| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 20 - 27 June 2018 | |
|
| |
 |
| |
| |
| | | | | IN VIVO, the 25th Noorderlicht International Photofestival, is about our ambiguous relationship with nature. Museum Bélvédère in Heerenveen becomes the setting for photographic art possessing a confrontational beauty, images inspired by our rich tradition of experiencing nature. IN VIVO will be a modern, threedimensional nature scrapbook with a twist, about how our loving way of experiencing nature is directed by hidden social and cultural constructions.
Noorderlichts aims to raise awareness in its audience about the fact that our natural environment, from intimate back gardens to remote regions, is radically affected, or even created from scratch, by ourselves. IN VIVO challenges and enables the viewer to look in another, probing manner at the living eperiment we call nature.
The Noorderlicht International Photofestival 2018 takes place from 23 June to 23 September. |
| | 
| | | | | | | |
|
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | | © Renato D'Agostin, Bosphorus, Istanbul, 2013, | | | | | | | | 23 June – 15 September 2018 | | | | Opening: Saturday June 23rd, 18:00 – 20:30h | | |  | | | | | | | | | | For this exhibition, works from several of his well-known series have been brought together under the theme Metropolis, showcasing his explorations of modern life in cities, as well as the way he captures how people relate to their environment and their intimate relationship with the space they inhabit.
D’Agostin started his photography career in his hometown Venice, Italy in 2001. The atmosphere of city life nourished his curiosity to capture life situations with the camera. This inspired him to journey through the capitals of Western Europe, capturing their nuances, the cities all acting as his muse. After a period at Milan’s Italian Institute of Photography and moving overseas to New York three years later, one of his first gallery show was comprised of the mostly black-and-white images he’d taken on that trip. The lands of chiaroscuro, black and white, he says ‘takes the image farther from reality and closer to our imagination.’
D’Agostin’s work plays with themes inherently modern: perceptions of reality, notions of privacy, the relationship between the architecture and people and opening a new portal in the spectator’s imagination. The explorations of these ideas are related to his fascination for cities, which for him are ‘…multi-layered entities where elements interact with each other. Going through them is like floating through someone’s psychology.’ | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
Birdman#21 Paramaribo Surinam ©Jacquie Maria Wessels | 
Cityscape #1 Paramaribo Suriname ©Jacquie Maria Wessels |
|
| | | | | | | | | Cityscapes from Paramaribo and portraits of Surinamese Birdmen | | | | 22 June – 5 August 2018 | | | Opening: Thursday 21 June 2018 from 5pm to 7pm - Bijlmer Parktheater
Photo route Bijlmer Outside locations: Hoekenrodeplein (Bijlmer ArenA station), Bijlmerplein, around Anton de Komplein and the Bijlmer Parktheater (with exhibition inside) | | | | | | | | | | | | | Celebrating its 50th birth year, the Bijlmer shows the outdoor exhibition Cityscapes + Birdmen by the photographer Jacquie Maria Wessels. The route will take you to Paramaribo and a corner of Suriname in Amsterdam ZO. On both sides of the Atlantic, Wessels portrayed Surinamese birdmen who are obsessed with their songbird. Along the photo route, at various outdoor locations in the Bijlmer, the portraits are alternated with cityscapes from Paramaribo dominated by typical Surinamese murals. The result is a layered image of two characteristic elements from Surinamese culture and society. The heart of the route is the Bijlmer Parktheater where you can also see an exhibition.
Birdmen
Jacquie Maria Wessels made portraits, in Suriname and The Netherlands, of many macho Surinamese men with their tinkering birds. The ‘caged bird’ is the leading actor in songbird contests.
In this ‘most popular sport in Suriname’ men from all segments of the population come together amiably, in peaceful combat over which bird sings the best and who wins the first prize.
After the independence of Suriname in 1975 this pastime came to The Netherlands along with the Surinamers. Both in Suriname and in The Netherlands, the contests are held very early on Sunday mornings: in Paramaribo on Independence Square over to the Suriname river, and in The Netherlands in various Dutch cities including the Amsterdam Bijlmer.
