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| PHOTOGRAPHY INTERNATIONAL | | 27 Feb - 6 Mar 2019 | |
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| | Photography Festivals | | | The tenth edition of Chobi Mela, one of the most prestigious photography festival in Asia launches on 28 February 2019 in Dhaka, Bangladesh.
On the same day, in the neighborhood, in India
Kolkata International Photography Festival 2019 is opening with more than 250 photographers from over 40 countries, showcasing 1000 + photographs.
The Budapest Photo Festival (28.02. – 20.04.) is an annual city-wide exhibition series that represents the contemporary and classical values of the photography by the presence of the Hungarian and international art scene.
Month of Photography 2019, MoP Denver Colorado, is a biennial celebration of fine art photography with hundreds of collaborative events throughout the region. |
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SUSAN MEISELAS, Nicaragua in Time;
at Drik Gallery, Dhaka, Bangladesh | | | | | | | |
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| | | Babysitting 2014, from the series Happy Valley © Eva O'Leary | | | | | | | Winner Outset | Unseen Exhibition Fund | | | | 1 March – 30 April 2019 | | | | Opening and Artist Talk: Thursday 28 February 2019, 17:30 | | | | | | | | | | | | | During Unseen Amsterdam 2018, Eva O'Leary (b. 1989) was selected by an international jury as the recipient of the Outset | Unseen Exhibition Fund. Foam is proud to present her solo exhibition Happy Valley at Foam 3h.
Happy Valley is the nickname for the town State College in Pennsylvania (US), the hometown of American-Irish artist Eva O’Leary (b. 1989). The place long stood as the poster-child for a perfect suburban American life. A tranquil, comfortable and blissful place where life and work revolve around the renowned Penn State University and its popular football team, The Penn State Nittany Lions. The artist left Happy Valley at the age of 18, but the place has continued to haunt her work since. At first sight, her photographs paint a crisp and colourful portrait of an American town and its inhabitants. However, the almost violent acuity of the images simultaneously evokes a deep sense of unease.
In O’Leary’s Happy Valley no-one ever seems to age. The faces of its inhabitants appear in porcelain masks, suspended in eternal youthfulness. Their portraits are anonymous and archetypical, what lies behind the façade (Anger? Sadness? Repressed violence?)remains trapped in the frame. Each image presents a moment of everlasting suspension that is at once seductive and terrifying. The charade goes awry once we realize that beneath the exterior not everything is what it seems.
During the Unseen Photo Fair 2018, Eva O’Leary was selected for the Outset | Unseen Exhibition Fund by an international curatorial committee. Her exhibition at Foam is the result. | | |
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| | | Kleinstadt #23, 2016, 60 x 70 cm or 30 x 40 cm, Ed. of 7 + 2 AP | | | | | | Kleinstadt (Small Town) | | | | until 16 March 2019 | | | | | | | | | | | | | Ute and Werner Mahler (born 1949 and 1950), were key figures in photography in the former GDR and co-founded the renowned photography agency Ostkreuz after the fall of the Wall. After having pursued successful careers for decades independently, the couple presented their first joint project in 2011, a series of black-and-white portraits titled “Monalisas of the Suburbs”. In 2014, a second joint project followed, “The Strange Days”, a series of large format landscape studies. Now the couple presents a new joint project and its third joint publication, “Kleinstadt” (Hartmann Projects), an expedition to the German hinterland. A visit to the small German town, which consists of the pictures of many small towns: from Arzberg over Bitterfeld, Hofgeismar, Pasewalk and Zimmern to Waden and Zehdenick. “We have been interested in this topic for a long time, we worked on suburbs and non-exciting places before. We wanted to visit cities that are not in any travel guide and that are too far from the highway for people to pass through,” explains Ute Mahler in an interview with ZEIT Magazin. “These places are biotopes in which life seems manageable. Where there is great community, but also strong social control. Where there are no attractions, the little things become exciting.” | | |
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| | | © CNA/Romain Girtgen | | | | | | | UNESCO Memory of the World | | | | | | | | OPEN TO THE PUBLIC AGAIN FROM FRIDAY 1 MARCH! | | | | The Family of Man comprises 503 photographs by 273 artists from 68 countries, and was brought together by Edward Steichen for the New York Museum of Modern Art (MoMA). | | | | | | | | | | | | | Presented for the first time in 1955, the exhibition was meant as a manifesto for peace and the fundamental equality of mankind, expressed through the humanist photography of the post-war years. Images by artists such as Robert Capa, Henri Cartier-Bresson, Dorothea Lange, Robert Doisneau, August Sander and Ansel Adams were staged in a modernist and spectacular manner.
