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| PHOTOGRAPHY INTERNATIONAL | | 23 — 30 October 2024 | |
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| | DNA, from the series "Lexicon", 2007
© Viviane Sassen and
Stevenson (Johannesburg / Cape Town / Amsterdam). | Dior, 2019
© Viviane Sassen and
Stevenson (Johannesburg / Cape Town / Amsterdam). |
| | | | | | | | ... until 12 January 2025 | | | | | | | | | | | | | Foam is thrilled to present the first large-scale retrospective of the Dutch fashion photographer and artist Viviane Sassen in the Netherlands. The exhibition PHOSPHOR: Art & Fashion, which comprises more than 200 works, reveals over thirty years of her multifaceted career bringing together photography, collage, painting and video. The exhibition serves a significant homecoming for Sassen, following her first museum showcase at Foam in 2008 titled Flamboya.
The Dutch contemporary artist Viviane Sassen rapidly gained worldwide recognition, both in the fashion industry and in the photography world. Her distinctive and eclectic visual oeuvre will fill almost the entire building of Foam. This exhibition will shed light on Sassen’s creative process by focusing on two main themes: the incessant search for new photographic forms and the importance of intimacy in her work.
The exhibition features iconic series, including Flamboya (2008), Umbra (2014) and Parasomnia (2011), along with unseen archives, mixed-media works that blend photography, painting, collage and video.
Sassen's fashion photography for brands such as Louis Vuitton and Dior will be presented in a monumental installation. Early experiments with objects from her personal archives, her initial self-portraits, and her final photo project from her studies illustrate the beginnings of Sassen's visual language. These images are being showcased for the first time in the exhibition PHOSPHOR: Art & Fashion.
Sassen's oeuvre explores both the depths of human emotion and the boundaries of artistic expression. Death, sexuality, desire and connection with others are all motifs that structure her work. Renowned for her adept u… | | |
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| | | | | | | | | | | | | | Multi-perspective considerations | | | 30 Oct – 31 Oct 2024 | | | | | |
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| | | © Raoul Ries, CÒRREC SEC | | | | | | | | | | | 8 October 2024 – 7 September 2025 | | | | | | | | | | | | | Clervaux has always seen itself as a "city of the picture" (Cité de l'image). The perception and public visibility of the image in all its facets, with a particular focus on photography, characterises the cultural vision of the town and its inhabitants.
With the mission statement "Clervaux - Cité de l'image", the town is positioning itself very specifically in the field of photography, in particular with public exhibitions. One of the central concerns is to open up to all forms and sensibilities of contemporary photography, in terms of genres, territories or the working methods of the medium. The focus is on building and constantly expanding a wide-ranging network that gives artists access to the local art scene. Promoting young artists and supporting them in their professional development is one of the main concerns of Clervaux - Cité de l'image.
100% PHOTOGRAPHY In the museum & in open space
"Clervaux - cité de l'image" & "The Family of Man"
The collection "The Family of Man" comprises 503 photographs by 273 artists from 68 countries and was created in 1955 by Edward Steichen for the Museum of Modern Art in New York (MoMA). Since 1994, it has been installed as a permanent exhibition in Clervaux Castle and has been listed on the UNESCO Memory of the World register since 2003. | | |
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| | | Spencer Glover, Untitled, from the series Shoebox, 2024 | | | | | | | Early Career Artist Award | | | | | | | | 24 October – 17 November 2024 | | | | | | | | | | | | | Photo Museum Ireland is delighted to present this exhibition of new work developed through our Early Career Artist Awards, an annual mentorship residency for the most promising photography and media graduates from across the island of Ireland.
In the exhibition, Dee Byrne considers the theme of female inheritance through her own family story, Patryk Gizickicreates a semi-fictional narrative of adolescence centred on his hometown of Castlebar, Co. Mayo, and Spencer Glover explores the complex relation between photography and memory. All the artists present innovative installations that showcase their cutting-edge practices.
This exhibition represents the fourth cycle of the Awards, established in 2020 to provide essential curatorial guidance and resources for recent photography and media graduates as they embark on their artistic careers. To make up the shortlist for the Early Career Artist Awards we invite tutors from degree courses across the island of Ireland to each nominate two graduating students.
The nominees submit a project proposal and based on this three artists are selected for the programme by the Museum’s curatorial team in collaboration with guest mentors. Over the course of this year-long programme the recipients have an opportunity to create new work with ongoing support from our curatorial team, workshops and mentorship from industry experts.
