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| PHOTOGRAPHY INTERNATIONAL | | 15 — 22 May 2024 | |
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| | Redpilled video still, 2023
© Jakob Ganslmeier & Ana Zibelnik. | | | | | | | | | | | ... until 9 June 2024 | | | | | | | | | | | | | Foam is excited to announce the upcoming Foam 3h exhibition GIGA by Jakob Ganslmeier and Ana Zibelnik. The artistic duo delves into the intricate landscape of radicalization within the online realm and through social media channels. Their comprehensive research project sheds light on the covert use of seemingly innocuous forms of media such as music, videos, and images as coded language for extremist ideologies. Ganslmeier and Zibelnik's exploration reveals how memes and various media formats, initially perceived as harmless, can inadvertently serve as conduits for disseminating extremist messages.
In recent years the global surge in right-wing extremism has become increasingly pronounced. The repercussions of this trend are evident in recent elections in The Netherlands, reflecting a growing polarization within our society. Ganslmeier and Zibelnik assert that social media serves as a significant catalyst for this surge, playing a pivotal role in fostering and disseminating extremist ideologies. The exhibition GIGA compellingly exposes the shadows concealed behind the seemingly 'innocent' facade of communication on social media platforms. It elucidates how the sharing of seemingly harmless images, initially perceived as pure entertainment, inadvertently sows the seeds for the germination of extreme right-wing ideologies.
The exhibition displays the video projects Redpilled, Public Enlightenment and the artist duo’s latest project Bereitschaft (‘Readiness’), which will be premiering at Foam 3h. Each video work offers an in-depth exploration in… | | |
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| | | | | | | Unilimited View I, 2024
135 x 180 cm, Archival pigment print
© Yin Yunya |
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| | | | | | | Dream Moon, 2020, Yurian Quintanas Nobel
© Yurian Quintanas Nobel |
| | | | The 3rd Awarded Exhibition of the Jimei x Arles Curatorial Award for Photography and Moving Image | | | | | | | 11 May – 16 Jun 2024 | | | | | |
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| | | | | | | | Ghana, Accra, Unabhängigkeitsbogen, 1961, Architekt Victor Adegbite, 2022 © Jean Molitor |
| | | | | | | | Africa and its modernity | | | Thu 16 May 19:00
17 May – 7 Jul 2024 | | | | | |
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| | | © Benita Suchodrev | | | | | | | | 17 May - 28 June, 2024 | | | Opening: Thursday, 16 May, 7pm
Artist Talk: Tuesday, 4 June, 7pm | | | | | | | | | | | | | In her solo exhibition at Fotogalerie Friedrichshain the Berlin-based Russian-American photographer Benita Suchodrev combines two bodies of work about the same place: the British seaside resort of Blackpool, a magnet to mass tourism in the summer months and at the same time one of the poorest cities in England.
In 48 Hours Blackpool (Kehrer Verlag 2018), the photographer dives with her camera into the lively world of entertainment at the seaside resort over a brief period, letting life unfold before our eyes. Relying on her intuition, during a couple of summer days she documents her encounters with strangers, swift and daring, always capturing the 'decisive moment' and making something visible that most of us overlook: the face in the crowd.
Of Lions and Lambs (Kehrer Verlag 2019) is being presented for the first time in a comprehensive exhibition and shows the harsh reality away from the tourist season. Social injustice and precarious livelihoods characterize the cityscape in a grey winter month. The high contrast black and white photographs are intense, authentic, raw and mysterious. The street becomes a stage with an abundance of bizarre characters, each picture is a narrative about the inevitability of time revealing a deeply human approach to photography.
"A complex pictorial-psychological investigation into a disenchanted reality and the nature of being, reminiscent of the cinema of Federico Fellini and the black-and-white English films of 1960s’ social realism." - Mark Gisbourne, Art historian, Critic, Curator
"Intoxicating and authentic, Suchodrev’s narratives could be a daydream-like film told through stills, as in Arthur Schnitzler’s Dream Story or th… | | |
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| | Michael Wesely mit Hein Gorny: Alexanderplatz, Detail, Berlin 1946/2023
© VG Bild-Kunst, Bonn 2024 | | | | | | | | ... until 1 September 2024 | | | | | | | | | | | | | How can a city’s spatial and architectural development dynamics be visualised photographically? How can photography capture time and life? In two new bodies of work, the internationally renowned photographer Michael Wesely traces fragments of past realities preserved in historical architectural photographs of Berlin. In doing so, he explores the archival dimensions of the medium of photography.
