| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 11 - 31 December 2019 | |
|
| |
|
| |
| |
| | | | NEW YORK OPENING SATURDAY, DECEMBER 14, 2019 Fotografiska is an internationally renowned destination for photography, founded in Stockholm in 2010 and now expanding globally – first to Tallinn Estonia and now to New York City, at Park Avenue South and 22nd Street. | | |
| |
|
|
|
| |
| |
|
| |
| |
|
| |
| |
| | | Untitled, from the series Boys of Hong Kong, 2018 © Alexandra Leese/ courtesy of the artist | | | | | | | | | | | | | 13 December 2019 – 11 March 2020 | | | OFFICIAL OPENING: Thursday 12 December 2019 from 20:00 hrs onwards
The opening will take place in the presence of several featured artists. | | | | | | | | | | | | | 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.
What we used to call fashion photography now seems to belong more and more to a spectrum of different languages. Photographers make use of fashion aesthetics to focus not so much on creating a glamorous ideal of perfect bodies with the most beautiful and precious clothes, but instead on telling stories of social and political inclusivity, diversity, identity, everyday life and an ever-changing panorama of lifestyles. This can be seen through the casting of the models, the commissioned photographers, and the geographical locations chosen for photoshoots. They challenge and question the notions and the standards of what beauty, glamour, style and ideal is. They often refuse to be labelled as fashion photographers altogether, instead creating hybrid identities for themselves in which concepts of documentary, performative arts or the chronic… | | |
| |
|
|
| |
| |
| | | Untitled, from the series Fixing shadows; Julius and I, 2018 © Eric Gyamfi | | | | | | | | 13 December 2019 – 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.
Foam invited Gyamfi to apply his scrapbook aesthetic to the walls of the museum. The resulting installations are opaque and multi-layered, blurring the boundaries between storytelling and documentary photography. The photographic image is presented as a powerful yet ambiguous means of telling a story, be it fact or fiction. The exhibition consists of two of Gyamfi’s most recent series. A Certain Bed is a semi-autobiographical visual narrative about the artist’s meanderings, following his departure from the home he knew. During this period of moving from place to place he created photo collages that form an introspective report of his nomadic experience, and that question what it means to have a home – or to lose it.
Fixing Shadows; Julius and I is a study into the photographic portrait. In an act of identification, the photographer blends his own image with a portrait of composer Julius Eastman, producing thousands of photographic composites in the form of cyanotypes and silk screen prints. The work plays on Eastman’s experimental compositions, in which each new score contains elements from all anterior scores. Likewise, Gyamfi produces an endless number of unique variat… | | |
| |
|
|
| |
| |
| | | Ali, from the series Turunç, 2018-2019 © Solène Gün | | | | | | | | 13 December 2019 – 16 February 2020 | | | | | | | | | | | | | The project Turunç (Bitter Orange) is an exploration of the daily lives of young men with a Turkish background in the suburbs of Paris and Berlin. Solène Gün (1996, FR/CH), herself a child of Turkish immigrants, focuses on the environment of these boys.
What she records is the fraternity, solidarity and hope that connects them as a community, despite the situations of boredom, violence and despair they are often confronted with. Gün translates the contradictory desire that she sees in these young men, on the one hand to hide and on the other the need to show oneself, into poetic images that empathise with a group that is often burdened with negative stereotyping. In her photographs, the suburbs become a universe apart, out of sight or interest of the government, in which a lack of perspective goes hand in hand with strong solidarity. | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | | Fight Series No. 23 - 31, 2019 © Anja Niemi, courtesy The Ravestijn Gallery | | | | | | | | 14 December 2019 – 18 January 2020 | | | | Opening: Friday 13 December 2019 5pm | | | | | | | | | | | | | 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. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | | | Auf der Suche nach der eigenen Wahrheit | | | Wed 11 Dec 18:00
12 Dec 2019 – 12 Jan 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| | | | | | Abschlussausstellung #26 der Klassen Eva Bertram, Eva Maria Ocherbauer und Marc Volk | | | | | | | Fri 13 Dec 19:00
14 Dec 2019 – 26 Jan 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Antonio Beato, Karnak Sphinx et Pylone de Ptolomee c.1870 | | | | | | | Photographs of the 19th century | | | | | | | | 14 December 2019 – 25 January 2020 | | | | Opening: Friday, 13 December, 6 – 9 pm | | | | | | | | | | | | | 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… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | | | | | | Atelier Hermann Walter: Frankfurter Straße 16-18, heute Jahnallee-Ecke Tschaikowskistraße, Großgarage Zschau, Tankstation, um 1925 |
| | | | | | | | Atelier Hermann Walter 1913-1935 | | | 11 Dec 2019 – 19 Apr 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 | | | | | | | 20 December 2019 – 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 … | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | One Life
2017
40" x 60"
HDR Ultrachrome
Archival Pigment Print
© Jun Ahn |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Sigmar Polke, Sans titre (Hannelore Kunert), 1970-1980, Collection de Georg Polke Sigmar Polke, Cologne/ADAGP, 2019 | | | | | | | | ... until 22 December 2019 | | | | | | | | | | | | | | | Le Bal presents a unique ensemble of photographs by Sigmar Polke dating from the 170s, an eblematic period featuring the artist's first jubilant experiments (double exposure, floutage, solarisation, Superposition...) They reveal Polke as an alchemist of photographic material, poet of almost nothing, free from the rules of the medium and fierce chronicler of his time.
