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| PHOTOGRAPHY INTERNATIONAL | | 14 — 21 March 2018 | |
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| | | | | Every two years, MoMA’s celebrated New Photography exhibition series presents urgent and compelling ideas in recent photography and photo-based art. This year’s edition, Being, March 18–August 19, 2018, asks how photography can capture what it means to be human.
Sofia Borges » (Brazilian, born 1984)
Matthew Connors » (American, born 1976)
Sam Contis » (American, born 1982)
Shilpa Gupta » (Indian, born 1976)
Adelita Husni-Bey » (Italian, born 1985)
Yazan Khalili » (Palestinian, born Syria, 1981)
Harold Mendez » (American, born 1977)
Aïda Muluneh » (Ethiopian, born 1974)
Hương Ngô + Hồng-Ân Trương » (American, born Hong Kong, 1979; American, born 1976)
B. Ingrid Olson » (American, born 1987)
Joanna Piotrowska » (Polish, born 1985)
Em Rooney » (American, born 1983)
Paul Mpagi Sepuya » (American, born 1982)
Andrzej Steinbach » (German, born Poland, 1983)
Stephanie Syjuco » (American, born Philippines, 1974)
Carmen Winant » (American, born 1983)
www.moma.org |
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Andrzej Steinbach. Untitled from the series Gesellschaft beginnt mit drei. 2017. Inkjet print, 35 7/16 × 23 5/8" (90 × 60 cm). Courtesy the artist and Galerie Conradi, Hamburg and Brussels. © 2017 Andrzej Steinbach | | | | | | | |
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| | | Bill Jacobson, Place (Series) #1159 | | | Bill Jacobson » Bill Jacobson und Giorgio Morandi | | | | 17 March – 5 May 2018 | | | | Opening reception: Friday 16 March, 7pm | | | | | | | | | | | | | This spring season and during Berlin Gallery Weekend 2018 Robert Morat Galerie is thrilled to be able to show photographs from his Place (Series) by American artist Bill Jacobson and drawings by Italian painter Giorgio Morandi Place (Series) is Bill Jacobson’s latest body of work, for which he won a 2012 Guggenheim Fellowship. The American artist describes the images as “the result of inserting rectangles of various sizes and surfaces within both constructed and natural settings.” As opposed to the out-of-focus work for which Jacobson initially became known in the 1990ies, these photographs speak to the perceptual interactions with the physical world that surrounds us, in some cases strongly referencing the famous still life studies by Italian painter Giorgio Morandi.
Giorgio Morandi, 1890–1964, is considered one of the key figures of 20th century painting and a pioneer of abstraction. For his contemplative still lifes, he used simple bottles, cups, bowls and vessels that he kept rearranging. In Morandi's late work, the objects were reduced to ever simpler geometrical forms. In his extensive graphic work Giorgio Morandi devoted himself mainly to the still life aswell and achieved a high degree of intensive effect with economical means, especially in his drawings. Already during his lifetime, Morandi received great recognition. At the first "documenta" in Kassel in 1955, eleven of his paintings were shown in a separate cabinet. Today, Morandi's paintings, watercolors, drawings and etchings can be found in the most important collections all over the world. The drawings shown in this exhibition (including the last drawing from 1963) are on loan from the collection of the Morat Institute for Art and Art Science in Freibu… | | |
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| | | | | | | | | | Part of "Everyday Life in the GDR" | | Wed 14 Mar 19:00
14 Mar – 22 Apr 2018 | | | | | |
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| | | | | | | | | | Thu 15 Mar 18:00
16 Mar – 30 May 2018 | | | | | |
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| | | | | | | | Olivier Richon: The Lobster, 2008, C Type analogue, 45 cm x 56 cm, Edition 4/5 |
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| | | | | | | | © Boris Eldagsen, How To Disappear Completely / POEM#88, 2013 |
| | | | | | | | | | | Sat 17 Mar 19:00
18 Mar – 7 Apr 2018 | | | | | |
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| | | | | | | | Paolo Gioli: Questo volto non è il mio volto (This Face Is Not My Face), 2010, Polaroid 20x24 Polacolor und Polacolor-Transfer auf Acryl, 71 x 55 cm © Paolo Gioli |
| | | | | | | | | | | | Thu 15 Mar 19:00
16 Mar – 17 Jun 2018 | | | | | |
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| | © Alinka Echeverría, The Road to Tepeyac, 2010
Courtesy Ravestijn Gallery, Amsterdam | | | | | | | | 18 March – 2 September 2018 | | | Opening: Sunday 18 March 2018, 13:00 Alinka Echeverría will speak about her art, and the importance of Lola Álvarez Bravo’s work for her and other female artists in Mexico (Preus museum’s Library) | | | | | | | | | | | | | Alinka Echeverría's project The Road to Tepeyac is about devout Mexican pilgrims carrying their personal image of the Virgin of Guadalupe on the anniversary of her apparition in 1531.
