, and photography schools will present a wide variety of exhibitions showing the popular medium in all its facets. The exhibitions will be complemented by over 300 events, including curator tours, studio visits, artist talks and performances, film screenings, concerts, and guided tours.
To kick off the festival, the EMOP Opening Days will take place from 28 to 30 September, presented by Kulturprojekte Berlin GmbH in cooperation with the C/O Berlin Foundation. As one of the highlights of this year’s Berlin Art Week, its extensive program will feature lectures, artist talks, and discussions with internationally renowned photographers, curators, media experts, archivists, and publicists, as well as "Photobook: RESET",performances, live acts, and workshops for adults, children, and teens. | | |
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| | | | | | Role-playing - Rewriting mythologies | | | | | | – 16 Oct 2018 | | | | | |
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| | | | | | Imagined Borders | | | | | | – 11 Nov 2018 | | | | | |
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| | | | photomeetings luxembourg 2018 | | | | 14th edition: The Rage of Devotion | | | | | | | 11 September – 20 October, 2018 | | | | | | | | | | | | | | |
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| | | | | | | Grande Mue Kitaï Gorod, 2015
© Sylvie Bonnot |
| | | | Lyon Septembre de la photographie | | | | | | – 17 Nov 2018 | | | | | |
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| | | | | | | Eva Stenram, Calvalcade 3, 2015, Courtesy the artist
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| | | | Photography to end all Photography | | | | | | – 31 Dec 2018 | | | | | |
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| | | George Georgiou, BLACK HISTORY MONTH PARADE, Baton Rouge, Louisana, USA. 13/02/2016 | | | | | | | 21 exhibitions, 142 artists of Greek and international photography | | | | | | | | 18 September 2018 – 19 January 2019 | | | | | | | | | | | | | The Thessaloniki PhotoBiennale 2018 presents to the public 21 exhibitions of Greek and international photography, of varying themes and photographic approaches, with the participation of 142 artists from many countries of the world. At this year's event, the central exhibition entitled Capitalist Realism is curated by Penelope Petsini and assistant curator Fotis Milionis. Structured in two large sections hosted at the Thessaloniki Museum of Photography and the Thessaloniki Contemporary Art Center, the exhibition attempts to highlight issues that contribute to the emergence or exacerbation of economic crises in the international environment, on a contemporary and historical horizon. This year's event, which marks the 30th anniversary of its founding, adopts some new ideas and practices for the festival | | |
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| | | | | | The gallery festival with international curators in Vienna | | | | | | – 13 Oct 2018 | | | | | |
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© 10 October 2018 photography-now.com
Ziegelstr. 29 . D–10117 DE . Berlin . Editor: Claudia Stein + Michael Steinke . [email protected] . T +49.30.24 34 27 80 |
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