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| PHOTOGRAPHY INTERNATIONAL | | 17 — 24 April 2024 | |
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| | | | | | | | © Sandra Ratkovic / Archiv Karl A. Bauer, Moosburg/ Privatarchiv |
| | | | | | | | Versiegelte Geschichten(n) von Arbeit und Migration | | | Thu 18 Apr 19:00
19 Apr – 23 Jun 2024 | | | | | |
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| | | Ingar Krauss: Hannah, Zechin I, 2000 | | | Ingar Krauss » This Is Not a Fashion Photograph | | | | 20 April - 22 June 2024 | | | Opening: Friday, 19 April, 7 pm
Curated by Dr. Candice M. Hamelin | | | | | | | | | | | | | Ingar Krauss (b. 1965 in East Berlin) began photographing his immediate surroundings, the city of Berlin, with its countless voids and derelict buildings, in the early 1990s, a period of great transition in the German capital. A few years later, the self-taught photographer, delving further and more intimately into the theme of change, turned his camera on his daughter and her friends, photographing them in Berlin and in the countryside near the German-Polish border, where he and his family own an old farmhouse. Taken mostly inside this farmhouse and on its grounds against trees and fields, aged and worn walls, and patterned sheets, Krauss’ striking, often ethereal black and white images not only capture these children as they moved from childhood into adolescence, but also something particular about each of them. Revealing their sense of playfulness, shyness, boldness, sadness and, at times, utter awareness, these early portraits demonstrate his ability to see—one might even argue to recognize—something in those around him, something that frequently goes unnoticed by others, and set the stage for him to explore and to photograph other subjects.
Krauss would go on to photograph migrant workers, juveniles in detention centers, men living in solitude, and everyday people who caught his attention on the streets. He would also continue to photograph children and adolescents, only now in other parts of the world. In almost all these photographs, masterfully printed by the photographer and in some cases treated with oils afterwards, his subjects are seen posing against nondescript backgrounds, looking either confidently toward the camera or beyond the photographic frame. While their surroundings may not always be memorable, their appearance, parti… | | |
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| | Riven in Time Shadow
90 x 130 cm
Fine Art print Metallic auf Aludibond
© Corinna Rosteck | | | | | | | | 19 April - 24 May 24, 2024 | | | Opening: Friday, 19 April, 5 - 8 pm
Gallery Weekend: 27 - 28 April, 2 - 5 pm
Artist Talk: Saturday, 4 May, 4 pm
with Michaela Nolte and Performance by Gabriela Dumitrescu | | | | | | | | | | | | | In movement, man flees from time, tries to hold on to it, to overcome it, but also to change it. Corinna Rosteck's search is for images that make these "unsettling" realities tangible. In her photo and video installations,she explores questions of location, change, and dissolution, as well as the place of dream and reality.
"Water" and "dance" as fleeting subjects form the starting point for her works. She focuses on the blurring and distortion of liquid elements and bodies in motion. The aim is to make structures and orders visible that are otherwise hidden. The focus is on the transition, the dynamic, always endangered balance, worked out through multiple exposures and cross-fades for an expanded perception and transformation of time.
In conjunction with productions by renowned dance ensembles and in dialogue with solo dancers and musicians, she develops her works own performances and installations, where moving images are projected onto the dancers and merge into a total work of art through the interplay of light, space, and music.
What moves humanity? In a globalized, networked and mobile, Janus-faced world, the focus is on people, their desires and fears in the present moment.
Corinna Rosteck (born in 1968, grew up in Hamelin and Ibiza) is a freelance artist working in the fields of photography, video art and installation. Since her studies in Berlin with (Professor K. Gonschior / Color Space Painting) and her master student diploma with Prof. Katharina Sieverding (Photomedia), she has been developing a painterly-informed photography since the mid-1990s, which uses experimental printing processes on reflective materials and surfaces to create unique objects using light technology.
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| | Denis Dailleux: Jour de mariage, el-Gamaleya, Le Caire 1998
C-Print, mounted, framed, 80 x 80 cm, edition of 8 | | | | | | | | 20 April — 1 June, 2024 | | | | Opening: Friday, 19 April, 6—8 pm | | | | | | | | | | | | | The portraits of Egypt by acclaimed French photographer Denis Dailleux are characterised by a unique dedication and empathy. Dailleux approaches the people and places he photographs with great discretion, hoping that they will open up to him without expecting them to. The result is a collection of painterly photographs that transcend time and place.
