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| PHOTOGRAPHY INTERNATIONAL | | 13 - 20 June 2018 | |
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| | Art Basel 2018 Private Day (by invitation only): Wednesday, June 13, 2018
Vernissage (by invitation only) Wednesday, June 13, 2018
Public Days Thursday, June 14 - Sunday, June 17, 2018 |
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| | | Detention center for migrants of Zawiya (Libya, December 2014) © Samuel Gratacap | | | | | | | | 15 June – 9 September 2018 | | | | Public opening: Thursday 14 June 2018 from 5.30pm | | | | | | | | | | | | | Samuel Gratacap (1982, FR) has been following the lives of African refugees and migrants since 2007 and has then started to follow their routes around the Mediterranean Sea in reverse order.
His road is based on testimonies of migrants he has come to know and contacts he got via via. Gratacap's work is about territories of movement: the crossing of land borders, the waiting rooms for daily workers, the prison, but also the roads to a renewed identity. He goes beyond most news media and comes across deplorable conditions that reveal the economy surrounding migration - from human smuggling to slavery.
Foam presents a selection of works that Gratacap has made in the past ten years, from Lampedusa to Tunisia, Libya, and back to Europe via the Italian mainland. In an alternation of photographs, video works and audio fragments, the exhibition shows both sensitive and more conceptual reflections on the cross-links between European decision-making, economic interests and individual hopes and dreams. The work of Samuel Gratacap meets between art and photojournalism and reveals a system that maintains itself as a vicious circle from macro to micro level.
The works in this exhibition received the support of the FNAGP, the CNAP, the agnès b. endowment fund and Olympus.
The exhibition was developed in collaboration with Galerie Les Filles du Calvaire, Paris. | | |
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| | | © Thomas Albdorf | | | | | | | 15 June – 9 September 2018 | | | | Public opening: Thursday 14 June 2018 from 5.30pm | | | | | | | | | | | | | Thomas Albdorf (1982, Austria) combines classic photographic genres with modern visual techniques.
His landscapes and still-lifes are boldly aesthetical, but his use of the photographic medium is highly conceptual. Using both analogue and digital techniques, Albdorf edits photographs of perennial visual clichés found online (such as a setting sun, a mountainous landscape) after which he subjects these found photos to image recognition software and automatic image generation. The resulting image is recognisable and surrealistic at the same time. It is Albdorf’s way of critically interrogating stereotypes in our digital online visual culture.
Foam presents the first solo museum exhibition of Thomas Albdorf’s work. The artist also created new work especially for this exhibition, which will be displayed for the very first time in Foam.
Thomas Albdorf is one of the first three recipients of the fellowship recommended. This fellowship enables young image makers to produce and internationally exhibit new work. The Fellows of 2018 are Thomas Albdorf (1982, Austria), Nadja Bournonville (1983, Sweden) and Lilly Lulay (1985, Germany).
recommended is a fellowship initiated by Olympus, Haus der Photographie / Deichtorhallen Hamburg, Foam Fotografiemuseum Amsterdam and Fotografie Forum Frankfurt.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, Gemeente Amsterdam, Olympus and the VandenEnde Foundation. | | |
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| | | | | | | | | | | | | Thu 14 Jun 18:00
15 Jun – 30 Sep 2018 | | | | | |
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| | | | | | | | Mario Marino: L' explosion de joie, 2017 |
| | | | | | | | | | | Fri 15 Jun 19:00
15 Jun – 8 Sep 2018 | | | | | |
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| | | | | | | Hannah Villiger
Skulptural 1988/89
C-print auf Aluminium kaschiert
125 x 123 cm
© Hannah Villiger Nachlass |
| | | | An Exhibition in Several Chapters | | | | | | 13 Jun – 2 Sep 2018 | | | | | |
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Mary Ellen Mark: "Quincea’Nera, Miami", 1986, Silbergelatine, Vintage |
Jeanloup Sieff, Twiggy 1967; 35,4x24cm
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| | | | | | | | | | | | | until 7 July, 2018 | | | | | | | | | | | | | In focus Gallery presents a thematically exhibition from the Gallery’s collection, as a tribute to the beauty of women. "so beautiful" will take the viewer on a journey from 1940 up to today to discover exceptional works of art photography that focus on the beauty of women.