Photo Museum Ireland is proud to support and encourage the growth of new creative talent in Irish photography. The Early Career Artist Awards are a key part of our artform development programmes. They empower the recipients to develop sustainable individual practices, making a significant contribution to the exciting future of… | | |
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| | Lissette Solórzano, from the series Malecón, 2004
inkjet print, the Museum of Fine Arts, Houston,
the Madeleine P. Plonsker Collection,
gift of Madeleine and Harvey Plonsker.
© Lissette Solórzano | | | | | | | Contemporary Cuban Photography | | | | | | | | ... until 3 August 2025 | | | | | | | | | | | | | Navigating the Waves: Contemporary Cuban Photography traces the evolution of photography in Cuba from the 1960s to the 2010s.
The exhibition looks at contemporary Cuban photography from its role in promoting the Cuban Revolution after Fidel Castro’s 1959 overthrow of the Batista government to engaging in social and political critique following the 1991 collapse of the Soviet Union. In subsequent years, Cuban photographers created powerful personal expressions by exploring individual identity, the body and spirit, Afro-Cuban heritage, and the margins of society, all while navigating the changing prescriptions and proscriptions of official cultural policy.
Showcasing 100 images, Navigating the Waves: Contemporary Cuban Photography celebrates the Museum's acquisition of some 300 photographs from Chicago-based collectors Madeleine and Harvey Plonsker. | | |
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| | Sabine Weiss
Ave-de-Versailles, 1953 | Jean-Philippe Charbonnier
Bettina, Place Vendome, Paris 1953 |
| | | All Paris in a frame | | | | | | | 26 October to 21 December, 2024 | | | Opening: Saturday, 26 October, 7pm
Oepning hours until 30 November:
Wednesday - Friday 4 - 7 pm, Saturday 11 am - 3 pm
The gallery is closed during Paris Photo from 6 - 10 November.
Visits until 21 December by appointment: +49 (0)177 3202913 | | | | | | | | | | | | | in focus gallery is pleased to present the exhibition "All Paris in a frame" in good time before the friends and collectors of photography worldwide make their way to Paris for the world's largest fair for photographic art - Paris Photo - with photographs by internationally renowned photographers.
"Paris is considered the cradle of photography, the glorious starting point of the new medium. It was here that the photograph in the form of the Daguerreotype was made public in mid-August 1839 and presented to an astonished world public without a patent. A date that marked nothing less than the beginning of the photographic age. It is no coincidence that the photographer and historian Jean Claude Gautrand speaks of a 'love story between Paris and photography', which probably refers to the large number of chemists, opticians and artists who immediately took up the new medium as researchers or practitioners, as well as to the fact that Paris itself quickly and privilegedly became the subject of images." (Hans-Michael Koetzle, from: "Eyes on Paris", 2011)
In this exhibition, the gallery is presenting a unique collection of photographs by world-famous artists such as Ilse Bing, Edouard Boubat, Jean-Philippe Charbonnier, Elliott Erwitt, René Groebli, Frank Horvat, Walde Huth, Thomas Kellner, Willy Maywald, Marc Riboud, Willy Ronis, Louis Stettner and Sabine Weiss. The photographs in this exhibition, most of which were taken between 1950 and 1980, offer a fascinating insight into the attitude to life in Paris at that time, while typical sights appear little or only as a peripheral phenomenon.
What many of the exhibited photographs have in common is a certain tendency towards nostalgia and the depiction of an urban, upbeat atmosphere that is p… | | |
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| | | Maya Rochat, POETRY OF THE EARTH WATER PAINTNG MATRIX 2022 | | | | | | | | 24 October 2024 – 23 February 2025 | | | | Opening: Thursday 24 October 18:00 | | | | | | | | | | | | | The result is Water is coming, a complex, immersive installation – designed specifically for Photo Elysée – that draws us into a world of contrasts between the immensity of the waves and the artificial space of an aquarium where the water level slowly rises. This tension between the beauty of nature and climate anxiety is an ever-present theme in Rochat’s work.
Water is coming is a holistic, dreamlike experience that exists on the fringes of our reality. Inspired by the work of Masaru Emoto, who argued that human consciousness could affect the molecular structure of water, it features montages of footage filmed on and under water that are projected side by side and superimposed onto images printed on canvas and wallpaper.
Rochat has a long tradition of experimenting with media such as murals, polarized-film lightboxes, printed carpets and woven blankets. Through her artistic practice – which focuses on the materiality of images, relationships of scale, colors and transparency – the artist draws our gaze toward details in our environment such as the reflection of light, the shimmering effect produced by water or, indeed, the artifice of plastic plants.