"The Egypt of Denis Dailleux reveals itself as (...) a place that harbors the eternal and the ineffable." Christian Lacroix
"Imbued with his distinctive delicacy, Denis Dailleux’s photographic work appears calm on the surface, yet is incredibly demanding, run through by an undercurrent of constant self-doubt and propelled by the essential personal bond he develops with those (and that which) he frames with his camera." Christian Caujolle, founder of Agence VU
Denis Dailleux was born in 1958 in Angers, France. He has published several books on Egypt (particularly Cairo), his impressions of the "Arab Spring," and Ghana. Dailleux has received numerous international awards, including the Monographies Award in 1997, the World Press Photo Award in the Portrait category in 2000, the Hasselblad Award in 2000, the Fujifilm Award in 2001, and the World Press Photo Award in 2014 in the Staged Portraits category (2nd place), and the Prix Roger Pic in 2019. He is a member of the Agence VU and currently lives in Paris.
His work is part of numerous institutional and private collections, including the Agnès B. private collection, the Fond National d'Art Contemporain, the Maison Européenne de la Photographie, and the Neuflize Vie collection. | | |
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| | | | | | | Ute Mahler und Werner Mahler
#136, aus der Werkgruppe Kleinstadt, 2017
© Ute & Werner Mahler |
| | | | | | | | | | | | Thu 18 Apr 18:30
18 Apr – 27 Jun 2024 | | | | | |
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| | Larry Sultan
My Mother posing for me, 1984, from the series "Pictures from Home", 1982–1991
© The Estate of Larry Sultan, courtesy Galerie Thomas Zander, Cologne | | | Looking back in Time | | | | Age and Ageing in Photographic Portraits | | | | | | | ... until July 7, 2024 | | | | The exhibition is accompanied by an extensive supporting program, mainly in German with guided tours on special topics and various target groups, e.g. for children or for adults in Ukrainian. There is also a theme day, a workshop and a film program. To the online ticket store | | | | | | | | | | | | | The exhibition shows 18 positions and includes photographs from the beginning of the 20th century to the present day. Using the example of the portrait, photographers of different generations and origins approach the many facets of the phenomenon of "age and ageing" in serial projects.
Above all, life means development and thus implies change and ageing. What is perceived as progress or regression depends on individual and social values. The images that find expression in art and photography are correspondingly diverse. Photography is particularly suited to dealing with time-related aspects. It gives age and ageing a face and confronts us with many different questions: How is life experience reflected in the appearance, physiognomy and posture of older people? What personality, what characteristics do the people portrayed radiate? What social roles are conveyed in the image? Do the gestures change against the background of different times and places of origin? What is the attitude towards death?
In impressive portraits taken at the beginning of the 20th century, August Sander depicts elderly people from a rural class, reflecting a sense of status, life experience and the living conditions of a bygone era. Sander himself can be seen in the exhibition in an old-age portrait created in 1960 by the American artist Imogen Cunningham. In more recent exhibits, such as those by Martin Rosswog and Albrecht Fuchs, the moment of life experience in particular comes to the fore. Each of their works is a tribute to the people portrayed and what they have achieved.
A portrait by the artist Cindy Sherman shows how ambivalent our society's relationship to age… | | |
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| | Jem Southam
The Pond at Upton Pyne, July 1996
© Jem Southam | | | | | | | ... until July 7, 2024 | | | | | | | | | | | | | Jem Southam's series shows the cyclical transformation of a pond and its surroundings in Upton Pyne, Devon, England. The pond is not of natural origin, but dates back to a disused manganese mine from the 18th century, an area that has long been neglected.
For the narrative series, which was created between 1996 and 2002, Southam designed three parts: The first shows the pond at a time when a man was working to transform the small area into a romantic paradise for his family. After the man left the village, the area became overgrown. The second part is dedicated to the work of the next inhabitant, who later took care of the pond. He was guided by a different vision and transformed the site into a place of recreation and leisure, for example by erecting new huts, tables and swings. The short third part of Southam's study deals with the surrounding landscape.