The exhibition "so beautiful" takes the liberty to focus on beauty and aesthetics in the #MeToo discussion and is also a reaction to the tendency in contemporary photography, to show everyday and uninspired things and events.
Gerhard Richter (born 1932), one of the most successful contemporary artists, said in 2005: "It's difficult with beauty, we're not in agreement on what it should mean. Certainly it is also because the term beauty is so hackneyed or sounds like 'the good' and 'the true'. But that does not change the value of such ideal qualities and the fact that people need beauty. For me, beauty has always been a criterion for the quality of artwork, of whatever kind and from what time. [...] Beauty is very simple, first of all the opposite of destruction and dissolution and damage, and with that it is inseparably connected with form, without which nothing can arise." (Spiegel Nr. 33, S. 128-132)
A dominant focus in the Gallery’s collection has always been images of women; whether in humanist, fashion, or conceptual contexts, a theme of elegance and grace unites them across cultures and periods. | | |
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| | Silhouette in the Night, 2000
Silkscreen on canvas
47 1/4 x 62 2/3 in. (120 x 159 cm.)
Edition of 3
© Daido Moriyama | | | | | | | | until 17 August 2018 | | | | | | | | | | | | | Daido Moriyama is recognised as one of the few living modern masters of photography from Japan and is certainly the most celebrated photographer to emerge from the Japanese Provoke movement of the 1960s. Hamiltons presents Daido Moriyama: SCENE, an exhibition of photographs selected by gallery owner Tim Jefferies from Moriyama’s extensive oeuvre and produced exclusively for Hamiltons as silkscreens on canvas. The majority of these silkscreens are unique in their format and include images taken in the 60s and 70s, as well as much more recently. Hamiltons exhibition will open alongside Photo London, 16 – 20 May 2018, where Hamiltons will present Moriyama not only on stand at the fair but for the Photo London Pavilion Commission.
Moriyama’s work is notoriously gritty and challenging, often recording the breakdown of traditional values in post-war Japan. Haunted by the American occupation of the country in the aftermath of World War II – the social and cultural shifts, industrialisation, urbanisation and the clash of capitalism with a traditionally insular society – his work alludes to the struggle between tradition and modernism, spirituality and commerce, conveying society’s conflicts through a new visual language. Moriyama has approached his photography with originality by allowing the camera to capture spontaneous, accidental moments which are often found at the very start or very end of film rolls.
Moriyama’s work is epitomised by black and white with shades of grey, in which his high contrast and grainy style often echoes the subject matter. Moriyama emerged onto the photography scene in the mid-1960s, breaking with widely regarded conventions and questioning what constitutes … | | |
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| | | | | | | | Ricardo Cases. Sol, 2017 © Ricardo Cases |
| | | | | | | | PhotoEspaña 2018 | | 14 Jun – 29 Jul 2018 | | | | | |
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| | family matter 4, 2008/2013
gum bichromate print with blood
10.2 x 10.2 in. / 25.5 x 25.5 cm.
© Marina Berio | | | | | | | | 16 June – 28 July 2018 | | | | Opening reception: Saturday June 16, 3 - 7 pm | | | | | | | | | | | | | | Marina Berio (b. 1966 USA) considers the physicality of the photographic image and the themes of her work, often drawn from her private life, are integrated into the very process of producing the image. With the series "Family Matter" she made family pictures printed with her own blood in gum bichromate ; in the series Through and Not, photographic negatives are drawn in charcoal on paper, exploring presence, absence, loss and doubt. Marina Berio teaches at the International Center of Photography in New York and in 2017 she was awarded the John Simon Guggenheim Memorial Foundation Fellowship. | | |
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| | | | | | | | Notting Hill. London. England. 2013. © Matt Stuart / Magnum Photos |
| | | | | | | | | | | Thu 14 Jun
15 Jun – 16 Sep 2018 | | | | | |
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| | | © Bettina Witteveen | | | | | | Götterfunken feuertrunken der Erlkönig: whiteout | | | | Installation in the "Forbidden City" of Wünsdorf near Berlin | | | | 17 June – 1 July, 2018 | | | Vernissage: Saturday, 16 June 2018, 4–6pm RSVP until Friday, June 15 2018
[email protected] or +49 176 31788414 Shuttle-Service:
2:30 pm Berlin-Friedrichstraße, Tränenpalast, Reichstagufer 17, 10117 Berlin
6:00 back to Berlin-Friedrichstraße | | | | | | Former military barracks in the
Forbidden City of Wünsdorf near Berlin Hauptallee 114, 15806 Zossen
Mon-Fri 3-8pm; Sat, Sun 12-8pm
Bettina Witteveen
www.bettinawitteveen.com | |
| | | | | | Artist and activist Bettina WitteVeen continues her decades-long exploration into war and the human condition in an upcoming site-specific installation in the former Soviet military town of Wünsdorf, forty kilometres south of Berlin, from June 17 until July 1, 2018. This is the first time these abandoned buildings and scarred terrain will be used as an exhibition site.
