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| PHOTOGRAPHY INTERNATIONAL | | 12 - 19 February 2020 | |
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| | Plants, 2019 | Car, 2019
Framed archival pigment print on baryta paper with museum glass
each 85 x 68 cm / framed 86,8 x 69,8 cm
Edition of 5 | | | | | | | | ... until 7 March 2020 | | | | | | | | | | | | | The Ravestijn Gallery is proud to present Jan Rosseel’s An Archaeology of Fear, a body of work that reflects the artist’s enduring interest in fear’s grip on contemporary society.
There has never been another era in modern history, even during wartime or the Great Depression, when so many people have feared so much. Three out of four people say they feel more fearful today than they did twenty years ago. An Archaeology of Fear visualises the high costs of living in a fear-ridden environment where realism has become rarer than doors without deadbolts. | | |
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| | | | | | | | Peter Lilienthal, 2013 © Beat Presser |
| | | | | | | | A tribute to the new German Film | | | Thu 13 Feb 19:30
14 Feb – 22 Mar 2020 | | | | | |
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| | | | | | | | Henry Hübchen, 1983 - Corinna Harfouch, 1985 - Foto: Michael Weidt |
| | | | | | | | Actor portraits of Michael Weidt and film posters from the GDR | | | Thu 13 Feb 19:30
14 Feb – 22 Mar 2020 | | | | | |
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| | | | | | | | Monica Bellucci, Berlin, 2001 © Birgit Kleber |
| | | | | | | | | | | | Thu 13 Feb 18:00
14 Feb – 29 Mar 2020 | | | | | |
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| | | Tabea Blumenschein, ("Bildnis einer Trinkerin", 1976) © Ulrike Ottinger | | | | | | | | | | | 15 February – 7 March 2020 | | | | Opening: Saturday, 15 February, 12 - 15 pm | | | | | | | | | | | | | The day the pictures learned to walk was a Friday. The brothers Auguste and Louis Lumière, soon celebrated all over the world as the inventors of the cinema release, had invited to the Paris Société d'encouragement pour l'industrie to set the light image in motion. It was March 22, 1895, when the whole world was to see it - as if photography had been given a kind of breath. The new cinematograph, in any case, kept them on their toes. And since then she has been running and running and running. As if she had never stood still before either.
Meanwhile, an exhibition at the Berlin gallery Johanna Breede PHOTOKUNST takes the moving pictures into the gear. Under the title "Behind the Scenes", photographs will be shown, which interrupt film history once again for small moments - rebelling against the fast cuts, the spectacular camera movements. These are shots that transform the course of the images back into great moments: Staged portraits of Juliette Binoche or Iris Berben; scene shots of Eva Mattes in the role of Rainer Maria Fassbinder, or backstage photographs from the great films 'PINA' or 'THE MILLION DOLLAR HOTEL'.
With photographs by Lillian Birnbaum, Hannes Kilian, Birgit Kleber, Ulrike Ottinger, Beat Presser, Volker Schlöndorff and Donata Wenders, the exhibition documents the close relationship between film and photography with each image. Many of the participating photographers themselves live at the creative interface between photograph and cinema; others appreciate the productive balancing act between movement and standstill. Beat Presser, for example, who became known to a large audience in the 1980s through his expressive portraits of Klaus Kinski or Werner Herzog… | | |
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| | | Ursula Kaufmann: Agua – A piece by Pina Bausch, T. Rainer Behr, Regina Advento, 2004, © Ursula Kaufmann | | | | | | | | 5 February – 7 May 2020 | | | | | | | | | | | | | "I apply to my photography Pina Bausch’s most quoted statement: I’m not interested in how people move but what moves them. (…) They must still move me when looking at them even a long time later."
Ursula Kaufmann, born in 1946 in Essen, is specialized in dance and stage photography. She documents the work of Pina Bausch since 1984 in many international exhibitions and publications.
"I first met Pina Bausch in 1975 on the occasion of the piece Le Sacre du Printemps. I was so captivated that I am still fascinated by Pina Bausch and the Dance Theatre today. It is amazing that even when photographing rare pieces again they have almost nothing of their topicality-issues as equality, loneliness of couples with each other, the misfortune of the abandoned."