Alinka Echeverría (born 1981 in Mexico City) is an artist that works with photography’s expanded field. She holds a Masters degree in Social Anthropology and Development from the University in Edinburgh (2004) as well as a post graduate degree in photography from the International Center for Photography in New York (2008). With her combined training in photography and social anthropology, she brings a critical approach to questions of visual representation.
In “The Road to Tepeyac” her social anthropological background is clear. By highlighting all the devout Mexican pilgrims carrying their personal image of the Virgin of Guadalupe on the anniversary of her apparition in 1531, she shows the kaleidoscopic experience of multiple re-presentations of the sacred image and deconstructs the historical, political, philosophical, psychological and anthropological relationship between an invisible presence and its materialized expression. | | |
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| | Lola Álvarez Bravo, Las Golondrinas, 1955.
Courtesy of the Fondo Fundación Televisa Collection. | | | | | | | | 18 March – 2 September 2018 | | | | | | | | | | | | | Lola Álvarez Bravo (1903-1993) belongs to the generation of female photographers who took advantage of a wind of artistic freedom to unfold after the revolution in 1910 to 20 in Mexico. Along with her husband Manuel Álvarez Bravo belonged to her circle around Diego Rivera, Frida Kahlo and Edward Weston.
Lola Alvarez Bravo (1903-1993) is a key figure in the history of modern Mexican art. Like many artists of her generation, including José Clemente Orozco and Luis Barragán, she was born in the state of Jalisco during the regime of Porfirio Díaz. But her parents separated when she was still a child, and Lola—as she was always known—moved with her father to Mexico City. As it happened, she ended up living in the same building in the congested colonial center as Manuel Álvarez Bravo. The two married in 1925.
Through Manuel, Lola gained entry to Mexico City’s bohemian art world and learned the basics of photography. The late 1920s were a time of rapid change in the field, as pictorialism and studio practice were increasingly overshadowed by avant-garde strategies. Mexican photographers, including Lola, were deeply inspired by the so-called “new vision” introduced by Edward Weston, who lived in Mexico City from 1923 to 1926. Photography also emerged as a political weapon, particularly as deployed by Weston’s erstwhile partner, Tina Modotti.
After Modotti was deported in 1930, Lola inherited her camera and her job photographing the great frescoes of the post-Revolutionary years. Until the 1970s, Lola was the leading woman photographer in the country, working side by side with competitive male photojournalists, documenting land reform and social programs of the Ministry of Pu… | | |
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| | Sean Hemmerle, Housewife, Baghdad, Iraq, 2003, Gelatinsilverprint, 40 x 40 cm.
© 2018 Sean Hemmerle, Courtesy of Galerie Julian Sander, Cologne | | | | | | | | 15 March – 19 May 2018 | | | | Vernissage: Thursday 15 March, 6 PM | | | | | | | | | | | | | Galerie Julian Sander is very pleased to present the series THEM by photographer Sean Hemmerle, a compelling work of contemporary portraiture and an intelligent visual manifestation of reality, with all its consequences.
“These pictures were originally intended as a sort of ‘Fuck you’ to the Bush administration, I never thought after he was gone we would eventually end up with someone that made him look good. They’re a ‘Fuck you’ to someone else now.”
– Sean Hemmerle
The portrait series THEM is a reaction to the political atmosphere in the United States post 9/11. After having documented the events of 9/11, Hemmerle felt compelled to depict something of value and decided to photograph the minefields, battlefields and surrounding architecture in Afghanistan and Iraq in 2002 and 2003. Eventually he started taking black-and-white portraits of the people he encountered. THEM shows depictions of the citizens of these two war-torn countries in the Middle East. These sensitive portraits of individuals stand in stark contrast to the concept of a universally identifiable enemy formed by the people in the United States. The resulting images are compassionate studies of people under attack by Hemmerles own government. Each subject is portrayed frontally with no direction from the artist, allowing the individual photographed to (re)present themselves. Echoing the display modalities of August Sander's iconic portrait series People of the 20th Century, Sean Hemmerle's corpus of black-and-white portraits possesses visual power.
