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| PHOTOGRAPHY INTERNATIONAL | | 14 - 21 June 2017 | |
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| | Art Basel 2017 Vernissage (by invitation only) Wednesday, June 14, 2017
Public Days Thursday, June 15 - Sunday, June 18, 2017 |
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| | | Department Store, Mobile, Alabama, 1956 © Gordon Parks / Courtesy The Gordon Parks Foundation | | | | | | | | Selected works 1942-1978 | | | | 16 June – 27 August 2017 | | | | Opening reception: Thursday 15 June 17:30 | | | | | | | | | | | | | The camera can be a powerful weapon against repression, racism, violence, and inequality. The American photographer Gordon Parks (1912-2006) referred to the camera as his “weapon of choice” and used photography to expose the deep divisions in American society. Parks was an important champion of equal rights for African Americans and in his work addressed themes such as poverty, marginalisation and injustice. Aside from his iconic portraits of legends like Martin Luther King, he especially achieved fame through his photographic essays for the prestigious Life Magazine and his films The Learning Tree and Shaft. With the exhibition Gordon Parks - I Am You. Selected Works 1942-1978, Foam presents 120 works from the collection of The Gordon Parks Foundation, including vintage prints, contact sheets, magazines, and film excerpts. Gordon Parks is best known for his black and white photographs, but he also produced a lot of work in colour. The exhibition includes many colour photographs as well as portraits, documentary photos and fashion photography. Excerpts from Parks’s films The Learning Tree and Shaft are also shown, which, in combination with the contact sheets and magazines containing his work, portray the social and political context in which he worked. It was a time in American history in which the African American call for equality rocked the nation. | | |
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AR Chalten II, from the series Folded, 2014
© Adam Jeppesen |
2084 v3, from the series Scatter, 2014
© Adam Jeppesen |
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| | | | | | | | | 16 June – 27 August 2017 | | | Artist Talk Adam Jeppesen : Saturday 17 June 11.30-13.00hrs
On the occasion of the exhibition Adam Jeppesen - Out of Camp and the publication of his new book In Tremelo (2017), Adam Jeppesen will talk about his work, which resulted from a 487-day journey from the North Pole to Antarctica. | | | | | | | | | | | | | In his work, Adam Jeppesen (b. 1978) searches for the silence in desolate landscapes and the physical elements the artist surrenders to.
Foam presents the exhibition Out of Camp by the Danish artist in the summer of 2017. Foam presents five recent series: Folded (2014-present), Scatter (2014-2016), Ghosts (2013-2014), Parts (2011-2014) and XCopy (2011-2012). These series are the result of a solitary 487-day journey from the North Pole to Antarctica. The images of remote, rugged landscapes are suffused with a sense of tranquillity, reflection and contemplation. Jeppesen’s work is a search for spirituality, which is found in seclusion, but it also addresses the materiality and transience of the photograph as an object. The journey has left visible traces and blemishes on the photographs. An important aspect of Jeppesen’s work is his analogue and labour-intensive approach. His photographs are the product of physical challenge and experimental printing techniques. He abandoned his search for the perfect print in favour of cheap reproductive techniques and mass production. Coincidence, damage and imperfection are essential elements in his work. At a time when the image has become infinitely perfectible and reproducible, Jeppesen experiments with the photograph as a unique object that is subject to the forces of change and decay. | | |
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| | | | | | | | © Robin Hammond/NOOR, aus der Serie Where love is illegal. |
| | | | Award-winning reportages on today's world | | | | | | Wed 14 Jun 19:00
15 Jun – 20 Aug 2017 | | | | | |
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| | | | | | | | | | | | | Colorama - Life in Kodak 18 metre prints posted in Grand Central Station in New York | | Fri 16 Jun 19:00 17 Jun – 17 Sep 2017 | | | | | | | |
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| | | | | | | | Yuri Rybtchinski, From the series “Town” / Village Kitchen, 1976, gelatin silver print, 7 7/8 x 11 5/8 inches, Collection of Neil K. Rector. |
| | | | | | | | | | | Thu 15 Jun 18:00
16 Jun – 24 Sep 2017 | | |
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| | | | | | | | The Cover Up 2013, © Erik Johansson |
| | | | | | | | | | | Fri 16 Jun 18:00