Focusing on a "microcosm", Jem Southam's series of images is both an allegorical story about how our dreams influence our actions and a reflection on aspects of the historical and socio-cultural development of the post-industrial Western world. | | |
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| | Barbara Probst
Exposure #106: N.Y.C., Broome & Crosby Streets, 04.17.13, 2:29 p.m.,
Ultrachrom-Druck auf Papier. 12-teilig, je 75 × 112 cm, Courtesy Kuckei + Kuckei, Berlin,
© Barbara Probst, 2024 ProLitteris, Zürich | | | | | | | | ... until 16 June 2024 | | | | | | | | | | | | | "In meiner Arbeit geht es eher darum, wie wir sehen und nicht so sehr darum, was wir sehen", sagt Barbara Probst (*1964). Und tatsächlich fragen ihre Werke nach unserem Standpunkt und Blickwinkel: Was sehen wir? Was sehen wir nicht? Was ist die Voraussetzung für das, was wir sehen? Und wie verändert das, was wir sehen, unsere Deutung des Geschehens?
Auch wenn Barbara Probst sich mehr dafür interessiert, wie etwas dargestellt wird, als was dargestellt wird, nehmen wir sofort die Spur auf, die sie auslegt, und lesen die mehrteiligen Werke als Geschichte. Die sechsteilige Arbeit Exposure#146, Unterschwillach, 48°13'12.3"N 11°54'21.6"E, 08.07.19, 10:53 a.m. beispielsweise zeigt eine Frau im Nirgendwo am Strassenrand zwischen Maisfeldern. Ihre Kleidung wirkt städtisch, neben ihr steht ein kleiner Koffer. Ein Citroën DS fährt in eine Unterführung. Wurde die Frau hier abgesetzt? Worauf kann sie an dieser ländlichen Strassenverzweigung warten? Gab es einen Streit? Die Atmosphäre erinnert an alte Kriminalfilme, einerseits wegen Kleidung und Wagenmodell, andererseits aufgrund der erzeugten Spannung. Indem wir die Bilder zu einem Geschehen zusammenfügen, meinen wir mehr zu wissen, letztlich bleiben die Inhalte aber rätselhaft.
Barbara Probst arbeitet immer mit präzisen Inszenierungen. Dabei werden alle Fotos eines Werkes gleichzeitig von verschiedenen Kameras aufgenommen. So erzeugt die Künstlerin eine multiperspektivische Erzählung. Welche Bilder farbig und welche schwarzweiss werden, ent- scheidet die Künstlerin erst, wenn sie sie zusammenfügt. In vielen Aufnahmen sind Stative und Kameras zu sehe… | | |
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| | | Mara, Almeria, Spain 2022 from the series "Agony in the Garden" © Luá Ribeira/Magnum Photos | | | | | | | New Perspectives from 13 Women Photographers of Magnum. | | | | | | | | 24 April – 21 July 2024 | | | | | | | | | | | | | "If your pictures aren't good enough, you're not close enough." - Robert Capa
Close Enough explores the practices of thirteen emerging and established women photographers of Magnum and the relationality they create within global situations, local communities, and interactions with individual subjects. Each contributing photographer openly narrates their creative journey, ranging from reflections upon long-term personal projects to work in progress and new pivots in their image-making practices. They give highly personal accounts of their visual vantage points and create a constellation of photographic relativity in this exhibition.