Rochat’s images are set against a soundscape by the artist blackout, creating a sense of weightlessness. This multifaceted space, where the living world is transformed and sublimated, calls on us to step back and reflect on our experience of the world around us. Here, paradoxically, for all its apparent calm, Rochat’s art sends our visual receptors into overdrive, compelling us to reflect on the future of water and to reconnect with this life-giving element that is a fundamental part of us. | | |
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| | | Daido Moriyama © Eloïse Genoud / Photo Elysée / Plateforme 10 | | | | | | | | ... until 23 February 2025 | | | | | | | | | | | | | Photo Elysée is presenting a major exhibition devoted to one of Japan’s greatest photographers. This retrospective, produced by the Instituto Moreira Salles (Sao Paulo, Brazil), will be making a stopover in Switzerland after showing in Berlin and London.
During the sixty years of his career, Daido Moriyama (born in Osaka in 1938) definitively altered our perception of photography. He used his camera to document his immediate surroundings and to visually explore post-war society in Japan. But he also challenged the very nature of photography itself.
His incomparable visual language is as highly acclaimed as his numerous publications, which are at the heart of his work. | | |
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| | | The Anonymous Project © Khashayar Javanmardi / Photo Elysée / Plateforme 10 | | | | | | | | ... until 23 February 2025 | | | | | | | | | | | | | Home & Away is a photographic installation based on the collection of The Anonymous Project. Collecting color slides from the last 70 years, The Anonymous Project preserves this collective memory. In his installations, Lee Shulman gives a second life to the often forgotten people in these moments captured in Kodachrome color. Designed for L'Atelier de Photo Elysée, Home & Away invites visitors to settle into an interior inspired by the great years of the slide.
"For me, home has always been a place of fulfillment. A place where you can really be yourself, away from the outside world. It's where I feel safe.
Home is like a refuge, a haven where every object and every corner tells a familiar story. It's where my memories intertwine with daily routines, creating a fabric of security and serenity. The walls of home, imbued with familiarity, are a constant reminder of our roots and identity rooted in the past and present.
Nevertheless, the idea of a vacation is one of escape and exploration. It's an opportunity to leave the familiarity of home behind to plunge into the unknown, discover new places and cultures, and immerse oneself in enriching experiences. Vacations offer a breath of fresh air, a break from the daily grind, and the freedom to lose oneself and find oneself in different landscapes and horizons.
Home and away are two complementary facets of our lives, each bringing its own balance to our existence. They remind us that home is more than just a physical space; it's a state of mind where we find comfort and security, while vacations are a breath of fresh air that nourish our curiosity and desire to discover the world beyond our four walls.
Yet despite thei… | | |
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| | | © Khashayar Javanmardi / Photo Elysée / Plateforme 10 |
| | | | | | | ... until 23 February 2025 | | | | | | | | | | | | | "What I don't understand is how I was able do so many things in the same period. That's amazing! And completely different things! It was a very beautiful life. I don't want to start over because it's not advisable. But I regret nothing."
- Sabine Weiss
To mark the centenary of Sabine Weiss's birth (1924-2021), Photo Elysée is presenting an exhibition that pays tribute to the photographer and has invited the visual artist Nathalie Boutté (France, 1967) to engage in dialogue with her work.
A major figure in French humanist photography, Sabine Weiss was not only a street, fashion, and advertising photographer but also a photojournalist for numerous international magazines. Over the course of sixty years, she explored all aspects of her profession.
In contrast to Sabine Weiss, who built her body of work by photographing on the street or undertaking studio commissions, Nathalie Boutté creates paper works, inspired by images produced by important photographers. Her process is meticulous: she cuts hundreds of strips of paper bearing texts related to the chosen image—here, quotes from Sabine Weiss—before assembling them to reconstruct the original photograph. The grayscale tones of the paper strips create gradients, similar to pixels on a digital screen. Up close, the text on the paper strips is revealed, but it is by stepping back that the image is revealed. By opening the photographer's archives to Nathalie Boutté's gaze, Photo Elysée unveils an unknown aspect of Sabine Weiss's work, notably her studio work.
The exhibition presents a selection of iconic works by the photographer and reveals some treasures among the numerous negatives, prints, and contact sheets that make up her archives. In 2017, aware of the importance of preserving her work, Sabine Weiss chose Photo Elysée to house her archive, which arrived in the museum's collections at Plateforme 10 at the beginning of 2024. | | |
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| | | Kaboul, Kaboul - Afghanistan - 22 avril 2024 | Shahla, 21 ans est journaliste et présentatrice. | | | 14TH EDITION CARMIGNAC PHOTOJOURNALISM AWARD | | | | NO WOMAN’S LAND: A collaborative report by | | | | An Intimate Look into the Battle for Women’s Rights in Afghanistan | | | | 25 October - 18 November, 2024 | | | | | | Réfectoire des Cordeliers
15 rue de l’École de Médecine, Paris 6e
Monday to Sunday from 11am to 7pm
Fondation Carmignac
www.fondationcarmignac.com | |
| | | | | | In partnership with Amnesty International & PhotoSaintGermain.