In the Wünsdorf exhibition, the New York-based German artist continues to pursue her practice of presenting her work at unique, historically important places, so as to turn them into a haunting reality. WitteVeen’s installations explore the influence of historical events on individuals, placing them into the diachronic context of current political and social discourse.
Known as the "Forbidden City", Wünsdorf served as the largest military base of the USSR in Europe after 1945, designated as an exclusion zone for the former citizens of the German Democratic Republic (GDR) until the withdrawal of the Russians in 1994.
The complex history and physical condition of this site prompted WitteVeen to investigate pressing ethical questions in regards to the progress in military- and nanotechnology as well as in artificial intelligence. The installation "Götterfunken feuertrunken der Erlkönig: whiteout" weaves together film, photography and sculpture in a "Gesamtkunstwerk" that becomes a moving allegory of what is happening in the present, provoking an emotional response centred on empathy.
About Bettina WitteVeen
Bettina WitteVeen is a mid-career German artist residing in New York. Born in Mannheim, Germany, she graduated in 1980 with a Bachelor of Arts degree, mastering in American History, fro… | | |
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| | | | | | | | | | | | | Wed 13 Jun
14 – 17 Jun 2018 | | | | | |
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| | Adrián Fernández Milanés (CU)
Cosmonaut (in search of orientation), Inkjet print on metallic paper, 150 x 300 cm
Courtesy Fabian & Claude Walter Galerie, Zurich | | | | | | | | | | | | 12 – 17 June 2018 | | | | | | | | | | | | | | photo basel is Switzerland’s first and only international art fair dedicated to photography based art. photo basel brings together galleries from around the world in a unique, authentic setting. For its collectors, visitors or buyers – photo basel is an active platform which fosters the dialog between all actors of the photography community and beyond. | | |
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| | 304.
Pierre Molinier (1900-1976)
Curieuse, 1965.
Photomontage. Plate 22 from Chaman et ses créatures.
Vintage gelatin silver print. | | | Photographs
Vente de photographies | | | | | | Auction: Thursday, June 21st at 2.00 p. m.
Viewing:
Tuesday, June 19th, 11.00 am to 06.00 pm
Wednesday, June 20th, 11.00 am to 06.00 pm
Thursday, June 21st, 11:00 am to 12:00 am
Online catalogue : www.ader-paris.fr
Live bidding : www.drouotonline.com | |
| | | | | | | | | | | | | Rare print of the mime Charles Deburau by Adrien Tournachon La vague brisée by Gustave Le Gray Four remarkable salt prints large format of Edouard Baldus’ railways Section about the pioneers of ballooning photography
Exceptional portfolio by Lucien Clergue Important set of 20 prints by Pierre Molinier Space conquest, NASA prints | | |
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| | RENÉ BURRI
Che Guevara, Havana, Cuba, 1963.
Photocollage, overpainted by the artist. Gelatin silver print with gouache, 7 mounted segments.
Printed later, dated 2007. Unique work.
48.5 x 58.5 cm.
