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| PHOTOGRAPHY INTERNATIONAL | | 26 Feb - 4 Mar 2020 | |
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| | | | | | | | Bertien van Manen, 'Eva, Sasha and Alosha'. Shachunia, 1993 |
| | | | | | | | BERTIEN VAN MANEN AND FRIENDS | | | | | | | 29 Feb – 9 Aug 2020 | | | | | |
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| | | | | | | | Zackary Drucker. Untitled (Portrait of Rosalyne Blumenstein) (Detail). 2019. Courtesy of the Artist and Luis de Jesus, Los Angeles |
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| | | | | | | | Thomas Nitz: Potsdamer Platz Arkaden #1, experimentelle analoge Fotografie |
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| | | | | | Studenten der Freien Klasse Eva Bertram | | | | | | | Fri 28 Feb 19:00
29 Feb – 19 Apr 2020 | | | | | |
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| | | Michael Verhoeven, 2014 © Beat Presser | | | | | | | | | | | | | ... until 7 March 2020 | | | | | | | | | | | | | | | The day the pictures learned to walk was a Friday. The brothers Auguste and Louis Lumière, soon celebrated all over the world as the inventors of the cinema release, had invited to the Paris Société d'encouragement pour l'industrie to set the light image in motion. It was March 22, 1895, when the whole world was to see it - as if photography had been given a kind of breath. The new cinematograph, in any case, kept them on their toes. And since then she has been running and running and running. As if she had never stood still before either.
Meanwhile, an exhibition at the Berlin gallery Johanna Breede PHOTOKUNST takes the moving pictures into the gear. Under the title "Behind the Scenes", photographs will be shown, which interrupt film history once again for small moments - rebelling against the fast cuts, the spectacular camera movements. These are shots that transform the course of the images back into great moments: Staged portraits of Juliette Binoche or Iris Berben; scene shots of Eva Mattes in the role of Rainer Maria Fassbinder, or backstage photographs from the great films 'PINA' or 'THE MILLION DOLLAR HOTEL'.
With photographs by Lillian Birnbaum, Hannes Kilian, Birgit Kleber, Ulrike Ottinger, Beat Presser, Volker Schlöndorff and Donata Wenders, the exhibition documents the close relationship between film and photography with each image. Many of the participating photographers themselves live at the creative interface between photograph and cinema; others appreciate the productive balancing act between movement and standstill. Beat Presser, for example, who became known to a large audience in the 1980s through his expressive portraits of Klaus Kinski or Werner Herzog… | | |
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| | | Tante Juliette © Denis Dailleux / Agence VU’ | | | | | | | | ... until 10 April 2020 | | | | | | | | | | | | | | | In his series "My aunt Juliette", Denis Dailleux sees his gaze returned in a unique and playful way by his great-aunt. The dialogue between the two protagonists is a constant exchange, making the series appear like a power play. This aunt Juliette is a strong character: she plays the queen, poses as a peasant, appears as grandmother, defies her age which shows her fragility, all the while maintaining her rebellious gaze. She confronts the photographer and claims the camera's visual field as rightfully hers.
"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)
Denis Dailleux was born in 1958 in Angers, France. He lives in Cairo.
More information:
www.denisdailleux.com
www.agencevu.com | | |
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| | Barbara Klemm
Weltausstellung Osaka, Japan
Gelatin silver print, 30 x 40 cm
1970 | | | | | | | Photography | | | | 29 February — 4 April, 2020 | | | Opening: Friday, 28 February, 6—8 pm
Introduction: Dr. Mario Kramer, MMK | | | | | | | | | | | | | In this exhibition, Barbara Klemm will present photographs in which she directs her attention to sculpture from antiquity to the present. Sculpture and photography thus enter into an exciting dialogue. One focus of the exhibition will be Barbara Klemm's photographs of James Turrell's spectacular land art project Roden Crater, which in turn model light and landscape. What Heinrich Wefing said about these pictures – "they are studies of the elementary principles of all photography, of light and dark, depth and width, of the intensity of light and the density of shadows, nothing but almost abstract compositions" - aptly describes Barbara Klemm's decades of photographic exploration of the medium of sculpture.