THE REPORT
Over the course of the last six months, Kiana and Mélissa travelled to seven provinces in Afghanistan* to investigate the conditions imposed on women and girls by the Taliban, which, according to Amnesty International’s research, could constitute a possible crime against humanity of gender-based persecution. They met with more than 100 women and girls, barred from going to school, forced to stay at home, women journalists and activists continuing to fight for their rights, mothers watching with horror as history repeats itself for their daughters.
They documented how the Taliban, allowed by a deeply patriarchal society, have systematically erased women from society, taking away their most basic rights: to go to school, to university, to work, to travel, to dress as they wish, to go to public baths, to parks, or even to the beauty salon. In late August 2024, the Taliban regime further tightened its control by enacting a new law requiring women to cover their faces with a mask and prohibiting them from having their voices heard in public, including singing, reciting, or reading aloud.
The starkest change that Kiana and Mélissa noted since August 2021 was the general loss of hope among women that things might improve for them, as dreams of having an education and becoming members of society were shattered before them, becoming the primary victims of recurring economic and food crises, and a health system that has all but collapsed. In the words of one women’s rights activist, who has since left the country, seeing no future for herself in Afghanistan: «We have forgotten joy, we don’t know from where any can be found. I’ve lost all motivation. I cry alone, hidden. It’s as if someone has locked me in a room and won’t let me outside. Even food has no taste.»
THE EXHIBITION
The exhibition seeks to capture the gendered experiences that shape the lives of women and girls under the Taliban regime. Through a spatial narrative, the exhibition moves between the inside/outside dichotomy: a male-dominated outer space where women find themselves looking out from behind metaphorical windows, contemplating the possibilities beyond their reach. In stark contrast, the inner space appears as an ever-shrinking sanctuary, the only place where women can still express their humanity, embodying a realm of potential and aspiration.
Beyond these two realms, however, lies a fragile but crucial in-between space that allows boundaries to be reimagined and safeguard possibilities. A liminal space protected by women journalists and activists who play a pivotal role in using their voices to fight for their rights, challenge norms and advocate for change. They shed light on the hidden narratives and foster the dialogue that empowers women to reclaim their stories, thereby transforming their presence in both the public and private spheres.
The exhibition documents this extremely sensitive situation using a variety of media, including photos, drawings and videos, as well as creating works of art in collaboration with Afghan teenage girls. | | |
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| | | | | | | | From the project 'Control refresh' by Toma Gerzha |
| | | | A Prize for Young Creation
Paris Photo 2024 | | | | | | | 28 Oct – 30 Nov 2024 | | | | | |
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| | | | | | | Sibusiso Bheka, Thokoza Over the Night, Sfiso Jodwana, 2020
© Sibusiso Bheka |
| | | | PhotoSaintGermain 2024 | | | | | | | Wed 30 Oct 18:00
30 Oct – 23 Nov 2024 | | | | | |
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| | | | | | | | | | | | | | Fri 22 Nov 18:00
25 Oct – 30 Nov 2024 | | | | | |
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| | | Future Perfect © Zosia Promińska | | | | 9th session at L'Appartement | | | | For its ninth exhibition session, L’Appartement presents four installations that reveal the increasingly blurred boundaries between the real and the virtual, the private and the public. | | | | ... until 3 November 2024 | | | | | | | | | | | | | | | | | | To succeed in the international fashion capitals, models must be at least 16 years old. However, specialised Polish agencies identify children with potential from an early age and place them under contract. Former professional model, Zosia Promińska documents this reality in Future Perfect. In the privacy of her children’s bedrooms, she photographs these pre-teens who dream of a career in fashion and makes them pose as models. The photographer arranges for them to be dressed by top Polish fashion designers. Echoing the domestic past of L’Appartement – Espace Images Vevey, the installation highlights the commercialisation of young people by an industry that pushes these children to grow up too fast, luring them into a falsely perfect future. | | | | | | | | Cash Me Online is a satirical project combining photography, performance and social media footage. Amandine Kuhlmann creates a hyper-feminine alter ego that she embodies online and during performances to achieve viral fame. She exaggerates her poses, imitates TikTok and Instagram trends and dramatizes her everyday life to make herself noticed. The artist