Stereotypical male attributes such as clothing, cars and motorcycles play an important role in this lifestyle too but in the photographs by Wessels the men also reveal another side of themselves. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | |  | | | | Loredana Nemes: Beker, Neukölln, 2009, aus der Serie: beyond, 2008-2010 © Loredana Nemes |
| | | | | | | | Photographs 2008–2018 | | Thu 21 Jun 19:00
22 Jun – 15 Oct 2018 | | | | | |
| | | | | | | |
|
| |
|
| | | |  | | | | © Robin Hammond | Noor |
| | | | | | | | | | | Thu 21 Jun 19:00
22 Jun – 2 Sep 2018 | | | | | |
| | | | | | | |
|
| |
|
| | | |  | | | | Red_nude, Tempera on photo canvas, 100 x 90 cm, 1991 © Corinna Rosteck |
| | | | | | | | Malerei - Radierung - Fotografie | | Sun 24 Jun 12:30
24 Jun – 20 Jul 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | Luigi Ghirri
Salzburg, 1977
C-Print, 14,5 x 23,3 cm
© Eredi Luigi Ghirri | | | | | | | | until 22 July, 2018 | | | | | | | | | | | | | The exhibition "The Map and the Territory" at the Museum Folkwang is the first more comprehensive museum survey of Luigi Ghirri’s photographs presented outside his native Italy. Focusing on the 1970s, the exhibition charts a decade in which Ghirri (1943–1992) created a body of colour photographs without parallel in the Europe in that time.
Trained as a surveyor, Ghirri began to photograph at weekends in the early 1970s, roaming the streets, squares and suburbs of Modena, imagining projects and themes. “I’m interested in ephemeral architecture, the world of the provinces, objects that are considered bad taste that for me never have been so, objects charged with desires, dreams, collective memories… windows, mirrors, stars, palm trees, atlases, globes, books, museums and people through images“, Ghirri stated. He looked attentively and affectionately at the signs of the exterior world, observing but not overtly commenting on the man-made landscape and habitats of his native Reggio Emilia, a provincial barometer of a vernacular environment changing through the appearance of different forms of housing, leisure and advertising.
Through the 1970s, Ghirri took thousands of images and developed a distinctive style and conceptual framework for presenting the work. This first decade culminated in two significant moments: the publication in 1978 of Kodachrome, one of the truly exceptional photographic books of the decade; and the presentation of a major exhibition, Vera Fotografia in Parma in 1979 which surveyed Ghirri’s singular body of work through fourteen different projects and themes.
"The Map and the Territory" reprises the poetic cartography of Ghirri’s 1979 exhibition. 17 chapters with 300 photographs reflect Ghirri’s enduring fascination with representations of the world, in the form of reproductions, pictures, posters, models and maps and the way these representations were embedded in the world, signs within the town or the landscape. The mediation of experience through images in an Italy poised between the old and the new was, for Ghirri, an inexhaustible terrain to survey. In the face of today’s media change and media usage, Ghirri’s imagery demonstrates a more than surprising freshness and relevance.