Set in the context of the seventy-fifth anniversary of the founding of the Magnum agency (1947), Close Enough focuses on women photographers whose distinct visions are currently shaping photographic perspectives within Magnum. Together, they move and challenge the photography collective’s boundaries, deepening Magnum’s anchoring of the photographic quest to take account of human experience and survival. In uniquely personal ways, the contributing photographers negotiate gaining access, holding their bearings, and moving deeper in relation to human subjects and experiences - the challenge to photographers to get “close enough” called forth by the cofounder of Magnum, Robert Capa. With determination, urgency, and resourcefulness, each photographer takes account of their practice, inviting us to get close enough. | | |
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| | Vivian Maier
Chicago, 1961
Posthumous gelatin silver print, printed in 2023
© Estate Vivian Maier / Courtesy Maloof Collection / Howard Greenberg Gallery, New York / Les Douches la Galerie, Paris | | | Made in USA | | | | | | | ... until 25 May 2024 | | | | | | | | | | | | | | One of them, Sabine Weiss, was born in 1924. The other one, Vivian Maier, was born in 1926. Both chose the street as their field of action and had a deep empathy for the passers-by they photographed. One of them, Sabine Weiss, was born in Switzerland but became a naturalized French citizen. The other, Vivian Maier, is American, but her mother was of French origin, from the Champsaur region in the Alps. One became a professional photographer. The other spent a long time looking after children while practicing photography in her spare time, just for the pleasure of the eyes. One was a cheerful, sociable woman who achieved international recognition fairly quickly. The other was a discreet and even solitary woman whose work was discovered in 2007, two years after her death. This double exhibition, Sabine Weiss-Vivian Maier - Made in USA, is a major first. It is set in the theatre of the American city - New York, Chicago, Washington, Philadelphia - that ultimately brought them together. This dialogue attempts to show their genuine curiosity about everyday life and their deep attention to physiognomies, attitudes and dress. It shows, once again, that photography was vital to both of them. | | |
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| | | | | | | Alice Springs
Helmut in pumps, Monte Carlo 1987
© Helmut Newton Foundation |
| | | | | | | | | | | | Tue 23 Apr 18:00
24 Apr – 11 Aug 2024 | | | | | |
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| | | | | | | MORIMURA Yasumasa, Want to change the world ? Be seriously unserious (Miró A), 2020
chromogenic print
image: 137x100cm, frame: 151.2x114.2cm
ed .7 |
| | | | | | | | | | | | Fri 19 Apr 17:00
19 Apr – 1 Jun 2024 | | | | | |
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| | | | | | | Nguyen Trinh Thi 47 Days, Sound-less 2024
3-channel video, black and white and color, sound, mirrors 30 min.
Installation view: Shanshui: Echoes and Signals, M+, Hong Kong, 2024
Photo; Dan Leung Photo courtesy: M+, Hong Kong |
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| | | | | | | | Stranieri Ovunque - Foreigners Everywhere | | | | | | | | 20 April – 24 November 2024 | | | | PRE-OPENING PROGRAMME: 17-19 APRIL 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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| | Anna Jermolaewa & Oksana Serheieva, Rehearsal for Swan Lake, 2023
Photo: Anna Jermolaewa and Bildrecht | | | | | | | | Preview days: April 17 – 19, 2024 | | | | | | | | | | | | | Anna Jermolaewa presents five selected works, divided between the rooms of the pavilion and the inner courtyard.
Rehearsal for Swan Lake (2024)-realized in collaboration with Ukrainian ballet dancer and choreographer Oksana Serheieva-refers to a memory from Jermolaewa’s teen years. In times of political unrest, for instance the death of a head of state, Soviet television replaced their regularly scheduled broadcast with Swan Lake ... in a loop sometimes for days. In Soviet cultural memory, Tchaikovsky’s famous ballet became code for a change in power. In Rehearsal for Swan Lake, a group of ballet dancers rehearse select scenes, transforming Swan Lake from a tool of censorship and distraction into a form of political protest-here, the dancers rehearse for regime change in Russia.
Live performances by Oksana Serheieva
April 17 – 19: daily at 12:30, 3:00, and 5:30 PM
April 20-May 5: daily at 1:30, 4:00, and 6:30 PM
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| | | | | | | | Thermal still of production crew during the filming for 'Seeing Forest' (2023). Image courtesy of Robert Zhao Renhui |