For "Doubleday", Wesely precisely superimposes his own photographs over old photographs of 19th and 20th-century architecture in Berlin, creating breathtaking leaps in time between the past and the present: 19th-century strollers on Alexanderplatz encounter today’s tourists; reconstructed copies of the buildings are superimposed onto ruins; and a park has taken the place of Monbijou Palace.
In his "Human Conditions" series, the artist focuses on the traces of people’s lives around 1900 enclosed in the Prussian Photogrammetric Institute’s large-format photographs. Wesely is particularly fascinated by the spooky disappearance of people in motion, whose contours have not been captured by the long exposure times, and whose shadowy figures he meticulously exlicits.
The Museum für Fotografie is also presenting works by Michael Wesely from previous years. These include the recently completed cycle about Leipziger Platz and Potsdamer Platz that followed the development of the new city quarter from 1997 to 2021. Another group of works shows demonstrations and protest gatherings, each of which Wesely photographed with exposure times of a few minutes and whose transient nature has left only traces and ghostly apparitions. These photographs are brought into dialogue with photojournalistic images of urban life and d… | | |
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| | Maisie Cousins: Sprinkles and Fly, 2023 Maisie Cousins: Rubbish 1, 2018
© Maisie Cousins, Courtesy TJ Boulting | | | | | | | | ... until 20 June 2024 | | | | | | | | | | | | | "SMORGASBORD" brings together a curated selection of works from 2017 to 2024 by British photographer and visual artist Maisie Cousins and celebrates her first solo show in Germany.
Cousins' earliest works here reveal her interest and exploration of nature and sexuality, and the thin, precarious line where, for a brief moment, flowers, food and bodies are at their peak of ripeness. Through brightly coloured close-ups of glossy liquid covered fruit, petals, skin and bugs, the works celebrate joy and beauty between attraction and repulsion.
In Cousins’ most recent work, decaying sticky food and flowers are now superseded by mini plastic pigs, boiled sweets, or a brightly coloured bouncy ball. These new subjects are presented in epic or intimate scaled photographs, always in Cousins’ signature tightly cropped compositions and bright colours. This shift in subject matter is marked by Cousins becoming a mother, and yet seeing the world through nostalgic toys and sweets from childhood.
Unashamedly provocative and sensual, the exhibited pieces are bold testaments that celebrate the female body and challenge the mainstream misogynistic notions of perfect and clean beauty. Offering witty, seductive and socially significant imagery, Cousins is undoubtedly one of the most exciting visual artists of her generation.
Maisie Cousins, born in 1992 in London, studied Fine Art Photography at Brighton University. Her work has been exhibited internationally in numerous solo and group shows.
In 2019 she was awarded one of FOAM Amsterdam’s FOAM Talents with a travelling exhibition to London and New York. She has exhibited in several international photography festivals, including the Vogue Photo … | | |
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| | | | | | | Dirk Reinartz: o. T., aus der Serie: Was ist Schönheit?, Hamburg 1971
© Deutsche Fotothek+Stiftung F.C. Gundlach / Dirk Reinartz |
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| | Burning building, Derry city, Northern Ireland, c. 1969
© Estate of Akihiko Okamura | | | | | | | | ... until 6 July 2024 | | | | | | | | | | | | | Photo Museum Ireland is delighted to present the world premiere of The Memories of Others exhibition, photobook and film on the Irish work of Japanese photographer Akihiko Okamura.