17 Jun – 8 Oct 2017 | | | | | |
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| | | | | | | | Stanley Greene, Asya, Itoum Kale, Tchétchénie, Gelatin Silver Print, 170 x120 cm |
| | | | | | | | | | | Thu 15 Jun 18:00
15 Jun – 22 Jul 2017 | | | | | |
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| | | Wang Guofeng, North Korea 2014, English Class at Pyongyang International Football School, 271x180cm | | | (Im)possible to see: North Korea | | | | | | | 22 June – 3 September 2017 | | | | Opening reception: Wednesday 21 June 6:30pm | | | | | | | | | | | | | The best contemporary photographers from around the world will present their works at The Lumiere Brothers Center for Photography's exhibition (Im)possible to see: North Korea that is to open on June 22. More than 70 photos selected specifically for exhibition in Russia are united by one main idea — to show the possibilities of photography in the study of the image of one of the most secretive states. Exhibition is complemented with chronicle photos taken by Soviet photographers in the middle — second half of the XX century, giving the opportunity to show the range of the DPRK perception in different cultural and temporal contexts. "Photography is a way to explore the world, including its inaccessible parts. It has always performed this function and even today, in spite of the ability to quickly cover distances, we learn a lot of things only through the images and accompanying texts. This is especially true for closed states access to which is restricted or impossible for political reasons. But in the end the image is shaped only through mass media and is often mythologized, and North Korea, perhaps, is the most striking example. Another difficulty is that even once in country, it is almost impossible to shoot, because the government is constantly monitoring any man with a camera. Therefore, the authors daring to tell something about the DPRK through the photo, are looking for ways to do it", comments chief curator of The Lumiere Brothers Center for Photography Natalia Grigorieva-Litvinskaya on the idea of the exhibition. | | |
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| | | | | | | | Endia Beal, Deanna, Pigment Print, 2016 |
| | | | Magnum Photos 70th anniversary | | | | | | Sat 17 Jun 15:00
17 Jun – 3 Sep 2017 | | | | | |
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| | I rivolti, Charles Baudelaire, Bergamo, 2013
Set of 46 pieces, hand folded
Giclée print
60,5 x 45,5 cm
Unique edition
© Mario Cresci / SAGE Paris | | | | | | | | 15 June – 16 September 2017 | | | | Opening reception: Thursday 15 June 18:00 | | | | | | | | | | | | | "In the Sixties, I started to think that photography, conceived as one of art’s means of writing, could be freed from the theoretical limits set up by the cultural industry and leave behind the technical constraints linked to printed paper. The most fascinating research on the image conducted from the last century to the present is not solely due to the innovating specificities of the great photographers but also and particularly to the mix of artistic languages and new processes of production of images that artists and photographers were able to stimulate by confronting their ideas. In that sense, the dividing line is even fainter between the bi-dimensional character of photography and the physical and performative space of contemporary artistic research. The Baudelaire series is made up of 46 copies of his portrait taken by Etienne Carjat in 1878 and reproduced from Naomi Rosenblum’s book: A World History of Photography. There are 46 like the number of years in the poet’s life. The print on cotton printing paper is folded by hand in different ways for each copy, enabling me to give it a tangible value that is not conveyed by the photograph. The print becomes volume, object, it enters a perceptual and tactile dimension so that the printed image becomes connected to the folds in the paper. My general vision for the work was that I wanted to emphasize the relation between the geometrical shapes generated, as in a glove turned inside out, by the folds in the sheet of paper and the white surface area of the back that is connected with the printed part of the front where Baudelaire’s face appears, always different according to the spaces left free by the crossed-over structures of the folds. In… | | |
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| | Elene Usdin
Eva d’après Ucello (Saint Georges et le dragon), 2016
Acrylic paint on pigment print, white frame, 65 x 65 cm
Unique piece
© Elene Usdin, courtesy Galerie Esther Woerdehoff | | | Elene Usdin » The Inhabitans / Les Habitants | | | | 21 Jun – 13 Jul 2017 | | | | Opening reception: Wed 21 Jun 18:00 | | | | | | | | | | | | | Feuillate June night! And Seventeen! – You get tipsy.
