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| PHOTOGRAPHY INTERNATIONAL | | 28 Feb — 7 March 2018 | |
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Courtesy of The Armory Show | | | | | | | |
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| | | | | | | | Jens Liebchen, untitled from "Tsukuba - Narita 2011/03/13 |
| | | | Double exhibition commemorating the earthquake in Tōhoku on 11 March 2011 | | | | | | Wed 28 Feb 19:00
1 Mar – 30 Apr 2018 | | | | | |
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| | | | | | | | Maximilian Meisse: Nordsternsaal im Nordsternhaus |
| | | | | | | | | | | Thu 1 Mar 19:00
2 Mar – 29 Mar 2018 | | | | | |
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| | | | | | Ehemalige der Neuen Schule für Fotografie zeigen aktuelle Arbeiten | | | | | | Fri 2 Mar 19:00
3 Mar – 8 Apr 2018 | | | | | |
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| | | | | | | Patrick Bienert + Max von Gumppenberg
aus der Serie "Wake Up Nights", Inkjetprint, 16 x 24 cm, Edition 5 |
| | | | | | | | | | | Fri 2 Mar 19:00
3 Mar – 7 Apr 2018 | | | | | |
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| | | | | | | | Jacques Toffi: Lattakia am Mittelmeer, 50 × 70 cm |
| | | | | | | | | | | Fri 2 Mar 19:00
3 Mar – 25 May 2018 | | | | | |
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| | | | | | | | Fred Hüning: "belly and foot" aus der Serie / dem Buch private rooms, 2015 |
| | | | DAS BETT: Anzeichen eines phänomenologischen Moments | | | | | | Sat 3 Mar 19:00
4 Mar – 14 Apr 2018 | | | | | |
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| | Nature trail, Gardens by the Bay, Singapore 10/2013 (Detail)
© Olaf Otto Becker, Reading the Landscape | | | | | | | | until 28 September 2018 | | | | | | | | | | | | | Olaf Otto Becker is concerned with traces left behind by humankind on nature and that are visible. He is a witness of our time, revealing the damages caused by modern society’s careless attitude towards nature, always requiring more space. The photographs show us the impact of human activities on nature, as well as the existence of artificial nature "substitutes".
"My pictures are an attempt to report on what I've seen with my own eyes and what has, deeply moved me. For many years I've been visiting places where human beings have encountered pristine nature, either directly or indirectly, and I've watched as these places have shrunk at an alarming rate.
The power of our economic system has now become so extensive and so complexly amorphous that it is very difficult to grasp. Corporations tend to react to legislation and other attempts to control their actions simply by strategically shifting their position. There is now good reason to believe that this planet is being changed ever more quickly and uncontrollably by human overpopulation, high material expectations and general opportunism.
Humans destroy primary forests, which have been growing for millions of years, within decades. At the same time, humans create a version of nature according to their own imaginations in the megacities of the world, turning nature into a product.
'Reading the Landscape' shows three states of nature in the primary forests of Indonesia and Malaysia: intact nature, ravaged nature, and artificial nature. Altogether, the project documents a fatal ecological and economic process that has progressed beyond the point of reversibility." (Olaf Otto Becker)
Olaf Otto Becker was bo… | | |
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| | | | | | | | © Beat Presser, The Jump, Indian Ocean, Zanzibar, 2009 |
| | | | Schlüsselwerke aus der Sammlung Michael Horbach | | | | | | Wed 7 Mar 19:00
8 Mar – 5 May 2018 | | | | | |
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| | Michael Collins: Hoo Flats diptych, 2016 (right),
© Michael Collins | | | Tracing Transformations – Photographic Impressions between Landscape and Living Environment | | | | | | | 2 March – 8 July, 2018 | | | | Opening: Thursday, 1 March, 7 p.m. | | | | | | | | | | | | | The "Tracing Transformations" project presents three positions from three different countries: Laurenz Berges (*1966) from Düsseldorf, Michael Collins (*1961) from London, and Paola De Pietri (*1960) from Reggio Emilia, Italy. Their photographs focus on landscape-related and structural phenomena that they primarily discovered in the vicinity of their studios or their homes and in this respect can be studied over the long term. All three of them attentively observe the meticulous transformation of their environment and use their large-format cameras and therefore the high image quality they achieve to document factual and atmospheric conditions.
