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| PHOTOGRAPHY INTERNATIONAL | | 16 — 23 October 2024 | |
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| | There, Copenhagen 2023
© Marcel Veldman | | | | | | | skateboard culture, art, and urban space through a large-scale installation. | | | | 17 October – 17 November 2024 | | | Opening: Thursday 17 October 18:00, Stenen Hoofd
This event is presented in collaboration with Amsterdam Dance Event. | | | | | | | | | | | | | In collaboration with ADE, Foam presents La Fluff by Marcel Veldman in Amsterdam's Stenen Hoofd. The exhibition demonstrates the blurred lines between skateboard culture, art, and urban space through a large-scale installation.
Fluff, a publication by Marcel Veldman that defies the conventional definition of a magazine, finds itself in a place where skating is impossible. This paradox—the skater in their so-called natural habitat— captures the essence of Fluff and its connection to skate culture.
This installation marks the largest edition of Fluff to date, presented through stacked containers that reflect how skaters reinterpret and reclaim urban spaces. It highlights skateboarding’s ability to breathe new life into both the physical and social fabric of the city, challenging norms in the process. | | |
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| | Wim Wenders
Onomichi Sunset, Onomichi 2005
© Wim Wenders | | | LIGHT AND FLAVOR OF JAPAN | | | | A Photographic Journey by | | | | | | | ... until 20 December 2024 | | | | | | | | | | | | | Impressive photographs and digital exhibits at the JDZB—timed perfectly for the start of Berlin Art Week—that were created between 2000 and 2022 during the artist couple’s stays in Japan.
Wim Wenders: “Even when I first visited Japan almost 50 years ago, I felt at home there immediately; a sense of belonging that I’ve never felt anywhere else in the world, except of course in Germany. Essentially, I rediscovered a utopia from my childhood: a profound sense of the common good, attention to small things, and the high regard that ‘service professions’ have. This is how I experienced the world as a child and found it again in Japan.”
Donata Wenders: “Since the first time I went there with Wim, Japanese culture has become my ‘master’: the great respect for others, whether they are people, animals, or plants; everything deserves respect and gratitude. Especially the focus on the here and now has taught me what a gift it is to be ‘present’ in everything we do. Since I became acquainted with Japan, I perceive the time we are given in life more consciously. Japan has deeply moved, changed, and shaped my attitude toward life.” | | |
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| | Emila Medková
Black / Černoch, 1949
Silver gelatin paper
Sammlung Dietmar Siegert
© Eva Kosakova Medkova
Photo: Christian Schmieder | | | FOTOGAGA. Max Ernst and Photography | | | | A Visit from the Würth Collection | | | | | | | 18 October 2024 – 27 April 2025 | | | | Opening: Thursday, 17 October, 7pm | | | | | | | | | | | | | Max Ernst holds a prominent position within Dada and Surrealist Art. His name stands for genre-bending works that combine dream and reality. The exhibition "FOTOGAGA: Max Ernst and Photography. A Visit from the Würth Collection" is the first to search for points of intersection between his work and photography. Commemorating Surrealism’s centenary, the Museum für Fotografie (Museum of Photography) is showing a representative overview of Max Ernst’s artworks from the Würth Collection. These are complemented by works from the Kunstbibliothek, Kupferstichkabinett, Sammlung Scharf-Gerstenberg and the Staatsbibliothek zu Berlin, and other exceptional loans from museums and private collections in France and Germany.
The art of Max Ernst (1891–1976) was created at a time characterised by a new, creative approach to photography. Snapshots, scientific photographs and images of war machinery inspired him and served as working materials, especially for his collages. Technical and artistic developments in the medium of photography significantly influenced his work. He used photographic reproduction techniques to increase the visual impact of his works: enlargements allowed his small-format collages to hold their own alongside paintings in exhibitions; the production of photo postcards of the collages ensured that the works could be distributed quickly and easily; and the inversion of the tonal values in a photogram enhanced the effect of his frottages.