The sap’s champagne and blurs every feature...
wander: you feel a kiss on your lips
That quivers there, like some tiny creature...*
Elene Usdin is proving that she is not only an excellent photographer, but that she can also handle the brush like the great classical masters. Last autumn at Paris Photo, the French artist exhibited in exclusivity some of her newly fresh and unique pieces from her latest series, Les Habitants (The Inhabitants). Starting with the timeless genre of portrait, Elene Usdin then disrupts it by directly painting on the photographic print. And she paints the emotions, hidden behind the calm look of her teenage models. The artist also questions a certain idea of photography (almost a cliché) which defines a photograph by its reproducibility. With the previous series Femmes d’intérieur, exhibited at the Galerie Esther Woerdehoff in 2015, she already highlighted her photographs with paint to create originals. Once again, her photographs from Les Habitants have become unique pieces, but the gap is made even greater between the brief moment of the shooting and the timeless hours that Elene Usdin needs afterwards, paintbrush in hand, to ornate meticulously each portrait with a multitude of marvelous figures. | | |
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| | | | | | | | © ARMIN MORBACH, Margiela Mask, Hamburg 2012 |
| | | | | | | | | | | Sun 11 Jun 15:00
11 Jun – 31 Jul 2017 | | | | | |
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| | | © KIM Jae-Kyung | | | | | | | | | | – 15 July 2017 | | | | | | | | | | | | | | |
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| | | | | | | | aus der Serie "Kosmos Train" © Janine Graubaum |
| | | | | | | | | | | Wed 21 Jun 19:30
22 Jun – 30 Jul 2017 | | | | | | |
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| | | Oliver Mark: Natura Morta #8 © Oliver Mark, 2016 | | | | | | | | – 16 July 2017 | | | | | | | | | | | | | "Natura Morta", Oliver Mark’s current project, is dedicated to the question of how human beings treat their environment and the natural world, focusing in particular on the animal kingdom as well as the aesthetics and beauty of death. In the seventeenth and eighteenth centuries, the still life genre, originally known as natura morta – 'dead nature' –, became established as stil leven in Holland and Stillleben in Germany. In this transition, the notion behind the genre shifted from the Latin and Italian meaning. However, if one takes life as existence or being, and still as inactive in the sense of dead, the term continued to express a very similar idea, even if not quite identical. For his present project, Oliver Mark has deliberated chosen the original Latin term as a way of highlighting the contrast between nature = life and lifeless = dead. What we discover in his photographs did once live and, in almost every case, was killed in the prime of life by human hand. Moreover, the natura morta term strongly shifts the focus to the animal and plant kingdoms, placing humanity in the background. Even if, of course, human beings are a part of nature, we are only one small part compared to nature’s vast diversity. Oliver Mark’s still life photographs were taken in a German customs’ storage room in Bonn where the court exhibits are kept. In his photos, he orchestrates objects confiscated by the customs as classic art still lifes – from leopard skulls and carved ivory to products from crocodile, tortoise or turtle, parts of protected animals and plants, hunting trophies, snakeskin garments, musical instruments from valuable tropical woods, and souvenirs such as sea horses, coral, snails and sea she… | | |
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| | The Selma March, Alabama, 1965