The concept of "Tracing Transformations" finds multilayered analogies in the photographs by the three artists. It can refer to weathering, but it can also illustrate a form of intuition and decomposition, dissolution and change. On display are documentary but above all contemplative photographs that deny any premature answers, take the métier to its limits, and challenge our visual curiosity.
The spectrum of motifs in the photographs by Laurenz Berges makes reference to constellations of urban landscapes, to buildings, constructions, and spaces that, used and used up over decades and often abandoned, tell stories about everyday occurrences. His preferred terrain is the Ruhr region, where he finds, for example, simply built townhouses from the postwar period; discovers the avant-corps of a building from the turn of the 20th century that displays a bizarre, apparently useless wooden frame; three bells arranged on a wall that features countless signs of use and whose nameplates are blurred; a plane tree that was planted a long time ago and whose roots have grown u… | | |
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| | Elger Esser: Gennes, France, 2001
Die Photographische Sammlung/SK Stiftung Kultur, Köln
Permanent loan Stiftung Kunst im Landesbesitz, Nordrhein-Westfalen
© Elger Esser; VG Bild-Kunst, Bonn, 2018 | | | | | A Look at the Collection (Room 2): Landscape – Transformation – Space | | | | | | | 2 March – 8 July, 2018 | | | | | | | | | | | | | With this presentation accompanying the main exhibition, Die Photographische Sammlung/SK Stiftung Kultur presents historical and contemporary works that once more intensify the artistic examination of the subject matter. Focus is placed on three selected works that were transferred from the holdings of the Stiftung Kunst im Landesbesitz, North Rhine-Westphalia, represented by the Kunstsammlung NRW, to Die Photographische Sammlung as permanent loans in 2017. These works by Boris Becker, Elger Esser, und Candida Höfer are now being thematically and formally related with positions from our own collection by Lawrence Beck, Lee Friedlander and Pierre Bonnard, and Albert Renger-Patzsch in a group exhibition.
These will be joined by conceptually related works by Albert Renger-Patzsch, Burkhard Jüttner, and Klaus Rinke from the LVR-LandesMuseum Bonn. The presentation also explores the alternative ways of depicting the landscape that exemplify humankind’s access to nature as well as the relationship between subject and conceptual realization. | | |
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| | | | | | | Paul Dobe: Common Dandelion, Taraxacum officinale, Seed head, half blown away, 9.5.1914
© Estate Paul Dobe - Courtesy Die Photographische Sammlung/SK Stiftung Kultur Köln/Permanent loan Private collection |
| | | | | | | | Nature and the Finding of Forms | | Thu 1 Mar 19:00
2 Mar – 8 Jul 2018 | | | | | |
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| | | | | | | | © Christoph Bangert (aus "hello camel") |
| | | | | | | | | | | Sat 3 Mar 16:00
3 Mar – 21 Apr 2018 | | | | | |
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| | | Luke Willis Thompson Autoportrait, 2017 Installation view, Chisenhale Gallery 2017. Commissioned by Chisenhale Gallery and produced in partnership with Create. Courtesy of the artist. Photo: Andy Keate. | | | | | | | | | | | | | until 3 June 2018 | | | | | | | | | | | | | The four artists shortlisted for the 21st edition of the Deutsche Börse Photography Foundation Prize are Mathieu Asselin, Rafal Milach, Batia Suter and Luke Willis Thompson. The winner will be announced at a special award ceremony in May 2018 at The Photographers' Gallery in London.
Works by the shortlisted photographers will be exhibited at The Photographers' Gallery London from 23 February until 3 June 2018 and subsequently tour to the MMK Museum für Moderne Kunst Frankfurt am Main as part of the triennial RAY Fotografieprojekte Frankfurt/Rhein Main 2018.
deutscheboersephotographyfoundation.org
Jury : Gordon MacDonald, Artist, Curator and Editor; Penelope Umbrico, Artist; Duncan Forbes, Curator and visiting research Fellow at the Westminster University; Anne-Marie Beckmann, Director, Deutsche Börse Photography Foundation and Brett Rogers, Director, The Photographers' Gallery as the non-voting chair | | |
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| | Valérie Belin, Lady Round Brush, 2017 | Valérie Belin, Lady Pastel, 2017
Courtesy Edwynn Houk Gallery, New York & Zürich | | | | | | | | 2 – 31 March 2018 | | | | | | | | | | | | | Edwynn Houk Gallery, New York is pleased to announce an exhibition of Valérie Belin’s most recent series, Painted Ladies, for the artist’s fourth exhibition at the gallery. The exhibition of eight large-scale black-and-white photographs will be on view 02 – 31 March 2018.