From the late 1960s to the early 1980s, renowned Japanese war photographer Akihiko Okamura (1929-1985) created a remarkable, compelling and largely unseen body of work in Ireland, north and south. This exhibition also launches a major programme which include sa documentary film and the first publication on Okamura’s Irish work. After covering the Vietnam War, Akihiko Okamura went to Ireland in 1968 to visit the country of JFK’s ancestors. Soon after, in 1969, he decided to move to Ireland with his family. From then on, he continually photographed the Troubles in the North and his life with his family in the South, until he suddenly passed away, in 1985. His photographs of Ireland, which have barely been seen before, demonstrate a unique artistic vision. This uniqueness is partly because Okamura chose to live in Ireland: of all the international photographers active during those years, he was in this sense a singular case of absolute commitment to Irish and Northern Irish history. This fusion with his subject matter led him to create images which were innovative both in terms of his own practice and of the photographic representation of the Troubles. His profound, personal relationship with Ireland allowed him to develop a new method of documenting conflict: poetic and ethereal moments of peace in a time of war.
Unlike other representations of the North of Ireland at that time, Okamura’s photographs are almost all in colour. Made in the North as well as in the South of Ireland, his photographs broke from the photojournalistic tradition, cre… | | |
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| | | | | | | Natascha Sadr Haghighian
onco-mickey-catch, 2016
Taxidermy, computer, RealSense cameras, Skype, CatchEye, sound
85 × 50 × 120 cm
Photo: Jens Ziehe |
| | | | Kuratiert von Pola Sieverding und Asya Yaghmurian | | | | | | | Wed 15 May 18:00
17 May – 14 Jul 2024 | | | | | |
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| | | | | | | Ute Behrend
Florian, aus der Serie Flowers you gave to me, 2024
Fine Art Print
© Ute Behrend, VG Bild-Kunst Bonn, 2024 |
| | | | | | | | Photography from the beginnings to the present day | | | | | | | Fri 17 May 18:00
17 May – 14 Jul 2024 | | | | | |
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| | Elfriede Stegemeyer
Untitled (self portrait), c. 1933
Gelatin Silver Print on Agfa-Brovira paper
17.9 x 23.5 cm | | | Elfriede Stegemeyer »
Photographs 1932 – 1938 from the Gerd Sander Collection | | | | ... until 6 July 2024 | | | | | | | | | | | | | | | "Elfriede Stegemeyer / elde steeg. Photographs 1932 - 1938 from the Gerd Sander Collection", continues the series of exhibitions focused on the collection of the galerist and collector, Gerd Sander.
Elfriede Stegemeyer (1908 - 1988) is one of many female representatives of the photographic avant-garde active during the Weimar Republic. The fact that her name is less well known today than that of other photographers of the style Neues Sehen (New Photography), even within photographic circles, is due to the political circumstances of the time in which she produced the majority of her photographic work.
In 1932, the twenty-four-year-old Stegemeyer discovers photography. Her early photographic work is inspired by the spirit of modernism. In the newly established photography class at the Kölner Werkschulen (Cologne Trade School), she quickly learned the technical basics of working with the camera. From the start she makes confident and imaginative use of the creative methods of Neues Sehen (New Vision) and Neu Objektive Photographie (New Objective Photography). Radical top and bottom views, close-ups, strong contrasts and tightly framed image cropping which abstract the subject, as well as rhythmically structured compositions, are part of her creative repertoire. Stegemeyer experiments with camera-less techniques in the darkroom creating photograms and photo-montages, with which she later creates collages. The new photography of the 1930s has an unmistakable influence on her work.
Stegemeyer cultivated close contacts with the artists group known as the Cologne Progressives. Later she explicitly pointed out the importance of the abstract, geometric compositions of Franz Wilhelm Seiwert and Otto Fre… | | |
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| | Gauri Gill and Rajesh Vangad 'Mountains and Trees', 2014, from the series 'Fields of Sight', 2013-ongoing.
© Gauri Gill & Rajesh Vangad | | | | | | | | | | | | | ... until 2 June 2024 | | | The winner of the £30,000 prize will be announced on Thursday 16 May 2024,
with the other finalists each receiving £5,000. | | | | | | | | | | | | | This long-standing annual Prize, originally established in 1996 by the Photographers' Gallery in London, identifies and rewards artists for their projects that have made a significant contribution to photography over the previous 12 months.
Over its 27-year history, the Prize has become renowned as one of the most important international awards for photographers, spotlighting outstanding, innovative and thought-provoking work. The 2024 shortlisted projects all critically engage with urgent concerns, from the remnants of war and conflict, experiences of diasporic communities and decolonisation, to contested land, heritage, equality and gender. Together these artists demonstrate photography's unique capacity to reveal what is invisible, forgotten or marginalised and imagine a path to redress.