© Bruce Davidson / Magnum Photos | | | | | | | | 15 June – 13 August 2017 | | | | Opening reception: Wednesday 14 June 19:00 | | | | | | | | | | | | | This summer WestLicht presents the first retrospective exhibition in Austria on the work of Bruce Davidson (born Chicago, 1933) one of the leading exponents of humanist photography and with close to sixty years of membership one of the most prominent photographers of Magnum agency. The now legendary cooperative was founded in 1947 by Robert Capa, Henri Cartier-Bresson, George Rodger and David „Chim“ Seymour and celebrates its seventieth birthday this years. Davidson counts among the most influential members of the agency. Like few others, he has shaped the genre of reportage with his series on subcultures and marginalized groups. The exhibition offers an overview of the artist's entire career, more than fifty years of continuous work, from his most renowned series, such as Brooklyn Gang (1959), Time of Change: Civil Rights Movement (1961-1965) and East 100th Street (1966-1968), to one of his latest projects, Nature of Los Angeles (2008-2013). Bruce Davidson set out on what was to become a passionate relationship with photography at a very young age. More than responding to a specific style, his work is characterized by a personal vision of reality that manifests itself in his art, not so much in the individual images as in the effect produced by the reiteration and juxtaposition of themes and characters. The spectator shares an intimacy with them that is made accessible through Davidson's charismatic presence, allowing him to reap the trust of the people being portrayed and easily gain access to their lives, even when dealing with controversial subjects. His work is therefore the reflection of an ethical commitment towards the harsh realities and the precarious and vulnerable environments in which the daily existence of the peo… | | |
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| | Yvon Chabrowski TERRITORY | SCREEN 2017
one channel video installation
92 x 55 cm on a 40 inch monitor, Full-HD, color, sound, 56 min
edition 3+1 AP
Grundemark Nilsson Gallery, Stockholm, Berlin | | | | | | | | | | | | 14 – 18 June 2017 | | | | | | | | | | | | | | photo basel, Switzerland’s first and only international art fair dedicated to the photographic medium, taking place at the Volkshaus Basel, the fair runs from 14 – 18 June 2017, coinciding with Art Basel. This year, a contingent of 34 galleries, both young and more established, present works by artists from 15 countries in three sections: the main section, tape/basel and the not-for-profit section. photo basel brings together galleries from around the world, fostering a dialogue between members of the photographic and broader art world communities. A strong group of galleries from Europe will be joined by exhibitors from China, Georgia, Japan, Peru, Mexico, Argentina and the USA. | | |
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| | | | | | | | | | | | | | Tue 13 - Wed 14 Jun
15 – 18 Jun 2017 | | | | | |
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| | Lot 50
Charles NEGRE (1820-1880)
"Vues photographiques de l’Asile Impérial de Vincennes", 1858
5 000 - 6 000 € | | | L'Excellence d'un Regard II | | | | | | Auction: Friday, 16 June, 2:30pm
Online catalog: www.millon.com
Live bidding: www.drouotlive.com Public exhibitions:
SVV 3 rue Rossini – 75009 Paris Wednesday June 14th, 11am to 7pm
Thursday June 15th, 11am to 7pm
Friday June 16th, 11am to 12pm | |
| | | As was the case in the first auction, the second auction titled "L'Excellence d'un Regard II" will take place on June 16th and will once again present Gérard Lévy’s collection in four chapters: Chapter 1: His primitives… We begin with a selection of prints by esteemed primitive French photographers such as Henri Le Secq, Charles Marville, Félix Moulin, Edouard Baldus, Gustave Le Gray, Charles Hippolyte Aubry, Adolphe Braun, Aimé Civiale and many more, as well as an ensemble of several daguerreotypes: a quarter plate daguerreotype by Louis-Noël Richou representing a couple seated at a table, with the man reading a letter, or of a half plate daguerreotype by Eduard Vaillat of a young boy playing dominoes. There is also an impressive ensemble of photographs and documents concerning the Prince Imperial, 16 prints: salt paper (1) and albumen paper prints of various formats of which two are photomontages, by Léopold Ernest & Pierre-Louis Mayer & Pierson, Édouard Delessert, Henri