"The most interesting and greatest thing for me was always dance. Because to capture human movement has something magical about it. You cannot anticipate what is coming next." | | |
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| | | Soma 004 © Andreas Gefeller, Courtesy Thomas Rehbein Galerie, Köln | | | | | | | | ... until 25 September 2020 | | | | | | | | | | | | | "A brave new world". The work of Andreas Gefeller shows parallels to Aldous Huxley’s novel. This also explains the title of the collection of photographs: “Soma”, the name of the drug which is meant to alter and make reality bearable in Huxley’s literary universe.
The photographic work "Soma" by the German photographer offers insights into an artificial, single purpose microcosm from the year 2000, showcasing itself under bright, artificial lighting. This world was entirely created by man. Night is arbitrarily turned into day. Indeed, the former appears to literally outshine the latter.
The photographs show a coastal strip of Gran Canaria bathed in light, despite being nocturnal views. A newly constructed, brightly illuminated holiday paradise is presented as a complete work of art – made up of repetitive structures and geometric shapes – baring itself under a deep night sky.
Under the glaring light, the facades create a surreal scenery and reveal a highly graphic structure, with the contours and sharp edges of every motive standing out. The images were taken using long exposures.
Palm trees and cacti are lined up to create an overly decorative scene that generates unease. Beach promenades with sun loungers are devoid of human presence. The excessive light is in direct contrast with the tidy, abandoned places. The artificial lighting occupies large planes of the image, pushing the shadows to the margins.
What remains is a numbing brightness and emptiness.
(Text: A. Meyer / Clervaux – cité de l’image, English translation b… | | |
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| | | | | | | Arnold Odermatt: Oberdorf, 1964
© Urs Odermatt, Windisch
Courtesy Galerie Springer Berlin |
| | | | | | | | | | | | Sat 15 Feb 18:00
16 Feb – 26 Apr 2020 | | | | | |
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| | | | | | | Katharina Sieverding
XXVI/86, KONTINENTALKERN III, 1986
300 x 375 cm
Foto: Klaus Mettig |
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| | | | | | | Barbara Probst
Exposure #32: N.Y.C., 249 W. 34th Street, 01.02.05, 5:04 p.m., 2005
Inkjet print, 3-teilig
jeweils 168 x 112 cm
Galerie Kuckei + Kuckei, Berlin
Courtesy Galerie Kuckei + Kuckei, Berlin
© VG Bild-Kunst Bonn, 2020 |
| | | | EINE AUSSTELLUNG IN MEHREREN KAPITELN | | | | | | | Tue 18 Feb 18:30
19 Feb – 24 May 2020 | | | | | |
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| | | Raoef Mamedov: Pieta (detail), photographs, 5 panels, 150 x 100 cm, edition 7 | | | | | | | | 8 February – 8 March 2020 | | | | | | | | | | | | | The photographical series titled "Pietà" (2005) by Raoef Mamedov forms the closing of his trilogy which started with "The Last Supper" and "The Games on the Window Sills".
It is no secret that the main theme of the Pietà – the grieving after Christ has been taken from the cross – has often been depicted by many different artists, with which each artlover is familiar. The cycle here displayed by Raoef Mamedov is flooded with quotes. Besides references to the Pietà there is also a clear homage to the famous painting by Rembrandt, The Anatomy Lesson of Dr. Nicolaes Tulp.
It is perhaps superfluous to mention that, just as before, the artist used people with Down’s syndrome to pose for him. Within the supposed contamination of the interior of an operating room and a anatomical cabinet the actors illustrate, dressed in medical uniforms, a new lecture of an old story. The visual quotes in the work are like the splinters of one large transcript.