CHF 18 000 / 28 000 | (€ 15 000 / 23 330) | | | Photography | | | | | | Auction:
Thursday 28 June 2018, 2.00 PM
Preview: 16 - 24 June 2018 Sat 16 June, 11.30am to 7pm
Sun 17 - Sun 24 June 2018, 10am - 7pm 102 Hardturmstrasse, 8031 Zurich
Online catalogue:
www.kollerauktionen.ch | |
| | | | | | | | | | | | | The selection of photographs on offer at Koller this June is once again very broad, and runs from the beginnings of photography with exciting daguerreotypes (lots 1601-1608), early views of Egypt, India, Russia and the USA (lots 1615-1639), Alpine landscapes by Albert Steiner, Emil Meerkämpfer and Emmanuel Gyger (lots 1640-1665), classics by Geraldo dos Barros (lots 1670-1673), Frantisek Drtikol (lot 1674), a unique photocollage portrait of Che Guevara hand-painted by René Burri (lot 1716), portraits of Marilyn Monroe and Audrey Hepburn (lots 1846-1859), all the way up to contemporary photography with large-format works by Erwin Wurm (lot 1898), Massimo Vitali (lots 1916-1917), Thomas Struth (lot 1921) and Michael Wesely (lot 1926).
Particularly noteworthy are the classic photographs from the Kaspar M. Fleischmann Collection, which will be sold to benefit a chair for the theory and history of photography at the University of Zurich. The collection includes works by Pierre Dubreuil (lot 1752), Imogen Cunningham (lot 1763), Bill Brandt (lot 1764-1773), Berenice Abbott (lot 1776-1781) and a very rare platinum print by Edward Weston (lot 1787).
Another highly interesting highlight of the sale are several unique vintage prints by Swiss photographer Karlheinz Weinberger (lots 1662-1665) which document the rebellious youth culture of the 1960s. | | |
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| | | © Akintunde Akinleye, Reuters | | | | | | | I LOVE AFRICA | | | | | | | | until 30 September 2018 | | | | | | | | | | | | | THE LARGEST EUROPEAN PHOTOGRAPHY FESTIVAL IS COMING TO BADEN THE FESTIVAL LA GACILLY PHOTO CELEBRATES ITS 15TH YEAR IN 2018. WITH 400 000 VISITORS, THE FESTIVAL LA GACILLY PHOTO IS THE MOST SUCCESSFUL PHOTO FESTIVAL IN EUROPE. JACQUES ROCHER, today President of the Fondation Yves Rocher, initiated a festival of photography in 2004 in his birthplace La Gacilly (FR). It was dedicated to the theme of Man and the Environment. Convinced that it is our duty to engage with the future of our planet and to look for humanistic and sustainable concepts for our interaction with nature and with each other, he and his Leading Team turned the Festival La Gacilly Photo into an event that has set an international standard of social relevance in bringing together artistic photography and photojournalism. THE FESTIVAL LA GACILLY-BADEN PHOTO CELEBRATES ITS LAUNCH IN 2018. It complements the work in La Gacilly by expanding it and embedding it within a European context. | | |
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Luke Willis Thompson, autoportrait, 2017,
35mm film, b/w, silent, 8′50′′ @ 24fps
courtesy Luke Willis Thompson; Galerie Nagel Draxler, Berlin/Cologne | | |
| | | | We don't need another hero | | | | | | – 9 Sep 2018 | | | | | |
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| | Cao Fei, Haze and Fog 4, 2013
Courtesy of the artist and Vitamin Creative Space | | | | | | | Extreme | | | | | | | until 9 September 2018 | | | | | | | | | | | | | RAY 2018 presents outstanding examples of contemporary photogaphy at over ten venues in Frankfurt and the Rhine/Main region. In collaboration with over 15 partner institutions and collections as well as countless events RAY offers yet another summer of photographic highlights.