The annual exhibition of shortlisted projects will be on show at The Photographers' Gallery, London from 23 February to 2 June 2024. It will then be on display from 15 June to 15 September 2024 at the Deutsche Börse Photography Foundation in Eschborn/Frankfurt.
The winner of the £30,000 prize will be announced at an award ceremony held at The Photographers' Gallery on 16 May 2024, with the other finalists each receiving £5,000. Full details of the Prize exhibition and award evening will be announced in early 2024. | | |
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| | ‘Still Life with mirror’, 2014, From the series Still Life
© Valérie Belin, Courtesy Galerie Nathalie Obadia Paris/Brussels | | | | | | | | 16 – 19 May 2024 | | | | Opening: Wednesday 15 May | | | | | | | | | | | | | Photo London’s Master of Photography for 2024 is one of France’s most popular and acclaimed photographers, Valérie Belin. With the exhibition Silent Stories, Belin presents three decades of work, reflecting an iconography that is deliberately silent, through images that — in the words of their creator — ”are neither narrative nor documentary and tell no particular stories, but are designed to be seen as the mirror of fictions without words.”
Showcasing a selection of large-format photographs that span from the late 1990s to today, and featuring her latest series, Lady Stardust (2023) presented for the first time in London, Silent Stories sees Belin’s progression from black and white to colour, and from silver to digital, appropriating the technological changes in photography in her search for a new ontology.
Belin’s subjects explore our innate desire to tell stories and the increasingly blurred lines between illusion and reality: from the earliest series Venice (1997) and Cars (1998) in which humans are the absent protagonists; to bodies of works that explore the complex interplay between man and man-made — such as the Body Builders (1999), Michael Jackson (2003), Mannequins (2003) and Mask (2004) series; through to the layered pigment prints made over the past decade — Black Eyed Susan (2010), All Star (2016) and Modern Royals (2020), for instance — in which post-production plays an essential role in the definition of women.
Proceeding from absent protagonists to lookalikes, and from stereotypes to constructed icons, her work addresses the theme of … | | |
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| | | Sim Chi Yin, Shifting Sands #25, 2017 © Sim Chi Yin | | | | | | | | | | | | | 16 – 19 May 2024 | | | | Opening: Wednesday 15 May 2024 | | | | | | | | | | | | | Photo London is delighted to present ‘Art Collection Deutsche Börse @ 25’, a celebration of the Deutsche Börse Photography collection’s 25th anniversary. Curated by Anne-Marie Beckmann, Director of the Deutsche Börse Photography Foundation, and Renée Mussai, London-based independent curator and scholar, and member of the Foundation’s Advisory Board, this exhibition showcases current artistic positions and recent acquisitions centred around the theme of human condition.
‘Art Collection Deutsche Börse @ 25’ critically reflects on poignant matters ranging from subjectivity and freedom, environmental and climate change to community activism, migration, transformation and selfhood through an international lens, works by artists such as Daniel Jack Lyons, Mohamed Bourouissa, Vanessa Winship, Sim Chi Yin, Marvel Harris and Sabiha Cimen will spotlight the diversity of the continuously growing collection, with a focus on portraiture(s) of people and places. | | |
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| | | | | | | | | | | | | Shared Spaces 2024 ICP Recent Graduates Exhibition,
more than 70 students from over 25 countries | | 18 May – 2 Sep 2024 | | | | | | | |
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| | | youtube.com/watch | | | | | | PHASE 1
Times Square, New York, USA
13 – 19 May 2024
PHASE 2
Images Vevey Visual Arts Biennial, Vevey, CH
7 – 29 September 2024 | | | | | | | | | | | | | The Images Vevey Visual Arts Biennial is thinking big as it reveals its 9th edition taking place from 7 to 29 September 2024 with a very fitting monumental, outdoor, custom-made installation created in collaboration with the photographer Paul Graham for Times Square in New York, one of the world’s most famous and vibrant neighbourhoods.
Images Vevey has gained worldwide recognition for its site-specific installation art and, collaborating closely with Switzerland Tourism and Montreux-Riviera Tourism, has reserved some of Times Square’s giant billboards for one week from 13 May 2024.