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| | | © Listening All Night To The Rain, Canto V by John Akomfrah. Image by Jack Hems. | | | John Akomfrah » Listening All Night To The Rain | | | | | | | | | | | | | | | | Exploring post-colonialism, environmental devastation and the politics of aesthetics, Listening All Night To The Rain is Akomfrah’s boldest and most ambitious commission to date. The exhibition draws its title from 11th century Chinese writer and artist Su Dongpo’s poetry, which explores the transitory nature of life during a period of political exile. Organised in a series of song-like movements, or ‘cantos’, the exhibition brings together eight interlocking and overlapping multimedia and sound installations into a single and immersive environment that tells stories of migrant diasporas in Britain. It is the result of decades of extensive research by the artist and his team, using historical records to contextualise our experience of the present day. Listening All Night To The Rain weaves together newly filmed material, archive video footage and still images, with audio and text from international archives and libraries. The exhibition tells global stories through the ‘memories’ of people who represent migrant communities in Britain and examines how multiple geopolitical narratives are reflected in the experiences of diasporic people more broadly. Each gallery space layers together a specific colour field, influenced by the paintings of American artist Mark Rothko, in order to highlight the ways in which abstraction can represent the fundamental nature of human drama. Listening All Night To The Rain … | | |
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| | | | | | | Yael Bartana: Farewell, 2024
as part of Light To The Nations, 2022-2024
Single channel video, 15.20 minutes Film still |
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| | | From the series Keepers of the Ocean (2019) © Inuuteq Storch | | | | | | | | | | | | | | | | | The Danish Pavilion is proud to present the photography exhibition Rise of the Sunken Sun by the artist Inuuteq Storch at the 60th International Art Exhibition – La Biennale di Venezia. This exhibition marks the Danish Pavilion’s first presentation of an artist from the North Atlantic region of the Danish Realm and the inaugural solo photography exhibition for the Pavilion. Aligned with the Biennale Arte 2024 theme, Stranieri Ovunque – Foreigners Everywhere, Storch’s Rise of the Sunken Sun delves into the concept of engaging in a decolonial process, emphasising the pursuit of visibility, with a sensitive awareness of the complexities within national, cultural, and personal identities. The exhibition invites viewers into the heart of Greenlandic life, merging historical and contemporary perspectives through six thematic photography series. The presentation unfolds against the backdrop of Kalaallit Nunaat, Greenland's native name, offering a nuanced narrative that transcends conventional representations of Greenland
Rise of the Sunken Sun presents an extensive selection of photographic works, in new, site-specific formats, re-contextualising historical and contemporary works through juxtaposition. Complemented by musical compositions and soundscapes, the exhibition also includes a sculptural element resembling a red, glowing halved disk, which functions as a large mirror. The disk symbolises the Arctic sunset over the white, icy landscape, with allusions to the Greenlandic flag, traditional Inuit beliefs, and the exhibition title.
In the exhibition, Storch corrects and extends the prevailing vision of Greenland, a self-governing, autonomous territory within the Kingdom of Denmark. His work examines the expansiveness of Greenlandic identity, seamlessly merging historical and family photographs with contemporary snapshots of everyday life.
In the artist’s own words, the essence of his project for the Biennale Arte 2024 is to “to tell the Greenlanders’ visual history, not seen through the visitors’ eyes, but through the Greenlanders’ own.” | | |
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| | | | | | | | Archie Moore, Fredrick Noel Clevens and Valerie Jean Moore in kith and kin, 2024. Found photograph, Australia Pavilion, Venice Biennale 2024. Graphic design work Žiga Testen and Stuart Geddes. Courtesy the Artist and The Commercial. © the artist |
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| | | | | | | | Eimear Walshe, ROMANTIC IRELAND (still), 2023. Photo: Faolán Carey. |
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| | | Roberto Huarcaya; Instalation Venice 2024 | | | | | | | | Opening: Thursday 18 April 2024, 6:30pm | | | | | | Venice Biennale - PE Arsenale, Castello, Venezia
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| | | | | | The 60th International Art Exhibition La Biennale di Venize will take place from Saturday 20 April to Sunday 24 November, 2024, curated by Adriano Pedrosa under the title Foreigners Everywhere.
At the Peruvian Pavilion, the chosen project to embody the essence of the country is entitled COSMIC TRACES by the esteemed artist Roberto Huarcaya (1959 | Lima, Peru). This exhibition is curated by Alejandro León Cannock (1980 | Lima, Peru), and benefits from the curatorial insights of Joan Fontcuberta (1955 | Barcelona, Spain), Andrea Jösch (1973 | Santiago, Chile), and Amanda Antunes (1986 | São Paulo, Brazil).
The exhibition presents an installation that brings together in harmony a collection of remarkable works: a monumental photogram meticulously conceived by artist Roberto Huarcaya in the heart of the Amazon rainforest –precisely within the Bahuaja Sonene National Park, nestled in the Tambopata jungle of Peru. Against the backdrop of this lush setting, Huarcaya unfolded a 30-meter photosensitive paper roll beneath a towering palm tree during a storm, allowing the lightning to etch its imprint onto the paper during the night. This photogram was revealed and fixed in-situ in a set-up darkroom amidst the jungle, utilizing water from nearby rivers. Notably, the liquid remnants from the development journeyed to Lima, ensuring environmentally responsible disposal. Complementing this visual masterpiece, a sculpture of a canoe by the talented artist Antonio Pareja (1953 | Lima, Peru), and a piano composition envisioned by Mariano Zuzunaga (1953 | Lima, Peru).