Max Ernst himself never used a camera for his art, but he liked to pose for the camera, whether for images taken by well-known photographers or made in photo booths. At times serious, at times a little "gaga", the portraits illustrate not just the artist’s love for playfulness but also an occasionall… | | |
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| | | F. C. Gundlach, Lissy Schaper in einem Ensemble von Schwichtenberg, Brandenburger Tor, Berlin 1961 © Stiftung F.C. Gundlach, Hamburg, Courtesy Collection de Gambs | Helmut Newton
Mode an der ehemaligen Mauer
Zeit Magazin, Berlin 1990 |
| | | | | | | 20 years of the Helmut Newton Foundation | | | | | | | | ... until 16 February 2025 | | | | | | | | | | | | | The Helmut Newton Foundation celebrates its 20th anniversary in June 2024 with the group show Berlin, Berlin! – and simultaneously pays tribute to the city where Newton was born. In the fall of 2003, Helmut Newton established his foundation in Berlin to house parts of his archive, which opened to the public in June 2004 at the historic Landwehrkasino next to Zoologischer Garten station. It was from this very station that Helmut Neustädter, facing constant threat of deportation as a Jew, fled Berlin in early December 1938 – returning 65 years later as the world-famous photographer Helmut Newton. Since then, the Helmut Newton Foundation and the Berlin Art Library have jointly resided in the historic building now known as the Museum of Photography. After the death of June Newton (also known as Alice Springs) in April 2021, the entire collection of works by Helmut Newton and Alice Springs, along with all archival materials, have been housed in the foundation’s archive.
Helmut Newton trained under the legendary photographer Yva in Berlin-Charlottenburg from 1936 to 1938, following in her footsteps to carve his path in the three genres of fashion, portraits, and nudes. After stints in Singapore and Melbourne, Newton’s career took off in Paris in the early 1960s, a period during which he frequently returned to Berlin for fashion shoots in magazines like Constanze, Adam, and Vogue Europe. In this exhibition, we encounter Newton’s models posing at Brandenburg Gate before the 1961 construction of the Berlin Wall. We also see his controversial 1963 fashion series, Mata Hari Spy Story, featuring Brigitte Schilling near the Berlin Wall. In 1979, the newly relaunched German Vogue commissioned Newton to retra… | | |
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| | | | | | | "Family Portrait XVII", 2023
© Inka & Niclas |
| | | | | | | | | | | | Thu 17 Oct 18:30
18 Oct – 15 Dec 2024 | | | | | |
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| | | | | | | Sabine Wild
Neue Nationalgalerie_L1009415, 2024
Pigmentprint auf Baumwollpapier
59,4 x 84 cm
Unikat |
| | | | | | | | | | | | Sat 19 Oct 18:00
20 Oct – 3 Nov 2024 | | | | | |
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| | | | | | | | Unshowable Photographs © Ariella Aïsha Azoulay |
| | | | | | | | Bristol Photo Festival 2024 | | | Wed 16 Oct
16 Oct – 17 Nov 2024 | | | | | |
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| | | | | | | | Staring into the Abyss © Hashem Shakeri |
| | | | | | | | | | | | 18 Oct 2024 – 12 Jan 2025 | | | | | |
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| | | Ruth Medjber: Her, Allure (2024), | | | | | | | | 16 – 19 October 2024 | | | Exhibition Premiere and Gala Launch: 6.00pm on Wednesday 16 October
Artist Talk: 1pm on Saturday 19 October | | | | | | | | | | | | | Photo Museum Ireland is delighted to present the premiere of Ruth Medjber’s Her, Allure (2024), a visual journey through the landscapes and moments that have shaped her life. In 2024 Medjber was commissioned by Peugeot to create a unique body of work responding to the theme of ALLURE. The work presents a series of evocative and striking images, featuring rich colours and dynamic compositions. Medjber has a talent for conveying deep emotions and compelling narratives, simultaneously intimate and powerful.
For Medjber, ALLURE is more than a fleeting feeling—it is a force that has propelled her across Ireland, guiding her to pivotal places in her life. This photographic odyssey reflects on the paths she has taken—choices defined by a restless curiosity and a rejection of convention. In this new work, we see Medjber’s interpretation of ALLURE as an ancient energy, a nomadic instinct that urges us to move, to seek, and to connect.