Tournier, Pierre-Ambroise Richebourg, estimated 6 000 / 8 000 €. (visual – lot 29) Among the many distinguished works in this auction are three masterpieces by Nadar (Félix Tournachon, dit): The first is a salt paper print taken of his son Paul at a young age. On the back of this print we find a caricature that Nadar made of Paul, and a handwritten note from 1923 by Paul Nadar to his daughter Marthe, telling her that this portrait of her father was "beloved by her grandparents and framed and hung on a wall of the Nadar family home". The work is estimated 50 000 / 60 000 €. Another portrait is of Eugène Pelletan. The signed salt paper print taken in 1854 is estimated 18 000 / 20 000 €. Yet another exceptional work is a portrait of the mime Charles Debureau taken between 1854 and 1855 for the series called "Tête d’expression". This large format salt paper print is the only print known to this day in this format and in this framing. As Maria Morris Hambourg described in the catalog of the "Nadar" exhibition of 1994, in this unusual framing of the mime in ¾ view, this rare salt paper print transforms a study of expressions into a study of physiognomy. This work is estimated 60 000 / 80 000 €. (visuals –lot 30, lot 34) This chapter ends on a selection of 11 works, stereoscopic photographs in direct vue on one plate or simultaneously animated photographs on one plate, by the French mathematician Eugène Estanave. Estimates between 300 to 2 000 € each. (visual – lot 97) | | |
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| | | | | | | | Main Exhibition, Young Greek Photographers and Photobooks | | | | | | | 14 June – 30 July 2017 | | | | | | | | | | | | | | |
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| | | | | | Rip It Up - Over 230 artists and 1000 artworks | | | | | | – 28 Jul 2017 | | | | | |
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Akinbode Akinbiyi
Broad Street, Lagos Island, Lagos, ca. 2002 |
Akinbode Akinbiyi, Medina Koura, Bamako (2007)
Schwarz-Weiß-Fotografie, 50 × 50 cm |
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| | | | | | | | | | | | 10 June – 13 September 2017 | | | | | | | | | | | | | The documenta 14 is the fourteenth edition of the art exhibition documenta and will take place 2017 in both Kassel, Germany its traditional home, and Athens, Greece. It will be held first in Athens from 8 April till 16 July, and in Kassel from 10 June till 17 September 2017. As part of the concept of the artistic director Adam Szymczyk the exhibition will proceed in both countries. The artists should work with and on both locations. www.documenta14.de | | |
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| | | | | | | Phillip Gallon: Augment 2015
"Selected Works", Malmö |
| | | | The society of the spectacle | | | | | | 9 Jun – 18 Jun 2017 | | | | | |
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| | | | | | 20th edition | | | | | | – 27 Aug 2017 | | |
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| | Mohau Modisakeng, Untitled Metamorphosis 1
2015 Ink-jet print on Epson Hot Press Natural 120x120cm EDof 5 + 2 APS | | | | | | | | | | | | – 26 November 2017 | | | | | | | | | | | | | The 57th International Art Exhibition, titled VIVA ARTE VIVA and curated by Christine Macel, is organized by La Biennale di Venezia chaired by Paolo Baratta. The Exhibition will be open to the public from Saturday May 13th to Sunday November 26th 2017, at the Giardini and the Arsenale venues. The preview will take place on May 10th, 11th and 12th, the awards ceremony and inauguration will be held on Saturday May 13th 2017. The Exhibition will also include 85 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the historic city centre of Venice. Also for this edition, selected Collateral Events by non-profit national and international institutions, present exhibitions and initiatives. Detailed information can be found on www.labiennale.org/en/art/ | | |
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© 14 June 2017 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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