Showing photographer Paul Graham’s Sightless series in Times Square highlights one of Images Vevey’s distinctive hallmarks: the perfect match between artwork and its venue.
The Sightless series of portraits were taken twenty years ago in Times Square – 42nd Street. It presents people walking through the city with their eyes momentarily closed, seeming lost in thought, long before smartphones monopolised our undivided attention. Images Vevey has seized this opportunity to put these passers-by back in their original setting before showcasing them in Vevey’s public spaces during this September’s Biennial.
This idea is in sync with the subject chosen for the 2024 Images Vevey Visual Arts Biennial, as (dis)connected explores the unprecedented gap digital technologies have created between the past, present, and future. The rapid development of artificial intelligence is affecting everyone and all aspects of society, from ecology to geopolitics, the economy, arts, education, and leisure. Around fifty projects by artists from all over the world create l… | | |
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| | Old Fadama, Accra, Ghana, February 7, 2023
© Muntaka Chasant for Fondation Carmignac | | | 13th edition of Carmignac Photojournalism Award | | | E-WASTE IN GHANA
Laureates: | | | | | | | 16 May – 16 June 2024 | | | | | | | | | | | | | The 13th edition of the Carmignac Photojournalism Award is dedicated to Ghana and the ecological and human challenges associated with the transboundary flow of electronic waste. The award was granted to a team made up of investigative anti-corruption journalist and activist Anas Aremeyaw Anas and photojournalists Muntaka Chasant and Bénédicte Kurzen (NOOR).
From February 2023 to February 2024, thanks to the human and financial support of the Fondation Carmignac, the laureates carried out a transnational field study between Ghana and Europe.
E-WASTE TODAY
62 million tons. This is the volume of electrical and electronic waste - discarded battery- or mains-powered products, commonly known as «e-waste» - generated worldwide in 2022, according to the latest Global E-Waste Monitor Report published by the United Nations. The number of smartphones, connected watches, flat screens, computers and tablets being thrown away continues to rise (82% increase since 2010), making them not only one of the world’s biggest sources of waste, but also the most valuable (containing precious metals like gold, silver and platinum group metals). According to the study, if this trend continues, in the absence of sustainable recycling or repair solutions, global electronic waste will reach 82 millions metric tons by 2030. In 2022, of the 62 million tons of e-waste, only 22,3% were collected and recycled in a dedicated channel.*
Having long invaded Asia (Russia, India, China, etc.), e-waste from Europe and the United States is arriving in extensive quantities in the ports of West African countries such as Ghana, in violati… | | |
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| | | | | | | Rettungsturm 1, aus der Serie: "Talking Places"
© Jürgen Altmann |
| | | | | | | | | | | | Thu 16 May
17 May – 28 Jul 2024 | | | | | |
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| | | | | | | | Ken Lum, Thanh Thuy Vu, Jänner; Gabi Petrikovic, Februar; Hamila De Souza, März; Manfred Klumpp, April, four works from the series Schnitzel Company, 2004–2023 (powder coated aluminum with vinyl). Courtesy of the artist; Magenta Plains, New York; and Royale Projects, Los Angeles. |
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| | | | | | | | | | | | 16 – 19 May 2024 | | | | Preview: Wednesday 15 May 2024 | | | | | | | | | | | | | Photo London today announces its ninth edition with French photographer Valérie Belin named Photo London Master of Photography 2024, alongside two further major exhibitions as part of its Public Programme, and an exciting line-up of exhibitors.
A celebration of the medium in all its forms, Photo London presents the best of the past, present and future of photography. Highlights of the 2024 edition include: Valérie Belin, Photo London Master of Photography 2024, presents the exhibition ‘Silent Stories’; Robert Hershkowitz curates ‘The Magic Art of French Calotype’, a survey exhibition of early Nineteenth-century French photography; Deutsche Börse Photography Foundation celebrates the 25th anniversary of its collection with the exhibition ‘See/Change — Art Collection Deutsche Börse @25’; Belmond is exhibiting ‘Belmond Legends’, a selection of works by internationally acclaimed artists; Kamiar Maleki, Photo London Fair Director, curates the Main Section of the fair for the first time; Charlotte Jansen curates the Discovery Section for emerging photographers and galleries; Photo London x Nikon Emerging Photographer of the Year returns for its fifth edition The Photo London X Hahnemühle Student Award returns for its second year, platforming outstanding works by students enrolled in photography degrees at UK universities; Thames & Hudson leads the 2024 Talks Programme, with contributions from Nikon and FT Weekend; An enhanced VIP Programme collaborating with art and photography collections across London.