‘ALLURE embodies my yearning for a life fuelled by the freedom to wander, to remain ever-dynamic and in motion.’
— Ruth Medjber | | |
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| | | | | | | Antonia Gruber
BLUE DAHLIA_010, 2022 |
| | | | | | | | | | | | Fri 18 Oct 19:00
18 Oct – 23 Nov 2024 | | | | | |
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| | | Andrea Orejarena & Caleb Stein, American Glitch, Installation view. Foto: Henning Rogge. Courtesy of Palo Gallery NY. | | | | | | | | ... until 26 January 2025 | | | | | | | | | | | | | The exhibition Tactics and Mythologies: Andrea Orejarena & Caleb Stein, opening the new series "Viral Hallucinations" at the Temporary House of Photography Hamburg, presents the first institutional solo show of the New York duo Andrea Orejarena & Caleb Stein.
Andrea Orejarena & Caleb Stein’s (1994, Colombia, UK, respectively) conceptual, documentary work uses the intersection of technology, memory, and desire to explore American mythologies and narratives. Orejarena & Stein’s multi-media work often involves extensive research into how their images relate to collective image making and the networked volume of images surrounding us. These bodies of work are set against a subtle backdrop of social tensions or the lingering echoes of past conflicts—present as underlying currents but never dominating the narrative. Central to their practice is the elevation of collective processes and collaboration, which serve as key strategies.
Tactics and Mythologies delves into visual disinformation tactics and the impact of fictional narratives and viral mythologies on individual perception. The dialogue between the projects a.o. Long Time No See (2015–20), War Words (2019–24) and American Glitch (2020–24) explores the synergies between the mediabased disinformation, constructions of truth, and new propaganda techniques developed during the Vietnam-US-War and the new mythologies of simulation and conspiracy narratives that now shape collective imaginaries online.
Alongside Orejarena & Stein’s works, the exhibition features two self-study labs documenting the research process on images that serve as viral carriers of imaginary worlds and fictional narratives as part of the Viral Ha… | | |
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| | | Bianca Tse, Photo Courtesy of Blue Lotus Gallery. | | | | | | | Kowloon’s Walled City explored. | | | | | | | | 17 October – 1 December 2024 | | | | Opening: Wednesday 16 October 18:00 | | | | | | | | | | | | | Blue Lotus Gallery is excited to announce the opening of “Voices of the Walls" an exhibition that explores the history and culture of the infamous Kowloon Walled City in Hong Kong through photographs by Ian Lambot, Greg Girard, Bianca Tse and Keeping Lee.
Starting on 17 October, the exhibition will run until 30 November 2024 and offers an opportunity to delve into the rich visual history of his once-controversial urban enclave.
Photographs serve as a vital medium for archiving collective memory and preserving heritage, particularly for places that will eventually disappear, like the walled city. While few ventured there, even fewer thought to document it. However, Ian Lambot and Greg Girard did just that in the years leading up to its demolition, culminating in the iconic book City of Darkness, published by Watermark, which has sold over 20,000 copies to date. This collection not only preserves the heritage of the notorious walled city through photographs and stories but also served as a source of inspiration for future generations of artists, still influencing everything from video games and AI-generated imagery, like that of Bianca Tse showcased in this exhibition, to films such as the latest blockbuster, ‘Twilight of the Warriors: Walled in.’
Originally established as a military outpost during the Song Dynasty, Kowloon Walled City transformed into a haven for refugees after World War II, leading to its rapid growth. For decades, it existed in a largely ungoverned state, with minimal oversight from the Hong Kong government or Chinese authorities. At its peak, Kowloon Walled City housed approximately 30,000 to 50,000 residents in just 6.4 acres, making it one of the most densely populated places on Earth. The settlement was chara… | | |
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| | Larry Fink
Peter Beard and Friends, East Hampton
23.3 x 23.3 cm (35.4 x 27.9 cm)
Vintage gelatin silver print
1976 | | | | | | | | ... until 30 November 2024 | | | | | | | | | | | | | The exhibition Larry Fink - Tough Cookie. Early Prints from the Gerd Sander Collection is a tribute to the American photographer, who died in November 2023 at the age of 82. The presentation focuses on his portrait series Social Graces, which brought the New York-born photographer international fame. Created in the 1970s, it was first exhibited at the Museum of Modern Art in 1979 and published in book form in 1984. The 1970s also saw the beginning of the photographer's collaboration with Gerd Sander, who was working as a gallerist in New York at the time. The vintage prints presented in the current exhibition are all from this early period of the two's friendly collaboration, which lasted several decades.