Barbara Klemm is considered one of the most important contemporary German photographers. She was born in 1939 in Münster and raised in Karlsruhe. She has worked for the Frankfurter Allgemeine Zeitung since 1959 and became the newspaper’s editorial photographer for politics and culture in 1970. Barbara Klemm received numerous awards for her work, including the Dr. Erich Salomon Prize of the German Photographic Society (1989), the Hugo Erfurth Prize of the City of Leverkusen (1989), the Maria Sibylla Merian Prize (1998), the Hessian Cultural Prize (2000) and the Max Beckmann Prize of the City of Frankfurt (2009). Barbara Klemm is so far the only woman to have received the Leica Hall of Fame Award (2012). Since 1992 Barbara Klemm is a member of the Berlin Academy of the Arts; in 2010 she was elected as a member of the Order "Pour le Mérite". Barbara Klemm lives in Frankfurt am Main. | | |
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| | | | | | | Sara Cwynar, 'Ali from SSENSE.com (How to Marry a Millionaire),' 2020
Archival pigment print mounted on Dibond, 76.2 x 61 cm | 30 x 24 in
Courtesy of the artist and The Approach, London. |
| | | | | | | | | | | | Thu 27 Feb 18:00
27 Feb – 5 Apr 2020 | | | | | |
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| | | Cao Fei, Nova, 2019, Video, 109’. Courtesy the artist, Vitamin Creative Space and Sprüth Magers | | | | | | | | 4 March – 17 May 2020 | | | | | | | | | | | | | | | | Cao Fei is a multi-media artist and filmmaker based in Beijing. Video, digital media, photography and objects all play a role in the artist's engagement with an age of rapid technological development. The Serpentine Galleries exhibition will bring together new and existing works in an immersive, site-specific installation, expanding the themes of automation, virtuality and technology that Cao Fei continuously draws upon. | | |
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| | | Charles Jourdan Ad Campaign, 1977 © The Guy Bourdin Estate /Courtesy of Louise Alexander Gallery | | | | | | | | 28 February – 17 May 2020 | | | | | | | | | | | | | | | The Lumiere Brothers Center for Photography presents a retrospective exhibition of Guy Bourdin, one of the most influential photographers of the second half of the 20th century, the French artist, innovator and revolutionary of fashion photography.
The exhibition will feature more than 50 of the photographer's most recognizable works from variousyears, from the 1950s to the mid-1980s. For forty years, Guy Bourdin surprised and shocked readers of glossy magazines with provocative images, pushing the boundaries of commercial photography and changing the viewer's perception of fashion photography. Bourdin started his career as a painter and studied photography while serving in the army in the late 1940s. In the early 1950s, he became the protégé of one of the most significant photographers of the 20 th century, Man Ray. | | |
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| | Chloe SELLS
Feel the sun, 2019
C-Type print with ink
10 x 12 cm
Unique
© Chloe Sells / Galerie Miranda | | | | | | | | 27 February - 25 April 2020 | | | | | | | | | | | | | | | Chloe Sells produced these recent works in the Makgadikgadi Salt Pans, in the Kalahari Desert of Botswana.
"Driving into the searing heat of the white desert, I watched for the lone palm trees that line the banks of the unfaithful rivers, marking the beginning of the Makgadikgadi Salt Pans. I turned onto a well-worn track that led to an expansive savannah. Carved out of the spiny grasses were two nearly invisible lines that faded as I drove until becoming dust. Just then, a shoreline presented itself. The water was opalescent with the reflection of the setting sun and thousands of birds filled the sky. The breeze reached me swollen with their calls.
The Makgadikgadi Salt Pans are in the Kalahari Desert of Botswana. Seen from space they look like white blemishes on the surface of the earth, birthmarks of time. I first came for the flamingos, but I returned for something else. I stood on the edge of the Pans asking myself whether to portray beauty for the sake of beauty. Dave Hickey says that, "The utility of beauty as a legitimate recourse resides in its ability to locate us as physical creatures in a live, ethical relationship with other human beings in the physical world."
When full the Pans look like the sea, but within days the water can evaporate leaving cracked earth like the skin on an elephant’s back. Disorientation seizes you as every direction reveals an identical view. There are Kalahari lions somewhere in the distance – or perhaps close to hand, golden in the golden grasses. | | |
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| | Phoenix Park on a Sunday, Dublin, 1966
© Evelyn Hofer Estate, Courtesy Galerie m, Bochum | | | | | | | | 29 February – 24 May, 2020 | | | | Opening: Friday, 28 February, 6pm | | | | | | | | | | | | | The Fotostiftung Schweiz is presenting a comprehensive exhibition of the works of Evelyn Hofer (1922–2009), whom the New York Times hailed as "America’s most famous 'unknown' photographer". Her commissions for magazines as well as her independent projects are multifaceted and colourful. They give us a glimpse into the private rooms of world-famous artists such as Andy Warhol and Marlene Dietrich. They present fascinating portraits of cities in transition and social studies of forgotten areas. Hofer had already begun using colour photography in the 1950s, reaching an almost unrivalled level of expressiveness even before pioneers like William Eggleston established it as a form of artistic expression. With her large-format camera, she focused on the essential and crafted painterly photographs whose timeless nature continues to impress to this day.