With Photo London Fair Director, Kamiar Maleki, taking the helm of the Main Fair for the first time, the Fair is building a strong int… | | |
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| | | | düsseldorf photo+ | | | | Biennale for Visual and Sonic Media: On Reality | | | | | | | 17 May – 14 July 2024 | | | 50 participating institutions, galleries and off-spaces
Opening "WAYS OF SEEING": Friday, 17 May, 6pm
Opening weekend:
Friday, 17 May, 6-9 pm
Saturday, 18 May, 12–4 pm | | | | | | | | | | | | | | | The third edition of the Biennial for Visual and Sonic Media düsseldorf photo+ from 17 May to 14 July 2024 is themed "On Reality". In exhibitions and concerts, talks, panels and other events, current and updated photography as well as media-based art in its most diverse facets can be experienced throughout Düsseldorf. The artists will reflect in a wide variety of ways on how media significantly shapes our understanding of reality today and in the past. Computer-generated worlds of images and sounds surround us everywhere, and the Biennale integrates these into the art trail and links analogue-generated audiovisual realities. In total, the Biennale offers over 50 exhibitions and events in museums, collections, galleries, independent exhibition spaces and universities. This year's düsseldorf photo+ is being organised under the artistic direction of Pola Sieverding and Rupert Pfab. Ljiljana Radlovic oversees the project management.
Highlights from our varied exhibition programme:
In photographs, now seen as historic, Allan Sekula critically illuminates social structures operating within the industrial workforce of the USA at Galerie Konrad Fischer. The group exhibition at the gallery boa basedonart, another retrospective show, focuses on social stereotypes in relation to self-portraits. Sumi Anjuman offers a contemporary insight into gender inequality at the private Philara Collection.
Toby Binder also takes a sociological standpoint with a look at crisis-ridden milieux at the gallery Clara Maria Sels. The exhibition at Julia Ritterskamp further investigates this stance in a show of t… | | |
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| | | | 6. Fotofestival Lenzburg | | | | Synthesis | | | | | | | Festival: 25 May – 23 June 2023 | | | Opening Weekend: Saturday/Sunday 25th/26th May 2024
Programm: here | | | | | | | | | | | | | We live in troubled times. The center is breaking apart. What remains is: Either. Or. Things have gotten alarmingly out of hand. Not only in the world in general, but also in our own personal environment. We long for a stable center, but the forces of life are pulling us in all sorts of directions. This is not necessarily a bad thing. Sometimes ruptures can also offer a welcome opportunity for renewal, as long as things can be put back together again afterwards – preferably in a more meaningful, new and better way. Making the world whole again. Such a process is usually referred to as synthesis. At least that is the term that seems most appropriate for our considerations.
We understand synthesis as a process in which something is improved by combining several elements. The resulting whole is greater than its individual parts – not because the individual parts are not or not equally important, but because they fundamentally are. However, achieving this is a constant balancing act between all the different interests, forces and components.
From the very beginning, the Lenzburg Fotofestival has seen itself as a kind of laboratory for possible syntheses in terms of content and form, positions and practices, expertise and publics. With 20 exhibitions, 16 locations, 3 group exhibitions, authors from 3 continents, the 2024 photo festival is the richest and most extensive edition in its history. Under the theme "Synthesis," the exhibitions prompt to reflect on the rapid development of technological possibilities, the continuous flow of impressions, the search for identity, while striving to synthesize externally and internally what we experience. | | |
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| | | | RAY 2024 ECHOES | | | | 5th International Triennial of Photography | | | | | | | ... until 1 September 2024 | | | | | | | | | | | | | The international Triennial of Photography RAY is celebrating the diversity of photography in Frankfurt and the Rhine-Main region for the fifth time with a focus on "ECHOES". Eleven institutions and exhibition venues in Frankfurt and the Rhine-Main region will be showing works on the theme of "ECHOES" by contemporary photographers and artists. With exhibitions, numerous events, and a three-day festival on the triennial theme of "ECHOES", RAY offers a multifaceted exploration of photography.