Sean Hemmerles award-winning photographs range from international conflict zones to contemporary architecture. After serving in the U.S. Army (1984-1988)… | | |
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| | | | | | | | Alfred Seiland: "Rome"-Filmset, Cinecittà-Studios, Rom, Italien, 2006 © Alfred Seiland |
| | | | | | | | | | | Wed 14 Mar 19:00
15 Mar – 26 Aug 2018 | | | | | |
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| | | Sands of Agadir, Morocco, 1970 © Hiro | | | | | | | | until 23 March 2018 | | | | | | | | | | | | | Hamiltons presents the work of esteemed photographer Hiro, selected from his diverse and dynamic oeuvre. The majority of prints in this exhibition have not been previously editioned, so have never been publicly seen outside of the magazine pages until now. The exhibition consists of two parts: his rarely exhibited black and white photographs in the front gallery, and his vibrant colour work in the second gallery. Known for the originality of his photographs, Hiro’s photographic career began at Harper’s Bazaar in New York as a fashion, still-life and portrait photographer. Shortly after arriving in America from Japan in 1954, Hiro landed an apprenticeship in Richard Avedon’s studio. Avedon soon sent Hiro to legendary art director Alexey Brodovitch after he proved too talented not to work independently, and within a few years Hiro had risen to extraordinary fashion photography heights. Hiro began working under Brodovitch in 1956 and in 1963 he became the only photographer under contract at Harper’s Bazaar, a position he kept for the next ten years. Now in his 80’s, although no longer under contract, Hiro continues to take assignments with the magazine. Hiro has lived up to Brodovitch’s dictum, ‘If you look in your camera and see something you’ve seen before, don’t click the shutter.’ In January 1982 American Photographer magazine devoted their entire issue to Hiro, asking the question “Is this Man America’s Greatest Photographer?” Richard Avedon described Hiro as ‘a visitor all his life’, enabling Hiro, neither completely Eastern or Western to document both cultures in his work with a perception that only comes from a certain detachment. | | |
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| | | installation view Valérie Belin, Painted Ladies 2018 Edwynn Houk Gallery, New York | | | | | | | | until 31 March 2018 | | | | | | | | | | | | | Edwynn Houk Gallery, New York is pleased to announce an exhibition of Valérie Belin’s most recent series, Painted Ladies, for the artist’s fourth exhibition at the gallery. The exhibition of eight large-scale black-and-white photographs will be on view 02 – 31 March 2018.
Over the past two decades, Valérie Belin has created a body of work that challenges and manipulates the indexical nature of the photographic surface to explore ideas of beauty, artifice, and illusion. Painted Ladies continues Belin’s fascination with the human body as a powerful vessel for abstraction and projected meaning. Inspired by early twentieth-century expressionist painters, Belin collaborated with make-up artist Isamaya Ffrench to paint models with various brushes in the manner of initiatory tribal rituals. These brushes lend their names to the individual titles of the works, such as Lady Round Brush, Lady Pastel, and Lady Inpainting, and also mirror the equivalent digital retouching tools found in the image-processing software that Belin employs.
Belin has stated that her work originates from painting. In these works, the models’ faces are metamorphisized and reduced to canvas-like surfaces, whose expressions have been assigned and actualized by the artist. The pictorial quality of each image, abstracted beyond portraiture, is created by the painterly interventions on the models before the photograph is taken and the digital processing of the images after the photography occurs. This interrogation regarding the nature of the image, the process involved, and what the viewer is actually looking at, creates a sense of uncertainty that questions the power of surface … | | |
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| | | Detail © Maia Flore, courtesy Galerie Esther Woerdehoff | | | | | | | | 14 March – 5 May 2018 | | | | Opening reception: Wednesday 14 March 18:00 | | | | | | | | | | | | | To open our new season of exhibitions, we are happy to present Maia Flore’s latest works, where collage and drawing come and meet her photography.
After winning the HSBC prize in 2015, she has been showing through numerous exhibitions a body of work defined by a search for bridges between reality and imaginary.In her art, she distorts, modifies or enhance the world, as to assert that she will notsubmit herself to its laws.
Since the fall of 2017, Maia Flore has been pursuing her research at the Fresnoy-Studio School of Contemporary Arts. This exceptional place of education leads her tothink about the way the body, actually her first tool, reacts with the environment in which it is placed. Starting from the reality and its limitations, she anchors her body inthe landscape she photographs, and with a thoughtful choreography, she balances thespace around her.