Having toured the globe and been displayed in over 150 museums worldwide, the final, complete version of the exhibition was permanently installed in Clervaux Castle in 1994. Since its creation, The Family of Man has attracted over 10 million visitors and entered the history of photography as a legendary exhibition. In 2003, the collection was inscribed in the UNESCO Memory of the World register.
HISTORICAL SUMMARY1955: exhibition of The Family of Man at the Museum of Modern Art (MoMA), New York 1955-1962: travelling exhibition, seen by 10 million people throughout the world 1964-1966: The US Government donates the last complete version of the travelling exhibition to Luxembourg. Edward Steichen visits his native country and expresses his wish for The Family of Man to be exhibited permanently at Clervaux Castle. 1974-1989: partial exhibition of the photographs at Clervaux Castle 1990s: restoration of the historical photographs 1994 (-2010): establishment of the collection as a permanent exhibition at Clervaux Castle 2003: inscription on the UNESCO Memory of the World register July 2013: reopening following renovation of exhibition rooms and restoration of photographs | | |
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| | | Robert Voit: Strand II, Japan, 1998, C-Print, 125 x 155 cm, Ed. 6 + 2 AP | | | | | | | | 2 March – 13 April, 2019 | | | | Opening: Friday, 1 March, 6-8pm | | | | | | | | | | | | | Robert Voit, former master class student of Thomas Ruff at the Kunstakademie Düsseldorf, became known to a wider public with his series "New Trees". With this documentary work about mobile phone masts, which are camouflaged with giant coniferous tree, palm or cactus covers or disguised as flagpoles or even church crosses, he dedicates himself to the questions of authenticity and artificiality, nature and culture: What is still real in our world and what is only a backdrop?
In his black-and-white series "The Alphabet of New Plants," based on Karl Blossfeldt's "Art Forms in Nature", Voit continues his photographic analysis of illusions and fakes: only at second glance does the viewer recognize the artificial flowers.
In addition, Robert Voit has been travelling to Japan for decades to work there artistically, and since 2012 also to document the consequences of the nuclear catastrophe in Fukushima in a long-term project.
Robert Voit, born 1969 in Erlangen, studied with Gerd Winner at the Akademie der Bildenden Künste in Munich before becoming Thomas Ruff‘s master class student at the Kunstakademie Düsseldorf in 2001. From 2011 to 2013 Robert Voit taught as a lecturer and guest professor at the Academy of Fine Arts in Nuremberg. With New Trees (Steidl, 2014) and The Alphabet of New Plants (Hatje Cantz, 2015), he presented two highly acclaimed monographs, each of which was awarded the German Photo Book Prize in silver. Robert Voit has received numerous prizes, including the Sophie Smoliar Award (2000), the European Architecture Photography Prize (2003), the hausderkunst Prize (2004) and the sponsorship of the International Lake Constance Conference. Robert Voit has held the… | | |
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| | | | | | | Phil Collins: britney #2, 2001
C-print auf Aludibond
Courtesy Sammlung Falckenberg/Deichtorhallen Hamburg
© Phil Collins |
| | | | | | | | | | | | Thu 28 Feb
1 Mar – 4 Aug 2019 | | | | | |
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| | Zeynep Kayan, "From the series ‘Temporary Sameness’: Branch"
Video, 00’30’’
Courtesy of the artist and Zilberman Gallery. | | | | | | | | 16 February – 4 May, 2019 | | | | | | | | | | | | | Zeynep Kayan’s artistic practice focuses on exploring the variations of a repetitious structural setup through photography, video and sound pieces in relation to portraiture and performance. In her previous work, she reveals the change and the desire for movement embedded in the production process as she disturbs the surfaces of images. Her works that are produced for "Temporary Sameness" carries the movement from the surface of the image to the "within" by trying to treat the body as yet another material.