How do images contribute to the understanding of our identity, our memories, our emotions, and the ability to grasp and process current social, communal, and political challenges? RAY Echoes offers no answers to these questions, but rather – like a laboratory – it offers many perspectives and opportunities for individual exploration.
The artists of the RAY 2024 – Triennial of Photography use photography and related media to explore and reflect on the challenges and tensions of self-perception and human interaction. Their works span the past, present, and future, from the intimate and personal to the collective. By capturing these diverse moments and phenomena, they generate an echo that draws the public’s attention to their themes. Similar to a sound experience, they create reverberation that is perceived as an independent event beyond what is depicted. On this basis, RAY Echoes concentrates on three focal points: identity, memory, and emotion.
In the exhibition RAY Echoes Identity at the Fotografie Forum Frankfurt (3 May – 1 September, 2024, opening on 2 May), the artists explore the making and breaking away from identities. Echoes are present in the form of reflections on personal experience… | | |
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| | | | | | Rencontres photographiques de Montpellier 18th edition | | | | | | | – 26 May 2024 | | | | | |
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| | | | | | Even Better Than the Real Thing | | | | | | | – 30 Sep 2024 | | | | | |
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| | | | | | Rencontres de la jeune photographie internationale 2024 | | | | | | | – 25 May 2024 | | | | | |
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| | | | | | Festival de la jeune photographie européenne | | | | | | | – 2 Jun 2024 | | | | | |
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| | | | FOTOGRAFIA EUROPEA 2024 - XIX edition | | | | Nature loves to hide | | | | | | | Reggio Emilia until 9 June 2024 | | | Dedicated to the interconnections between humans and nature, and to the transformations human beings can undertake beyond an approach of dominant control, the 19th edition of the Reggio Emilia Festival returns to invite us reflect on pressing critical issues
Palazzo Magnani, Chiostri di San Pietro, Palazzo da Mosto, Villa Zironi, Palazzo dei Musei, Biblioteca Panizzi, Spazio Gerra and the spaces of the Circuito OFF host exhibitions by both established photographers and young talents | | | | | | | | | | | | | | | From 26 April to 9 June 2024, Reggio Emilia will once again observe the changes to the contemporary sphere through the eyes of great photographers and young practitioners with the 19th edition of FOTOGRAFIA EUROPEA: the festival promoted and organised by Fondazione Palazzo Magnani and the Municipality of Reggio Emilia, with support from the Emilia-Romagna Regional Council.
Nature loves to hide is the theme chosen by the Festival’s artistic board, this year made up of Tim Clark (editor of 1000 Words), Walter Guadagnini (photography historian and Director of CAMERA – Centro Italiano per la Fotografia) and Luce Lebart (researcher and curator, Archive of Modern Conflict).
Drawing on the paradox expressed in a famous fragment by Heraclitus, the title seeks to encompass the power of a nature that so often conceals its essence right before our eyes, while increasingly revealing it in destructive ways, in a continuous process that may be understood as an oscillation between being and becoming. Through this edition’s many prestigious solo and group exhibitions, Fotografia Europea 2024 sets out to explore the connections between concealment and discovery that characterise our relationship with nature, imagining new narratives bound up in an eco-centric conception as opposed to an attitude of dominant control that our species exercises over the planet, so as to understand the current dynamics and the new directions to be taken. | | |
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| | | | | | Ten Thousand Suns | | | | | | | – 10 Jun 2024 | | | | | |
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| | | © Kalina Pulit | | | EXPOSED. Torino Foto Festival | | | | New Landscapes - Turin’s New International Festival of Photography | | | | | | | ... until 2 June 2024 | | | the first edition with the title New Landscapes – Nuovi Paesaggi
Artistic Directors: Menno Liauw and Salvatore Vitale
Over 20 temporary exhibitions in more than 20 venues
One programme of events dedicated to photography organized with the city’s main cultural institutions and independent organizations | | | | | | | | | | | | | EXPOSED is Turin’s new international festival of photography, which every year will bring temporary exhibitions, a specialised fair, educational activities, meetings, artistic commissions and off-site events centered around a theme to the Piedmontese capital in May. Promoted by the City of Turin, the Piedmont Region, the Turin Chamber of Commerce, Intesa Sanpaolo, Fondazione Compagnia di San Paolo and Fondazione per l’Arte Moderna e Contemporanea CRT on behalf of Fondazione CRT and organised by Fondazione per la Cultura Torino, EXPOSED was created to strengthen the deep bond between Turin and photography.