Formally, the Social Graces series of works is firstly captivating due to the visual power of its individual images: Framed in narrow frames, shot from unusual angles and using a handheld flash separate from the camera, the portrayed persons often appear isolated from their surroundings. Here, the photographer draws the viewer's attention mercilessly to small yet telling details - wrinkled hands, pursed lips, deep décolletés. The result is extremely condensed, emotionally charged images. However, the series unfolds its true, lasting effect through its conception: Fink juxtaposed his portraits of New York's wealthy upper class, which were taken in the city's hippest clubs at the time such as Studio 54, as well as at gallery openings and charity galas at MoMA or at debutante balls, with photographs of his neighbors in rural Martins Creek in Pennsylvania. Here, about 85 miles west of New York City, he and his wife had bought a farm in the meantime. The images of the Sabatine family's impoverished domesticity, taken at children's bir… | | |
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| | Cesar E Chavez Avenue, Pontiac, 2010
Gelatin silver print
© Gerry Johansson | | | | | | | | ... until 2 November 2024 | | | | | | | | | | | | | There are several common denominators found throughout Gerry Johansson’s work that become apparent with even casual viewing. Some of those shared characteristics are obvious at first glance, for instance; the physicality of several of Johansson's books and exhibition print sizes, the apparent use of traditional analog materials; while other traits like the sense of stillness, the seeming perpetual daylight, and the camera's steady almost drone-like orientation to the world set an underlying commonality. Perhaps a trait most recognizable is his choice of working primarily in black and white.
The "America" photographs began when Johansson's parents sent him to New York after finishing his schooling in Varberg Sweden. Those early pictures inspired by the energies of the city (and the pulse of jazz!) might appear as an artist finding their voice through exploring a loosened documentary style tangential to Garry Winogrand, or perhaps more closely Ray K. Metzger, yet the year 1962 places Johansson right in their midst, not successor. The few examples included here taken with a small-format 35mm camera, are characterized by a tonal scale that allows shadows to swallow some detail and highlights to succumb to atmospheric fog: a grouping of men riding a ferry on New York's Hudson River are reduced to simple silhouettes against a fading Manhattan skyline; a maintenance worker on a ladder contrasted with New York's most famous landmark, the Empire State Building, emphasizing the dizzying verticality of the city through a patchwork of shadow and light. Though authentic and drawn directly from the real world, there is a dreamlike quality to these works that evolved into the "translucid clearness" that signifies Johansson's practice today.
What I find refreshing about Johansson's work is the sense one feels of his enjoyment of moving through an unfamiliar landscape and simply taking in what is before him. The work seems formed not in the mind first, but through the physical footsteps he takes and directness at which he looks.
- Text by Jeffrey Ladd
Gerry Johansson, born 1945 in Örebro, lives in Höganäs, Sweden. Johansson studied graphic design in Gothenburg in the late 1960s. His work has been exhibited at distinguished museums and institutions internationally, including the Kunsthalle Rostock in Germany; Museum of Modern Art in Bogota, Colombia; Hasselblad Center in Göteborg and the Moderna Museet in Stockholm, Sweden. Johansson has produced a large number of books including the recently published "Spanish Summer" and "American Winter", both MACK and was awarded the Swedish Arts Grants Committee’s Award and the prestigious Lars Tunbjörk Prize. | | |
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| | | Keith Haring, Body Painting, Paris, 1985 © Patrick Sarfati | | | | | | | | ... until 2 November 2024 | | | | | | | | | | | | | The David Guiraud Gallery is pleased to present an exceptional series of photographs taken by Patrick Sarfati in 1985, showing the American artist Keith Haring creating a body painting on a young Parisian model.