The video works and the screenshot photographs from them complete each other and aim to exhaust the possibilities of material and movement. Kayan takes the camera as a mirror and watches her own body during her experiments with movement; in the recorded processes of temporary experimentation, spontaneous elements intertwine with setup choreographies. While the audience encounters with Kayan’s simultaneous decisions, the screenshots represent the selected moments from these processes and the image transforms into a material that is repeated, deconstructed and divided.
Kayan, in interaction with objects like pipes, mirrors, scissors, heat insulators in her almost performative videos, sometimes mimics these objects, tries to fit into the voids they create and at other times hides behind them. The body, which defines itself through the surrounding objects and is the source of movement doesn’t represent a portrait of Kayan but is rather an indifferent, neutral figure without an identity. During movement experiments in empty spaces, the posture cannot help but blend in with the materials used, while the objects lose their functions and turn into mere matter. The videos, in which it is not clear where the body is po… | | |
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| | | RIVER OF PEOPLE WITH ELEPHANTS IN DAY, 2018 © Nick Brandt Courtesy ATLAS Gallery London | | | | | | | until March 7th 2019 | | | | | | | | | | | | | Atlas Gallery is delighted to announce the launch of Nick Brandt's much anticipated new body of work THIS EMPTY WORLD. Please join Atlas Gallery this February for the release of the prints, the new exhibition and the publication of Brandt’s new book.
The series addresses the escalating destruction of the natural world at the hands of humans, showing a world overwhelmed by runaway development, where there is no longer space for animals to survive.
Photographed on unprotected, inhabited community land in Kenya, the project is shot mostly at night with constructed sets and an enormous cast. Each image is a combination of two moments in time cap- tured weeks apart, almost all from the exact same locked-off camera position. For the very first time, Brandt's new work is in colour and digital medium format. | | |
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Steve Schapiro
David Bowie. Kabbalah. Los Angeles, 1974
© Steve Schapiro, courtesy of Fahey/Klein, Los Angeles |
Steve Shapiro
David Bowie. Goggles and Brick Wall.
Los Angeles, 1974
© Steve Schapiro, courtesy of Fahey/Klein, Los Angeles |
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| | | | Steve Schapiro »
David Bowie. The Man Who Fell to Earth | | | | until 31 March 2019 | | | | | | | | | | | | | The Lumiere Brothers Center for Photography presents the exhibition David Bowie. The Man Who Fell to Earth, which unites two prominent names of the 20th century – the worldwide famous photographer Steve Schapiro and the musician and rock icon David Bowie.
This exhibition shows never-before-published photos from the 1970s, including the performance with Cher on the Cher Show, and shots from the film set of the popular movie The Man Who Fell to Earth. After that role, Bowie entrenched the character of an odd creature, a stranger and a temporary visitor of our planet. | | |
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| | | | | | | | María José, Paola y Nereida, 2014 |
| | | | | | | | | | | | Thu 28 Feb 18:00
28 Feb – 16 Mar 2019 | | | | | |
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| | | peter campus, Head of a Sad Young Woman, 1976–1977 | | | | | | | | March 1, 2019 – March 31, 2019 | | | Head of a Sad Young Woman is presented in partnership with The Bronx Museum of the Arts’ survey exhibition peter campus: video ergo sum, on view March 6–July 22, 2019, and on the occasion of the artist’s public discussion at The Armory Show with Tina Rivers Ryan, Assistant Curator at the Albright-Knox Gallery, on March 10th at 3:00pm.