The goal is to provoke contemplation regarding the transitional state of photography. Starting from a historical perspective, Exposed seeks to present various approaches, perspectives, narratives, and intersections that showcase the diverse forms the medium takes on. Simultaneously, it aims to inspire, evoke emotions, entertain, and propose new ways of interacting with, interpreting, and appreciating the work of both classic and contemporary artists.
Exposed envisions itself as a cutting-edge presence in the international photography panorama, complementing the existing offerings. Therefore, the festival’s artistic direction is focused on an inclusive approach to attract diverse audiences—both local and international—through a diverse program that encompasses different approaches to photography: from classic to contemporary, cross-media, installative and performative.
Collaboration and collectivity are key aspects highlighted by the artistic direction, emphasizing the multidisciplinary and kaleidoscopic nature of Exposed. Diverse visions, approaches, ideas, and projects make the festival—and consequently, the city of Turin—an in… | | |
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| | | | | | Triennial Exhibition | | | | | | | – 28 Jul 2024 | | | | | |
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| | From the series Keepers of the Ocean (2019) © Inuuteq Storch
The Danish Pavilion: Rise of the Sunken Sun by the artist Inuuteq Storch | | | | | | | Stranieri Ovunque - Foreigners Everywhere | | | | | | | | 20 April – 24 November 2024 | | | | | | | | | | | | | The 60th International Art Exhibition , titled Stranieri Ovunque – Foreigners Everywhere , will open to the public from Saturday April 20 to Sunday November 24, 2024 , at the Giardini and the Arsenale; it will be curated by Adriano Pedrosa and organised by La Biennale di Venezia . The pre-opening will take place on April 17, 18 and 19 ; the awards ceremony and inauguration will be held on 20 April 2024 .
Since 2021, La Biennale di Venezia launched a plan to reconsider all of its activities in light of recognized and consolidated principles of environmental sustainability. For the year 2024, the goal is to extend the achievement of “carbon neutrality” certification , which was obtained in 2023 for La Biennale’s scheduled activities: the 80th Venice International Film Festival, the Theatre, Music and Dance Festivals and, in particular, the 18th International Architecture Exhibition which was the first major Exhibition in this discipline to test in the field a tangible process for achieving carbon neutrality – while furthermore itself reflecting upon the themes of decolonisation and decarbonisation.
The Exhibition will take place in the Central Pavilion (Giardini) and in the Arsenale, and it will present two sections: the Nucleo Contemporaneo and the Nucleo Storico.
As a guiding principle, the Biennale Arte 2024 has favored artists who have never participated in the International Exhibition—though a number of them may have been featured in a National Pavilion, a Collateral Event, or in a past edition of the International Exhibition. Special attention is being given to outdoor projects, both in the Arsenale and in the Giardini, where a performance program is being planned with events during the pre-opening and closing weekend of the 60th Exhibition.
Stranieri Ovunque - Foreigners Everywhere, the title of the 60th International Art Exhibition of La Biennale di Venezia, is drawn from a series of works started in 2004 by the Paris-born and Palermo-based Claire Fontaine collective. The works consist of neon sculptures in different colours that render in a growing number of languages the words “Foreigners Everywhere”. The phrase comes, in turn, from the name of a Turin collective who fought racism and xenophobia in Italy in the early 2000s.
«The expression Stranieri Ovunque - explains Adriano Pedrosa - has several meanings. First of all, that wherever you go and wherever you are you will always encounter foreigners— they/we are everywhere. Secondly, that no matter where you find yourself, you are always truly, and deep down inside, a foreigner.» | | |
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© 15 May 2024 photography now UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editors: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
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