The exhibition is organised by the Museo Nacional Centro de Arte Reina Sofía, Madrid, in collaboration with the Museum Folkwang, Essen, and the Galerie nationale du Jeu de Paume, Paris. | | |
| |
|
|
| |
| |
|
| | | |  | | | | Rafal Milach: Khyrdalan, Azerbaijan, 2016 © Rafal Milach, Courtesy of the artist |
| | | | | | | | | | | Thu 21 Jun 19:30
22 Jun – 9 Sep 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
|
| | | |  | | | Sascha Weidner: "Grounded II", 2007
© The Estate of Sascha Weidner |
| | | | Vom Träumen und Leben | | | | | | Fri 22 Jun 20:00
23 Jun – 7 Oct 2018 | | | | | |
| | | | | | | |
|
| |
|
| | | |  | | | | © Theaster Gates, Courtesy of The Johnson Publishing Company |
| | | | | | | | Kurt-Schwitters-Preis der Niedersächsischen Sparkassenstiftung | | Fri 22 Jun 19:00
23 Jun – 2 Sep 2018 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
![[DELETE] On Censorship and Images Removed From Visual Culture - Auswahl und Zensur im Bildjournalismus](http://i2.cmail20.com/ei/j/B2/240/7EF/000113/csimport/zwnl__18_23c_21.jpg "[DELETE] On Censorship and Images Removed From Visual Culture - Auswahl und Zensur im Bildjournalismus") |
| | Ryūichi Hirokawa (*1943), from a Reportage about the Schatila Massacre, 1982
C-Print, 19,8 x 29,5 cm, © Ryūichi Hirokawa | | | | | | | 7th Triennial of Photography Hamburg 2018 | | | | | | | until 25 November 2018 | | | | | | | | | | | | | The exhibition "DELETE" at the Museum für Kunst und Gewerbe Hamburg (MKG) explores the production conditions under which photojournalists work and the selection processes their photographs go through before they are printed in journals and magazines. How do publishers, editors, authors, and graphic designers influence the photographers’ work and the expressive force of their pictures? What requirements do the commissioned reports have to fulfill? How much control over the interpretation of the resulting images are photographers willing to cede to the editorial department? What mechanisms determine which photos are shown and which never see the light of day? What then ends up being remembered, and what is forgotten? Guided by these questions, the MKG takes a closer look at four reportages in its collection spanning the years from 1968 to 1983. On view are some 60 reportage photographs, four photospreads from the magazines Stern, Playboy, Kristall, and Der Bote für die evangelische Frau, and four interview films made for the exhibition in which the photographers speak about their experiences. By comparing and contrasting the published photospreads with the original contact sheets as well as with the pictures selected by the photographers for the museum collection, and based on the photographers’ own accounts, viewers can discover the background behind the selection process, how journalists work, and what scope photographers are given to exercise their own creative judgement.
The historical works by Thomas Hoepker, Ryūichi Hirokawa, Günter Hildenhagen, and Hanns-Jörg Anders are supplemented by a contemporary art film by Sirah Foighel Brutmann and Eitan Efrat that illuminates the selectivity of memory from an artistic perspective. The exhibition "DELETE" is part of the 7th Triennial of Photography Hamburg, which is taking place from 8 June until 25 November 2018 under the motto Breaking Point. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| | | |  | | | | © Katharina Mayer |
| | | | | | | | | | | Fri 22 Jun 19:00
23 Jun – 5 Aug 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | | Dinu Li Nation Family 2017 video still |
| | | | | | | | | | | Fri 22 Jun 18:00
23 Jun – 14 Jul 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | Montserrat Soto. Dato primitivo 5.2
©Montserrat Soto, VEGAP Madrid, 2017 |
| | | | | | | | PhotoEspaña 2018 | | 21 Jun – 5 Aug 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | Jean Pigozzi: Andy Warhol and ME, 1986
© Jean Pigozzi, courtesy IMMAGIS Galerie |
| | | | | | | | | | | Thu 21 Jun 19:00
22 Jun – 4 Aug 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | | Sue de Beer, still from The White Wolf. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Sue de Beer. |
| | | | | | | | | | | Thu 21 Jun 18:00
21 Jun – 3 Aug 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | Reverse 1
130 x 156 cm, Edition of 3 + 1 AP
Archival Pigment ink on cotton paper
© bownik, courtesy the ravestijn gallery, amsterdam |
| | | | | | | | | | | Fri 22 Jun 19:00
23 Jun – 31 Jul 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| | | |  | | | | Inge Dick: frühlings licht weiss, 2015 (Ausschnitt) |
| | | | | | | | | | | Thu 21 Jun 19:00
22 Jun – 4 Aug 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | | Trevor Paglen, Vampire (Corpus: Monsters of Capitalism) Adversarially Evolved Hallucination, 2017, dye sublimation print. Collection of mark sanford gross & billy ocallaghan. © and photo by Trevor Paglen |
| | | | | | | | Retrospective | | Wed 20 Jun 18:00
21 Jun 2018 – 6 Jan 2019 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
Péter Nádas: Lichtprozesse 4, 2001
Kunsthaus Zug, Schenkung des Künstlers © Péter Nádas | 
Péter Nádas: Autor auf Reisen, 2016
© Péter Nádas |
|
| | | | | | | | | 23 June – 2 September 2018 | | | | Opening reception: Friday 22 June 2018, 6pm | | | | | | | | | | | | | A focal point in the summer exhibition is Péter Nádas’ photography, which he gifted to the Kunsthaus Zug on the occasion of his big exhibition in 2012.