reappropriates videos, drawing on the suggestions of her algorithm and the female stereotypes portrayed by social networks. These caricatured images reveal the ambiguities of virtual profiles, between the objectification of the body and the desire for individuality. Questioning the impact of social media and the monetisation of the self, the installation presents a reflection to a generation obsessed with their physical and digital appearance. | | | | | | | | The value of a person or information is now measured by the number of ‘likes’ it gets on social networks. Beggar’s Honey reflects how we search for the honey of digital celebrity and reveals behind the scenes of click farms. These clandestine companies aim to artificially inflate content engagement indicators on social media by manipulating algorithms. Going undercover in factories in Vietnam and Hong Kong, Jack Latham photographs the insides of click farms for the first time. The project also shows images posted by people on TikTok and Instagram who have used the services of this illegal marketplace. Latham warns of the dangers of this on democracy and encourages us to question the validity of content with the most ‘likes’. | | | | | | | Tamara Janes and Natalia Funariu explore the link between creation and artificial intelligence. The title of their project, Funny Snow Face, comes from a prompt submitted nearly 5’000 times to DALL·E to generate countless images. These funny faces evoke the human act of drawing a head in the snow, formed simply by two dots and a line. The artists take a humorous look at their role in relation to AI. By placing these images on a curtain, they create a dialogue between the material and the immaterial, the domestic and the domotic. The project invites us to reflect on the omnipresence of technology in the home and reminds us of the importance of the personal touch in a world dominated by screens. Presented in Le Couloir de L’Appartement – Espace Images Vevey, the installation highlights childlike gestures and the playful use of technology.
Tamara Janes’ exhibition ‘Set and setting’ is on view at Photo Elysée | | |
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| | | | | | | | | | | | | | Tue 29 Oct
30 Oct – 2 Nov 2024 | | | | | |
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| | | | | | | | | | | | | | Wed 23 Oct 16:00
23 – 27 Oct 2024 | | | | | |
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| | Aïda Muluneh
Memories in Development, Part Two, 2017
© Aida Muluneh, 2024 | | | 40 WORKS — 40 YEARS FFF | | | | Benefit Auction: Saturday, 9 November 2024, 10am | | | | | | | Preview: Friday, 8 November, 10–18 Uhr
Online catalogue www.fffrankfurt.org | | | | | | | | | | | | | | | This year, 2024, the Fotografie Forum Frankfurt (FFF) celebrates its 40th anniversary. As one of the first independent centres for photography in Europe, the FFF continues to contribute to the international photographic art scene. At the end of the anniversary year, there will be a special opportunity for both new and established collectors to bid on classic works and new discoveries from the international photographic art scene. On Saturday, November 9 2024, at 10 am, a BENEFIT AUCTION will take place with 40 outstanding works by artists shown at the FFF. The proceeds will go towards future FFF projects. This event is a cooperation with the Frankfurt auction house Auktionshaus Arnold (Bleichstraße 40–42, 60313 Frankfurt am Main). A preview will be held at the auction house on Friday, November 8, 2024, 10 am–6 pm
The benefit auction will include works by Barbara Klemm , Germany’s most famous postwar photojournalist, who had her first major exhibition at the Fotografie Forum Frankfurt in 1984; American photographer Abe Frajndlich , to whom the FFF dedicated a major retrospective exhibition in 2023; Elina Brotherus , a key figure of the Helsinki School had a large show at FFF in 2022; and emerging artists such as Lilly Lulay and Mika Sperling , who were supported by the Recommended Olympus Fellowship co-initiated by the FFF; Davide Monteleone , the recent recipient of the renowned Leica Oskar Barnack Award; or Akinbode Akinbiyi the winner of the Hannah Höch Prize, who has just had a solo exhibition at the Museum Berlinische Galerie.
The Fotografie Forum Frankfurt thanks the following artists and estates for their generous support. | | |
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| | | | | | | | | | à l'occasion de Paris - Photo | | | Thu 7 Nov 14:00
Preview: 5 – 7 Nov 2024 | | | | | |
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| | | | | | Nurture Gaia | | | | | | | 24 Oct 2024 – 25 Feb 2025 | | | | | |
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| | | | | | | | | | | | | | Wed 30 Oct 18:00
30 Oct – 23 Nov 2024 | | | | | |
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| | | | | | International Urban Photo festival 8th edition | | | | | | | Thu 24 Oct 18:30
24 Oct – 3 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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© 23 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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