The proposal emerges at a crossroads between photography, installation and land art, challenging our approach to (re)presenting the environment. It serves as an immersive, fleeting ritual sa… | | |
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| | | | | | | | Open Group (Yuriy Biley, Pavlo Kovach, Anton Varga), Repeat after Me, 2022, video, © Open Group |
| | | | | | | | Open Group (Yuriy Biley, Pavlo Kovach, Anton Varga) | | | Thu 18 Apr 11:00
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| | | | | | | | Valeria Montti Colque, Apu Jokerita (still), 2024. Photo: Daniel Takacs. Courtesy of Alexis Zeiss. |
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| | | | | | | | Mónica de Miranda, Creole Garden, 2024. Inkjet print on cotton paper, 120 x 80 cm. Courtesy of the artist. © Mónica de Miranda. |
| | | | | | | | Sónia Vaz Borges and Vânia Gala | | | Sat 20 Apr 11:30
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| | Peter Hujar, Self-Portrait Lying Down, 1975
©The Peter Hujar Archive, LLC,
Courtesy of Pace Gallery, New York, Fraenkel Gallery, San Francisco, Mai 36 Galerie, Zurich, and Maureen Paley, London | | | Peter Hujar » Portraits in Life and Death | | | | 20 April – 24 November 2024 | | | | | | | | | | | | | The Peter Hujar Foundation announces a major exhibition of Peter Hujar’s complete works from the series Portraits in Life and Death, during the 60th Esposizione Internazionale d’Arte, 2024. Curated by Grace Deveney, the Art Institute of Chicago, Portraits in Life and Death is an official Collateral Event of La Biennale di Venezia.
Hujar is renowned for photographing his subjects with penetrating sensitivity and psychological depth. Deeply embedded within the avant-garde milieu of artists, musicians, writers, and performers in downtown New York during the 1970s and early ‘80s, Hujar’s unflinching portraits captured his subjects with astonishing intimacy and vulnerability. | | |
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| | | | | | | | Wael Shawky, I Am Hymns of the New Temples (2023; frame makes video). Courtesy of the Ministry of Culture-Pompeii Archaeological Park, as part of Pompeii Commitment. Archaeological Matters, © Wael Shawky |
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| | | Thandiwe Muriu | | | | | | | | | | | 20 April – 24 November 2024 | | | | Opening: Friday 19 April 16:00 | | | | | | | | | | | | | 193 Gallery and CCA Lagos are pleased to invite you to the opening of the exhibition
PASSENGERS IN TRANSIT
April Bey - Joana Choumali - Christa David - Thandiwe Muriu - Euridice Zaituna Kala
193 Gallery is delighted to support and host the exhibition 'Passengers in Transit', a Collateral Event of the 60th International Art Exhibition – La Biennale di Venezia, organized by CCA Lagos. Curated by Paula Nascimento, Oyindamola Faithful and Roger Niyigena Karera, this unique exhibition brings together five Afro-descent female artists from Africa, the Caribbean, and the USA : April Bey, Joana Choumali, Christa David, Thandiwe Muriu and Euridice Zaituna Kala.
To mark the opening of this remarkable exhibition, 193 Gallery cordially invites you to join us on Friday, April 19th, from 4 pm to 9 pm. The event will commence with an Art Talk featuring the curators of the exhibition at 4:30 pm, followed by a celebratory gathering with live music from 6 pm to 9 pm. We look forward to welcoming you! | | |
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| | | | | | | | © Goang-Ming YUAN: Everyday War, 2024 |
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| | | | | | | Helmut Newton. American Vogue. Paris, 1974
© Helmut Newton Foundation |
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| | | | | | | | presented by AIPAD 2024 | | | | | | | | 25 – 28 April 2024 | | | | Opening: Thursday 25 April 2024 | | | | | | | | | | | | | | AIPAD Announces the Highly Anticipated Return of The Photography Show presented by AIPAD to the Park Avenue Armory in 2024 APRIL 25 – 28, 2024 | | |
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| | | | | | Critical Geography | | | | | | | – 21 Apr 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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| | | | | | Memory is an Editing Station | | | | | | | – 28 Apr 2024 | | | | | |
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| | | | | | Ten Thousand Suns | | | | | | | – 10 Jun 2024 | | | | | |
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| | | | | | Triennial Exhibition | | | | | | | – 28 Jul 2024 | | | | | |
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© 17 April 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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