Many visitors might know Nádas from his award-winning literature. Currently on a book tour for his autobiographical fiction Aufleuchtende Details (Bright Details in English), the Hungarian Nádas is presenting two very different series of photographic works in Zug.
A new group of works in the collection bears the same name as the title of his most recent book: Bright Details are what the visitor can discover in his entire photographic work – light is a key theme with Nádas. It appears in the seemingly medievally painted, black and white photographs, heavy and dark. But it’s also in the bright mobile phone images, a new medium with which he has been experimenting for a few years now. These images are more flat, but still colourful, vibrant, free and playfully cheerful.
"How is consciousness created?" To answer this question, Nádas has prepared a set of clues that are actually just objects from everyday life. A pear tree, beans, clouds in the sky. Things he stumbles upon in his garden in Gombosszeg or in hotel rooms when he’s travelling. Nádas' memories show what it means to be a part of a culture and a history, to be a product of societal development.
Nádas was born Jewish in Budapest in 1942, right before the imminent German occupation. His photography spans a great period of time: From the postwar suffering of the population during the dictatorship up until the present. The exhibition, arranged by the artist himself, brings new details to light and engages … | | |
| |
|
|
| |
| |
| |
|
| |
 | Auctions |
|
| |
| |
|
| |
 |
| | 304.
Pierre Molinier (1900-1976)
Curieuse, 1965.
Photomontage. Plate 22 from Chaman et ses créatures.
Vintage gelatin silver print. | | | Photographs
Vente de photographies | | | | | | Auction: Thursday, June 21st at 2.00 p. m.
Viewing:
Tuesday, June 19th, 11.00 am to 06.00 pm
Wednesday, June 20th, 11.00 am to 06.00 pm
Thursday, June 21st, 11:00 am to 12:00 am
Online catalogue : www.ader-paris.fr
Live bidding : www.drouotonline.com |  |
| | | | | | | | | | | | | Rare print of the mime Charles Deburau by Adrien Tournachon La vague brisée by Gustave Le Gray Four remarkable salt prints large format of Edouard Baldus’ railways Section about the pioneers of ballooning photography
Exceptional portfolio by Lucien Clergue Important set of 20 prints by Pierre Molinier Space conquest, NASA prints | | |
| |
|
|
| |
| |
| |
|
| |
 |
| | ERWIN WURM
Untitled (Michael Ransburg). From the "Hamlet" series, 2007.
C-Print on Diasec. Vintage.
160 x 200 cm.