https://ray2018.de/en/exhibitions/ | | |
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| | Mandy Barker, SOUP: Bird's Nest
© Mandy Barker, Courtesy of East Wing Gallery, Dubai | | | | | | | BREAKING POINT - unlearning x rethinking x restarting | | | | | | | | June - September 2018 | | | | Opening week: 7 - 17 June 2018 | | | | | | | | | | | | | 320 artists 80 places 90 events 1 festival The Triennial of Photography Hamburg 2018 is intended to engage audiences, inspire action and invoke change. It is a time to reflect, unlearn, rethink and restart. Photography is a powerful tool to convey the message. | | |
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| | | | | | open air festival | | | | | | – 30 Sep 2018 | | | | | |
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| | | | | | Starting from the Desert. Ecologies on the Edge | | | | | | – 19 Sep 2018 | | | | | |
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| | | João Pereira de Araújo, Taquari District, Brazil, March 2015, from the series "Submerged Portraits" © Gideon Mendel | | | | | | | Workshop: Saturday/Sunday, 21/22 July, 2018, 10 am–6 pm
Lecture: Friday, 20 July, 6pm | | | | | | | | | | | | | This workshop will focus on the depiction of objects, materiality, memory and history in direct relationship with family history, personal memory or feelings. Participants will be asked to bring a variety of items (these could be documents, objects, even non-physical like anecdotes and crucial memories) relating to their own emotional and social legacy. A wide range of approaches is equally valid, from deeply individual/personal engagement through to more social and historical approaches. The collaborative engagement with Gideon Mendel will focus on visual responses to these items – and an interrogation of how they might be depicted photographically. In essence this will be an ‘anti still life’ workshop and a deeply personal process is anticipated. The focus of the workshop will be on finding ways to make these objects and the stories they represent meaningful to a wider audience. This will be an active hands-on experience with a conceptual overlay consisting of a series of individual and group feedback sessions. All participants are asked to bring digital cameras and laptops to allow for rapid experimentation and assessment of work. Gideon Mendel’s intimate style of image-making and long-term commitment to socially engaged projects has earned him international acclaim. Born in Johannesburg in 1959, Mendel established his career with his searing photographs of the final years of apartheid. In 1991 he moved to London, and continued to respond to global issues, especially HIV/AIDS. Since 2007, Mendel has been working on "Drowning World", an art and advocacy project about flooding that is his personal response to climate change. Solo shows of "Drowning World" have been shown at many galleries and public installations around the world, most recently at Les Rencontres de la Photographie in Arles. During 2016, Mendel received the inaugural Jackson Pollock Prize for Creativity and the Greenpeace Photo Award. Shortlisted for the Prix Pictet in 2015, he has also received the Eugene Smith Award for Humanistic Photography, the Amnesty International Media Award and six World Press awards. From 24 May to 9 September, 2018 the Fotografie Forum Frankfurt is presenting works by Gideon Mendel in the exhibition EXTREME. ENVIRONMENTS for RAY 2018. In addition, a lecture by Gideon Mendel will take place on Friday, 20 July, 2018 at 6 pm at Fotografie Forum Frankfurt. The Workshop and Lecture will be held in English. Workshop registration is open until June 29, 2018 on the FFF website:
www.fffrankfurt.org/gideon-mendel | | |
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| | | | Marl Media Art Awards 2018 | Space | | | Submission deadline: 15 June, 2018 | | | | | | | | | | | | | Dealing with Space in Video and Sound
Historically and spatially, the Marl Media Art Awards refer to the orientation as a sculpture museum and to the modernist architecture of the Marl Town Hall completed in 1966. Because spatial reference is the key criteria for sculpture, for the fourth time the competition invites media artists who deal with all facets of space in their works to participate. Since 1984, the Skulpturenmuseum Glaskasten Marl has hosted the Video Art Award, and since 2002 the Sound Art Award, which has been further developed into the EUROPEAN SOUNDART AWARD. The two media, which define themselves principally through video and sound, have much in common: not only are they both time-related, but in many video works the acoustic level is very important, while more and more sound works include moving images. Therefor the Marl Media Art Awards will present the results of both competitions in one exhibition at the Skulpturenmuseum Glaskasten Marl. Marl Video Art Award 2018
The works submitted for the Marl Video Art Award 2018 must relate—thematically, formally or in its presentation—to the specific space. The spatial reference here also means avoiding linear narrative structures while featuring a different, non-linear temporal structure, such as a loop, which is ideal for presentation in a museum. Classic, single-channel videos, shown on a monitor or projected on a screen, remain acceptable. 5 works will be selected for the exhibition and will compete for the Marl Video Art Award 2018, with 5,000 euros in prize money. The prize money will be aimed at acquisition of the awarded piece for the permanent collection of the Skulpturenmuseum Glaskasten Marl. | | |
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© 13 June 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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