This is most certainly the only reportage showing Keith Haring in the process of creating a body painting. From Ludovic's bare chest, the images show the painter moving around his model, brush in hand, gradually completing the body painting with each stroke.
Images of body paintings by Keith Haring are familiar but rare; only a few photographers have immortalized these ephemeral works: dancer Bill T. Jones photographed by Tseng Kwong Chi in 1983, Grace Jones photographed by Robert Mapplethorpe in 1984, and the artist painted by himself and photographed by Annie Leibovitz in 1986.
Andy Warhol took a few pictures while Keith Haring was painting Grace Jones, but the series presented here is the most complete known collection, providing a true reportage of the artist’s performance.
The gallery has selected eight images to create a series documenting Keith Haring performing a body painting.
The exhibition also showcases a set of portraits of the artist, captured by Patrick Sarfati at the time of this happening. For the exhibition, the artist also produced a large print (100 x 70 cm) of his two contact sheets, showing the entire session. | | |
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| | | | | | | Masahisa FUKASE, Sasuke my dear cat
© Masahisa Fukase, Courtesy Masahisa Fukase archives & Michael Hoppen gallery, Londres |
| | | | dans la collection de Jérôme Prochiantz | | | | | | | Tue 22 Oct
22 Oct 2024 – 12 Jan 2025 | | | | | |
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| | | | | | | | | | | | | | Sat 19 Oct 19:00
18 Oct 2024 – 26 Jan 2025 | | | | | |
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| | | | | | | | Shigeo Gocho, Self and Others 1977 |
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| | | | | | Installations, Still and Moving images | | | | | | | 16 – 20 Oct 2024 | | | | | |
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| | | | | | | | | | | | | | Wed 16 Oct
17 – 20 Oct 2024 | | | | | |
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| | | | | | The photography section of Art Market Budapest | | | | | | | Wed 16 Oct
17 – 20 Oct 2024 | | | | | |
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| | | | | | Highlights – Internationale Kunstmesse München 2024 | | | | | | | 17 – 20 Oct 2024 | | | | | |
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| | | | | | | | | | | | | | Fri 18 Oct
19 – 21 Oct 2024 | | | | | |
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| | | | | | | | | | | | | | Wed 23 Oct 16:00
23 – 27 Oct 2024 | | | | | |
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| | | | | | | | | | | | | | Wed 16 Oct
16 Oct – 17 Nov 2024 | | | | | |
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| | | | | | ILLUSION | | | | | | | 18 Oct – 17 Nov 2024 | | | | | |
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| | | | | | L'album de Famille des Aixois 2ième Edition | | | | | | | – 30 Nov 2024 | | | This exhibition crosses two photographic sources: those from the archives of the Aix family album collected by Fontaine Obscure and those from the archives of Lebanese families collected in Tyre (Lebanon) by the artist Chaza CHARAFEDDINE (Athar Collection).
The chosen subject is that of portraits of women from the 50s and 70s, just before the civil war in Lebanon. | | |
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| | | | | | the European Nomadic Biennial | | | | | | | – 24 Nov 2024 | | | | | |
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| | | | | | PANSORI: A Soundscape of the 21st Century | | | | | | | – 1 Dec 2024 | | | | | |
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| | | | | | open air festival - Australie & Autres Regards | | | | | | | – 3 Nov 2024 | | | | | |
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| | | | | | FESTIVAL DELLA FOTOGRAFIA ETICA | | | | | | | – 27 Oct 2024 | | | | | |
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| | | | | | See beyound the sea | | | | | | | – 3 Nov 2024 | | | | | |
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| | | | | | Make Voices Be Heard | | | | | | | – 3 Nov 2024 | | | | | |
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| | | | | | Precarious Joys | | | | | | | – 1 Dec 2024 | | | | | |
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| | | | | | Futuri imperfetti | | | | | | | – 30 Nov 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 | | | | | | | | – 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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| | | | | | 13th ORGAN VIDA: Creeps and Butterflies | | | | | | | – 3 Nov 2024 | | | | | |
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© 16 October 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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