CHF 7 000 / 10 000 | (€ 5 830 / 8 330) | | | Photography | | | | | | Auction:
Thursday 28 June 2018, 2.00 PM
Preview: 16 - 24 June 2018 Sat 16 June, 11.30am to 7pm
Sun 17 - Sun 24 June 2018, 10am - 7pm 102 Hardturmstrasse, 8031 Zurich
Online catalogue:
www.kollerauktionen.ch |  |
| | | | | | | | | | | | | The selection of photographs on offer at Koller this June is once again very broad, and runs from the beginnings of photography with exciting daguerreotypes (lots 1601-1608), early views of Egypt, India, Russia and the USA (lots 1615-1639), Alpine landscapes by Albert Steiner, Emil Meerkämpfer and Emmanuel Gyger (lots 1640-1665), classics by Geraldo dos Barros (lots 1670-1673), Frantisek Drtikol (lot 1674), a unique photocollage portrait of Che Guevara hand-painted by René Burri (lot 1716), portraits of Marilyn Monroe and Audrey Hepburn (lots 1846-1859), all the way up to contemporary photography with large-format works by Erwin Wurm (lot 1898), Massimo Vitali (lots 1916-1917), Thomas Struth (lot 1921) and Michael Wesely (lot 1926).
Particularly noteworthy are the classic photographs from the Kaspar M. Fleischmann Collection, which will be sold to benefit a chair for the theory and history of photography at the University of Zurich. The collection includes works by Pierre Dubreuil (lot 1752), Imogen Cunningham (lot 1763), Bill Brandt (lot 1764-1773), Berenice Abbott (lot 1776-1781) and a very rare platinum print by Edward Weston (lot 1787).
Another highly interesting highlight of the sale are several unique vintage prints by Swiss photographer Karlheinz Weinberger (lots 1662-1665) which document the rebellious youth culture of the 1960s. | | |
| |
|
|
| |
| |
| |
|
| |
| Festivals |
|
| |
| Upcoming |
|
| |
|
| |
|
| |
|
| | | | | | IN VIVO - The Nature of Nature | | | | | | Sat 23 Jun 16:00
23 Jun – 23 Sep 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
| Current |
|
| |
|
|
| |
|
| |
|
| |
| |
|
| |
 |
| | | © Akintunde Akinleye, Reuters | | | | | | | I LOVE AFRICA | | | | | | | | until 30 September 2018 | | | | | | | | | | | | | THE LARGEST EUROPEAN PHOTOGRAPHY FESTIVAL IS COMING TO BADEN THE FESTIVAL LA GACILLY PHOTO CELEBRATES ITS 15TH YEAR IN 2018. WITH 400 000 VISITORS, THE FESTIVAL LA GACILLY PHOTO IS THE MOST SUCCESSFUL PHOTO FESTIVAL IN EUROPE. JACQUES ROCHER, today President of the Fondation Yves Rocher, initiated a festival of photography in 2004 in his birthplace La Gacilly (FR). It was dedicated to the theme of Man and the Environment. Convinced that it is our duty to engage with the future of our planet and to look for humanistic and sustainable concepts for our interaction with nature and with each other, he and his Leading Team turned the Festival La Gacilly Photo into an event that has set an international standard of social relevance in bringing together artistic photography and photojournalism. THE FESTIVAL LA GACILLY-BADEN PHOTO CELEBRATES ITS LAUNCH IN 2018. It complements the work in La Gacilly by expanding it and embedding it within a European context. | | |
| |
|
|
| |
| |
|
| | | | 
Luke Willis Thompson, autoportrait, 2017,
35mm film, b/w, silent, 8′50′′ @ 24fps
courtesy Luke Willis Thompson; Galerie Nagel Draxler, Berlin/Cologne | | |
| | | | We don't need another hero | | | | | | – 9 Sep 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | | untitled from the series Helena, Athen 2017 © Carolin Saage | | | | | | | Extreme | | | | | | | until 9 September 2018 | | | | | | | | | | | | | RAY 2018 presents outstanding examples of contemporary photogaphy at over ten venues in Frankfurt and the Rhine/Main region. In collaboration with over 15 partner institutions and collections as well as countless events RAY offers yet another summer of photographic highlights.