But it is Switzerland that plays an important role in her work as a place of yearning and as her adopted home. Every summer, the German-American photographer returned to Bergell, where she created an extensive series of portraits. The exhibition provides the opportunity to rediscover Evelyn Hofer as a photographic pioneer. Capturing the spirit of the burgeoning economic miracle of the post-war era, Evelyn Hofer created iconic images. Landscapes, architectural views, interiors, still lifes and, again and again, portraits – the independent artist has left us a photographic kaleidoscope spanning almost half a century. The exhibition at the Fotostiftung Schweiz brings together 120 of Evelyn Hofer’s diverse works. The city portraits in book form, essayistic photo spreads for magazines and her independent works are shown side by side. We accompany Evelyn Hofer on her forays through… | | |
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| | Susan Meiselas, Searching everyone traveling by car, truck, bus or foot, Ciudad Sandino, Nicaragua, 1978
© Susan Meiselas/Magnum Photos | | | | | | | From Lee Miller to Anja Niedringhaus | | | | | | | | 29 February – 24 May 2020 | | | | Opening: Friday 28 February 6:00pm | | | | | | | | | | | | | The exhibition "Women War Photographers – From Lee Miller to Anja Niedringhaus" is devoted to photojournalistic coverage of international wars and conflicts. On display are some 140 images shot between 1936 and 2011 by a number of women photojournalists and documentary photographers: Carolyn Cole (*1961), Françoise Demulder (1947–2008), Catherine Leroy (1944–2006), Susan Meiselas (*1948), Lee Miller (1907–1977), Anja Niedringhaus (1965–2014), Christine Spengler (*1945) and Gerda Taro (1910–1937). Their pictures provide a fragmentary insight into the complex reality of war, taking in a range of military theatres from the Spanish Civil War, World War II and the Vietnam War to more recent international conflicts in the Balkans, Afghanistan, Iraq and Libya.
The positions of the eight photographers present different ways of engaging with war and its effects – from traditional war reporting and embedded photojournalism to innovative approaches to social documentary photography. The particular perspectives chosen for the exhibition shift between objective distance and personal emotional involvement.
Curated by Anne-Marie Beckmann and Felicity Korn and adapted by Nadine Wietlisbach for Fotomuseum Winterthur, the exhibition focuses on women’s positions, making clear the long tradition of female photographers working in crisis zones. In the process, it explodes the commonly held notion that war photography is a professional world entirely populated by men. Even though the staging and narrative strategies of female photographers do not differ in any fundamental way from those of their male colleagues, women have had to repeatedly carve out their position on the front line and operate outside the str… | | |
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| | | Beryl Chen, Dance with cigarette, No. 281, London, 1953 © René Groebli | | | | | | | | PHOTO BOOK & EXHIBITION | | | | 26 February – 21 March 2020 | | | Book Launch and Opening: Wednesday, 26 February, 6-8pm
Guest speaker: Stefan Zweifel
René Groebli is signing his book. | | | | | | | | | | | | | This photography book is the first-ever presentation of René Groebli’s pictures spanning a good half-century – although with no claim to completeness. Mirjam Cavegn personally selected the pictures, introducing us to the wide spectrum of Groebli’s photography. She produced this publication with her gallery as a tribute to an artist whom she has represented for many years, building friendship with him over the years and devoting several exhibitions to his work.
René Groebli already scaled the Olympus of photographic history with his early work: Rail Magic (1949) and The Eye of Love (1952), and yet his lifework encompasses so very much more. He has spent over six decades in single-minded, experimental pursuit of images that both jog visual assumptions and chart new territory – whether in the four walls of his studio, in his dark room or in his Alsatian country house, whether on the road in London or Paris, Ireland or Peru.
The photographs are not arranged in strict chronological order, but rather represent what might be called a lyrical response to René Groebli’s approach, for his perception of the world is as much felt as it is seen.
Thus, between these pages, we encounter the sizzling eroticism of newlyweds in Paris and eloquent testimonials to the artist’s admiration of his partner Rita. We discover his fascination with movement and speed, brilliantly rendered through blurring and near breakneck angles of view. We encounter the saturated hues of his unique, innovative colour photography, through which even commissioned work becomes timeless art. The visceral poetry of Groebli’s images erupts time and again, touching the very core of our being.
"We cannot help… | | |
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| | | | | | | | | | | | | | 26 February – 1 March 2020 | | | | | | | | | | | | | | | | |
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| | | | | | | | | | | | | | Wed 26 Feb
27 Feb – 1 Mar 2020 | | | | | |
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| | | | | | The Lives and Loves of Images | | | | | | | Fri 28 Feb
29 Feb – 26 Apr 2020 | | | | | |
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| | | | | | | | © The Laboratory of Manuel Bürger |
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| | | | | | Terretoire(s) | | | | | | | – 29 Feb 2020 | | | | | |
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| | | | | | The Henie Onstad Triennial for Photography and New Media | | | | | | | – 16 May 2020 | | | | | |
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| | | | | | Every Step in the Right Direction | | | | | | | – 22 Mar 2020 | | | | | |
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© 12 February 2020 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
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