«MY ART IS LIKE A BUSH PRUNED BY PREJUDICE - DESPITE IT ALL WE GROW, EVEN BETTER. AND NOT ONLY DO WE PROLIFERATE UPWARDS, BUT ALSO DOWNWARDS.» SIGMAR POLKE
"Untitled" was the name Sigmar Polke chose for his exhibition in 1986 at the Schelma Gallery. One could describe just as tersely and categorically the entire body of photographs presented in this book and the exhibition it accompanies: hundreds of untitled, undated prints. Shots that remained over the years in a chest in the house of Georg, Sigmar Polke’s son, and had long since been forgotten. (Fritz Emslander, co-curator, Deputy director of the Museum Morsbroich, Leverkusen)
Polke used the photographic medium early on, as both a documentary source for his paintings and as a means in itself. There is a reciprocal contamination of the two practices in Polke’s work, so much so that it is just as possible to evoke the photographic dimension of his painting as it is to speak of the pictorial dimension of his photography. His approach to photography was, from the beginning, that of an amateur craftsman. Polke always developed and printed his photographs himself, irrespective of the rules (not heeding to correct times of exposure and using out-of-date paper and chemicals), flippantly practising under- and over-exposure as well as double-exposure. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | Winner:
Joana Choumali
Untitled 2019
Series: Ça va aller |
| | | | | | | | | | | | Wed 11 Dec 18:00
12 Dec – 28 Dec 2019 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
| |
| |
|
| |
|
|
| |
|
| |
|
| |
| |
|
| |
|
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | | | | | | 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. | | |
| |
|
|
| |
| |
|
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | | | | | | A CHANCE FOR THE UNPREDICTABLE | | | | | | | | – 3 January 2020 | | | | | | | | | | | | | The year 2019 marks the fifteenth year of Lianzhou’s photographic journey. Since 2005, the festival has gained international recognition as the most professional photography festival in China. In 2017 this ambition has been taken on by the Lianzhou Museum of Photography that opened in the city’s historical centre, granting China its first public institution devoted to the medium.
This year we commemorate this anniversary with the joint opening of Lianzhou Foto Festival’s fifteenth edition and Lianzhou Museum of Photography’s Winter program. The theme of the festival ‘A Chance for the Unpredictable’ will pay homage to photography’s practice and malpractice with an international theme exhibition under the curatorship of Swiss Foundation for Photography Peter Pfrunder. Alongside the theme exhibition will be over 50 solo and group shows presenting local and overseas talents. Meanwhile the LMP will unveil four solo exhibitions from Chinese, French and Indian photographers. During the opening days, Lianzhou will hold a curated program of events and become a platform for discussion for Chinese and international photographers, curators, journalists, academics and enthusiasts. | | |
| |
|
|
| |
| |
|
| | | | | | | | © 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 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
|
| |
|
| | | | | | International Photography Festival | | | | | | | – 31 Dec 2019 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | Terra Nostra - The Age of the Anthropocenee | | | | | | | – 5 Jan 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | IMAGINED COMMUNITIES | | | | | | | – 2 Feb 2020 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | Every Step in the Right Direction | | | | | | | – 22 Mar 2020 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
| |
| | Luo Yang, Chen Nienying & Ho Tingshao, 2019, Hong Kong. Courtesy of the artist.
China Pulse 2019 | | | | | | | | | | | | | – 5 January 2020 | | | | The 2019 Jimei × Arles Festival will kick off with an Opening Weekend (November 22-24) full of events and activities for photography professionals, art lovers and the general public: portfolio reviews conducted by renowned professionals, lectures, performances and guided tours by artists and curators. | | | | | | | | | | | | | The Jimei x Arles International Photo Festival celebrates its 5th anniversary this year alongside Rencontres d’Arles celebrating its 50th anniversary!
Since 2015, Les Rencontres d’Arles (France), travel to China with the Jimei x Arles International Photography Festival in Xiamen! Each Winter, Jimei x Arles shows 8 exhibitions coming from Rencontres d’Arles alongside 20 Chinese and Asian photography exhibitions – with a focus on India this year. The festival also promotes Chinese talents on an international scale, with its Discovery Award, shown in Arles every year.
The fifth Jimei x Arles International Photo Festival will take place in Xiamen from 22 November 2019 to 5 January 2020. Co-created in 2015 by Chinese pioneer photographer RongRong (also the founder of China’s first ever photography museum Three Shadows Photography Art Centre) and Sam Stourdzé, the director of the world’s most important international photo festival, Rencontres d’Arles (France), Jimei x Arles has become a must-see event for photo lovers in China, and attracted more than 230,000 visitors in the last years (70,000 in 2018). | | |
| |
|
|
| |
| |
| |
| |
|
| |
| |
|
| |
© 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 |
| |