https://ray2018.de/en/exhibitions/ | | |
| |
|
|
| |
| |
| |
|
| |
 |
| | | Jorge Taboada, alta densidad - Escobedo | | | | | | | BREAKING POINT - unlearning x rethinking x restarting | | | | | | | | June - September 2018 | | | | | | | | | | | | | 320 artists 80 places 90 events 1 festival The Triennial of Photography Hamburg 2018 is intended to engage audiences, inspire action and invoke change. It is a time to reflect, unlearn, rethink and restart. Photography is a powerful tool to convey the message. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | open air festival | | | | | | – 30 Sep 2018 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | Starting from the Desert. Ecologies on the Edge | | | | | | – 19 Sep 2018 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
| Workshop |
|
| |
| |
|
| |
 |
| | | João Pereira de Araújo, Taquari District, Brazil, March 2015, from the series "Submerged Portraits" © Gideon Mendel | | | | | | | Workshop: Saturday/Sunday, 21/22 July, 2018, 10 am–6 pm
Lecture: Friday, 20 July, 6pm | | | | | | | | | | | | | This workshop will focus on the depiction of objects, materiality, memory and history in direct relationship with family history, personal memory or feelings. Participants will be asked to bring a variety of items (these could be documents, objects, even non-physical like anecdotes and crucial memories) relating to their own emotional and social legacy. A wide range of approaches is equally valid, from deeply individual/personal engagement through to more social and historical approaches. The collaborative engagement with Gideon Mendel will focus on visual responses to these items – and an interrogation of how they might be depicted photographically. In essence this will be an ‘anti still life’ workshop and a deeply personal process is anticipated. The focus of the workshop will be on finding ways to make these objects and the stories they represent meaningful to a wider audience. This will be an active hands-on experience with a conceptual overlay consisting of a series of individual and group feedback sessions. All participants are asked to bring digital cameras and laptops to allow for rapid experimentation and assessment of work. Gideon Mendel’s intimate style of image-making and long-term commitment to socially engaged projects has earned him international acclaim. Born in Johannesburg in 1959, Mendel established his career with his searing photographs of the final years of apartheid. In 1991 he moved to London, and continued to respond to global issues, especially HIV/AIDS. Since 2007, Mendel has been working on "Drowning World", an art and advocacy project about flooding that is his personal response to climate change. Solo shows of "Drowning World" have been shown at many galleries and public installations around the world, most recently at Les Rencontres de la Photographie in Arles. During 2016, Mendel received the inaugural Jackson Pollock Prize for Creativity and the Greenpeace Photo Award. Shortlisted for the Prix Pictet in 2015, he has also received the Eugene Smith Award for Humanistic Photography, the Amnesty International Media Award and six World Press awards. From 24 May to 9 September, 2018 the Fotografie Forum Frankfurt is presenting works by Gideon Mendel in the exhibition EXTREME. ENVIRONMENTS for RAY 2018. In addition, a lecture by Gideon Mendel will take place on Friday, 20 July, 2018 at 6 pm at Fotografie Forum Frankfurt. The Workshop and Lecture will be held in English. Workshop registration is open until June 29, 2018 on the FFF website:
www.fffrankfurt.org/gideon-mendel | | |
| |
|
|
| |
| |
| |
|
| |
| Awards |
|
| |
| |
|
| |
 |
| | | | Marl Media Art Awards 2018 | Space | | | Einsendeschluss: 15. Juni 2018 | | | | | | | | | | | | | Dealing with Space in Video and Sound
Historically and spatially, the Marl Media Art Awards refer to the orientation as a sculpture museum and to the modernist architecture of the Marl Town Hall completed in 1966. Because spatial reference is the key criteria for sculpture, for the fourth time the competition invites media artists who deal with all facets of space in their works to participate. Since 1984, the Skulpturenmuseum Glaskasten Marl has hosted the Video Art Award, and since 2002 the Sound Art Award, which has been further developed into the EUROPEAN SOUNDART AWARD. The two media, which define themselves principally through video and sound, have much in common: not only are they both time-related, but in many video works the acoustic level is very important, while more and more sound works include moving images. Therefor the Marl Media Art Awards will present the results of both competitions in one exhibition at the Skulpturenmuseum Glaskasten Marl. |
|
|
|