The wealth of metaphors and echoes of meaning guide the more experienced viewer to Mamedov’s beloved theme of the so-called 'schizoanalysis', as described by the French philosophers Gilles Deleuze and Felix Guattari. According to this doctrine the diseased society is meeting resistance by a group of outcasted individuals (who are placed in one group together with criminals and artists by Deleuze and Guattari). With their whole being they express their skeptical views on the exclusiveness of the ruling standards, language and logic. Within the frameworks of this 'schizofrenic discours' the characters bring us closer to the intriguing theme of the definition and the comprehension of the self through the other. The … | | |
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| | | | | | | | | | Bilder aus vier Kontinenten | | | 12 Feb – 29 Mar 2020 | | | | | |
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| | | Bruce Davidson, Subway Brooklyn Gang 1959 | | | | | | | | | | | | | ... until 27 March 2020 | | | | | | | | | | | | | 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… | | |
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| | | | | | | | Ailbhe Ní Bhriain 'Untitled (Adversary)' pigment baryta print, 120×120cm, 2020 |
| | | | | | | | | | | | Fri 14 Feb 18:00
14 Feb – 21 Mar 2020 | | | | | |
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| | | | | | | Lotte Jacobi: Lotte Lenya
© University of New Hampshire |
| | | | | | | | | | | | Sun 16 Feb 12:00
16 Feb – 22 Mar 2020 | | | | | |
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| | | | | | | Toni Schneiders
Lichtspuren, Hamburger Dom 1950
© Nachlass Toni Schneiders/Stiftung F.C. Gundlach |
| | | | | | | | Retrospektive | | | 19 Feb – 7 Jun 2020 | | | | | |
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| | | | | | | | Storyville Portrait, ca. 1912 |
| | | | | | | | prostitutes from New Orleans's Storyville neighborhood, from 1912 printed later by Lee Friedlander | | | 15 Feb – 28 Mar 2020 | | | | | |
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| | Des Oiseaux 23 (2019)
Archival pigment print
Edition of 6
33 x 48 cm
© Terri Weifenbach | | | | | | | | ... until 22 February 2020 | | | |
Terri Weifenbach will lead photo book workshop:
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… | | |
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| | | | | | | | Eckhard Gollnow: Registan Platz in Samarkand, Usbekistan |
| | | | | | | | | | | | Wed 12 Feb 19:00
13 Feb – 3 May 2020 | | | | | |
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| | | | | | | Aus: Zürich, Sommer 1980 (Edition Patrick Frey, Zürich 2009)
© 1980, Olivia Heussler |
| | | | | | | | | | | | Thu 13 Feb 18:00
13 Feb – 8 Mar 2020 | | | | | |
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| | | | | | | | | | | | | | Thu 13 Feb
14 – 16 Feb 2020 | | | | | |
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| | | | | | | | | | | | | | Thu 13 Feb 17:00
14 – 17 Feb 2020 | | | | | |
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| | | | | | | | | | | | | | Wed 12 Feb 14:00
13 – 16 Feb 2020 | | | | | |
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| | Lot 22
Huang Yan (b. 1966)
UNTITLED
Cromogenic print
From the series “Chinese Shan-shui Tattoo”, 1999
Edition 9/12
Signed and dated 1999
129x160 cm (frame) | | | Modern & Contemporary Art | | | | | | Auction 94:
Thursday | 20 February 2020 | 9pm
Viewing: 15 to 19 February | 10am to 9pm
Catalogue: | |
| | | | | | | | | | | | | 22
Huang Yan Untitled
3.000 - 5.000 € 23
Nobuyoshi Araki "Woman in Kimono"
3.500 - 5.000 € 24
José Luis Neto "Carreira de tiro", 2000
2.500 - 3.500 € 25
José Luis Neto "Carreira de tiro", 2000
2.500 - 3.500 € 26
Carlos Afonso Dias Untitled, 1960
500 - 600 € 27
Eurico Lino do Vale Untitled
2.000 - 3.000 € 28
Gabriela Albergaria "Grosser Werder", 2003
1.500 - 2.500 € 29
Jemima Stehli Untitled
2.000 - 3.000 € 30
Cindy Sherman Untitled (MP #189), 1989
30.000 - 40.000 € 31
Thomas Struth "Passage de 27 Setiembre Lima/Peru"
5.000 - 8.000 € 32
Vik Muniz "The Sower, after Van Gogh (Dry version)", 2011
30.000 - 50.000 € | | |
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| | | | | | The Henie Onstad Triennial for Photography and New Media | | | | | | | 21 Feb – 16 May 2020 | | | | | |
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| | | | | | | | © The Laboratory of Manuel Bürger |
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| | | | | | Terretoire(s) | | | | | | | – 29 Feb 2020 | | | | | |
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| | | | | | Every Step in the Right Direction | | | | | | | – 22 Mar 2020 | | | | | |
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© 12 February 2020 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
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