Cristin Tierney Gallery will also have a booth of campus’ single-channel videos on display at the fair from March 6-10, 2019 in the Galleries section in booth #827, and the gallery will open at its new location — 219 Bowery, Floor 2 — with work by campus on view.
The Armory Show | The Bronx Museum of the Arts | Cristin Tierney Gallery | | | | | | | | | | | | | | |
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| | | Catherine Balet: from the series "Moods in a Room" | | | | | | | | until 30 March 2019 | | | | | | | | | | | | | After the success of Catherine Balet's last series "Looking for the Masters in Ricardo’s Golden Shoes" in which she revisited the history of photography, the artist creates once more never before seen compositions, through a series she has been working on for nearly twenty years.
Playing with transparencies and surrealist collages, Catherine Balet's new series "Moods in a Room" plays with virtual reality by mixing pictorial textures and digital photographic elements. She superimposes them in multiple layers, giving a material feel to the unreal and a virtuality to her material images! The resulting compositions reveal the various states of consciousness of the artist, and illustrate her commitment to endlessly explore the dualities between content and absence, space and surface.
The technique the artist adopted, using layers of images, allows her to create photographs that play on many levels and whose transparency shapes the depth of the pictorial space. The underside (made with a digitized version of her own paintings) exists as much as the top layer and reveals a matter usually unknown in photography. The mat colored surfaces blend with the brighter areas of the photograph. Besides, the images in the series reveal, through the superimposition of layers of different architectures, a fantasy urban space where cold and warmth coexist. A fictitious setting where strange and familiar stories are played, animated by more or less ghostly characters.
Fannie Escoulen, curator of the exhibition adds: "No longer a painter but far from a classical photographic practice, Catherine Balet reveals an introspective work made up of a multitude of layers, like a palimpsest, drawing references to the great movements of painting from her unconscious nourished by the history of art. By deliberately freeing herself from it, she depicts in these picture-paintings some kind of hallucinatory closed doors scenes from which her characters do not seem to be able to escape." | | |
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| | | | | | | Shanghai 2017
Fu 1088 - Portrait 03
© Erwin Olaf, courtesy Magda Danysz Gallery |
| | | | | | | | | | | | Sat 2 Mar 16:00
2 Mar – 30 May 2019 | | | | | |
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| | | | | | | | | | | | | | Wed 6 Mar 20:30
Preview: 2 – 6 Mar 2019 | | | | | |
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| Awards / Call for entries |
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| | | | | | | | | | | | | | Thu 28 Feb 11:00
28 Feb – 9 Mar 2019 | | | | | |
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| | | | | | | | | | | | | | Thu 28 Feb
1 Mar – 28 Apr 2019 | | | | | |
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| | | | | | | | CAO Fei, China b.1978 / Asia One (still) 2018 / HD video installation: 63:20 minutes, sound, colour, ed. 1/8 / Purchased with funds from Tim Fairfax AC through the Queensland Art Gallery | Gallery of Modern Art Foundation 2018 / Collection: The Queensland Art Gallery / © The artist |
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| | | | | | | | Zach Blas and Jemima Wyman “im here to learn so :))))))” (2017), HD video still four-channel, HD video installation (courtesy of the artists) |
| | | | As We May Think: Feedforward | | | | | | – 10 Mar 2019 | | | | | |
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| | | | | | | | Zanele Muholi, 2018, installation view, Kochi-Muziris Biennale. Courtesy: Kochi Biennale Foundation |
| | | | Possibilities for a Non-Alienated Life | | | | | | – 29 Mar 2019 | | | | | |
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| | | | | | | | Sonia Madrigal, El abance. XVIII Bienal de Fotografía. Foto: Cortesía del Centro de la Imagen. |
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| | | | | | | | | | 11th Moscow International Biennale | | | | | | | Feb – April 2019 | | | | | |
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| | | | | | | | Leigh Bowery & Trojan, 1983 © Jonny Rosza |
| | | | | | | | The Revolt Against Innocent | | | | | | | 14 exhibitions, concerts, screenings | | | – 3 Mar 2019 | | | | | |
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© 12 Feb 2019 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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