As part of the Circulation(s) Festival, Maia Flore presents in this exhibition situationsthat relate her beautiful and endless pursuit of the absolute moment; the one momentwhen everything is balanced and you feel a thrill that lasts a few seconds to then quicklydisappear. Now, we must start again. The photographs are quests, artistic processes fed by the artist’s wandering. She manages to get the photograph out of its frame byintervening after the shooting with collage and a mix of materials.
With this recent research, Maia Flore explores even further the relationship between body and space, and conveys with her images the sensations she herself felt: the fallingof her body, the blowing of the wind, the coldness of a block of ice, and finally, the alleviation of having escaped for a few moments from the rules of space and time. | | |
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| | | | | | | Georg Petermichl - o.T.(After Pirelli: Manfred) 2016
C-Print, 50×33 cm, handvergrößert, gerahmt |
| | | | | | Thu 15 Mar 19:30
16 Mar – 28 Apr 2018 | | | | | |
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| | | | PHOTOBOOK WEEKS | | | | Photobook workshop with Nicholas McLean and Alessandro Calabrese | | | | 2 – 6 April 2018 | | | | Deadline for registration: March 23rd | | | | | | | | | | | | | Fotogalleriet is proud to present a photobook workshop in collaboration with
Nicholas McLean (Founder/Publisher at Éditions du LIC) and
Alessandro Calabrese (FOAM TALENT 2015 and Professor at the Master Program in Photography and Visual Design at NABA, Milan)
ESSENTIAL DETAILS
Dates: Monday to Friday, 02-06 April 2018
Location: Fotogalleriet, Møllergata 34, Oslo 0179, Norway
Available Places: 6 participants
Price of Course: 8700, - NOK
Deadline for registration: March 23rd
For registration please contact: [email protected]
The Photobook Workshop is all about the creation of photobooks, from initial concept through curation, sequencing, layout and design to eventual production and marketing.
Comprising of an intensive one week collaborative workshop, the course will cover the varied contemporary publishing models, from indie zines to high quality luxury editions, from traditional photography books to avant-garde photobooks that push the boundaries of the publishing medium.
The course mentors will work in close collaboration with the participants to create a book from one of their own photo projects and will cover concept ideation, image curation, sequencing, layout, design, material selection, binding techniques as well as essential aspects of production, distribution and marketing.
This Photobook Workshop is designed for photographers with a completed photo project by the time the course begins and provides a great opportunity to test different book editing approaches before committing to print.
Presented and hosted by Fotogalleriet, the Photobook Workshop will be led by Nicholas McLean, founder of the independent photobook publisher Éditions du LIC, and Alessandro Calabrese (art photographer, FOAM TALENT and Professor in the Master Program in Photography and Visual Design at NABA, Milan). | | |
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| | | | | | | | | | | | | Wed 14 Mar 18:30
15 Mar – 2 Apr 2018 | | | | | |
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| | | | | | European young photography festival | | | | | | 17 Mar – 6 May 2018 | | | | | |
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| | | | | | SUPERPOSITION: Equilibrium & Engagement | | | | | | 16 Mar – 11 Jun 2018 | | | | | |
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| | | © Vinit Gupta, Untitled, 2013-2017 | | | | | | | INDIA - Contemporary Photography and New Media Art | | | | | | | until 22 April 2018 | | | | | | | | | | | | | The FotoFest 2018 Biennial, March 10 – April 22, 2018, is dedicated to INDIA: Contemporary Photographic and New Media Art. FotoFest 2018 speaks to a number of contemporary issues in India including gender and sexuality, land rights conflict, the environment, human settlement and migration, and caste and class divisions. The participating artists are from India and the global Indian diaspora.
Organized by Lead Curator Sunil Gupta and FotoFest Executive Director Steven Evans, FotoFest 2018 will be one of the largest exhibitions of contemporary photography by artists of Indian origin to be presented in the United States. The artists were handpicked by Mr. Gupta and Mr. Evans while journeying through multiple cities in India and across the world.
“The artists, all of Indian origin, are imagining and responding to what India means today in its myriad complexities, given its ancient culture and more recent emancipation from British colonialism,” says Biennial Lead Curator Sunil Gupta. “They were selected by a process of portfolio reviews and face-to-face meetings with nearly three times as many artists than are in the show. The final short list was arrived at by assessing the engagement of their works with both the issues and the technology that define photography in the world today.”
“It is very exciting for FotoFest to be working with this remarkable range of artists,” says Steven Evans, FotoFest Executive Director and Biennial Co-Curator. “Some are well known to those familiar with the international world of contemporary art, while others will be new discoveries, as they are exhibiting internationally for the first time. We are looking forward to bringing this work together under the rubric of the … | | |
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© 7 March 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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