Over the past two decades, Valérie Belin has created a body of work that challenges and manipulates the indexical nature of the photographic surface to explore ideas of beauty, artifice, and illusion. Painted Ladies continues Belin’s fascination with the human body as a powerful vessel for abstraction and projected meaning. Inspired by early twentieth-century expressionist painters, Belin collaborated with make-up artist Isamaya Ffrench to paint models with various brushes in the manner of initiatory tribal rituals. These brushes lend their names to the individual titles of the works, such as Lady Round Brush, Lady Pastel, and Lady Inpainting, and also mirror the equivalent digital retouching tools found in the image-processing software that Belin employs.
Belin has stated that her work originates from painting. In these works, the models’ faces are metamorphisized and reduced to canvas-like surfaces, whose expressions have been assigned and actualized by the artist. The pictorial quality of each image, abstracted beyond portraiture, is created by the painterly interventions on the models before the photograph is taken and the digital processing of the images after the photography occurs. This interrogation regarding the nature of the image, the process involved, and what the viewer is actually looking at, creates a sense of uncertainty that questions the power of surface … | | |
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| | | | | | | | Abkhazia, Sukhum, 17/05/2016. The National Dance Ensemble 'Caucasus' before a performance. © Ksenia Kuleshova |
| | | | | | | | | | | Thu 1 Mar 18:00
1 Mar – 29 Mar 2018 | | | | | |
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| | Sebastian Stumpf: still from Puddles, 2013
© Sebastian Stumpf, Courtesy Gallery Thomas Fischer, Berlin | | | | | | | | | | | | | until 13 May 2018 | | | | | | | | | | | | | "…WHAT IS LOST IS THE IN-BETWEEN WHICH SHOULD HAVE FORMED BETWEEN THIS INDIVIDUAL AND HIS FELLOW MEN." HANNAH ARENDT
This exhibition is a poetic, abstract, fragil attempt to translate something of our times. Something indefinable, intangible but that might be recognised as the condition of one person, of several or of all: being in a state of suspension.
Neither a transition towards a possible future, nor an intermediate step, this condition relates to an inability to move forward and endless repetition of the same patterns. No longer knowing where to go, feeling out of place, having an indeterminate, blurry, precarious status and repeating gestures that have no meaning or purpose are its outward manifestations.
The state of suspension is often likened to being paralysed or stunned, but it is actually a constant, relentless, never-ending struggle to adapt. The threat comes into focus. Time seems to be running out. It is a struggle not to break free from temporality but to enter it.
Elusive and protean, the state of suspension is also something that defies depiction. How can its substance and reality be expressed? How can a person living in this state be represented, disappearing under the immediate proliferation and obsolescence of images, discourses, laws and technologies indifferent to his fate? | | |
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| | | Kassel, Germany, 2017 © Youngsook Song | | | | | | | | until 7 April 2018 | | | | | | | | | | | | | Each image invites the viewer to enter a state of reflection and contemplation through an intimate connection with nature. The scenes in each photograph are ones that we often see in daily life: a meadow, a tumultuous sea, the bluest sky on a summer day. By immortalizing these ordinary moments in time with her camera, Youngsook SONG encourages the viewer to embrace the ceaseless energy of nature. It is abundantly clear that she has a deep and personal relationship with the natural world, and she graciously shares this connection through her photographs.
This meditative series of images by SONG nurtures an evocative state of mind that allows the viewer to discover a personal way of relating to nature. She has a poetic visual sensibility that deals with a broad range of human feelings. Each image has its own presence: however, experiencing the entire series as a whole creates a more meaningful, introspective state of mind. We should feel grateful to Song for awakening our sensitivities and sharing her inspirations.
Jerry Uelsmann 2018 | | |
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| | | | | | | | Sabine Wild: Mercedes Museum |
| | | | | | | | | | | Wed 28 Feb 19:30
1 Mar – 15 Apr 2018 | | | | | |
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| | Left: The Mouth of Krishna #600, 2016 | 25 x 17 cm | Right: This is you here #145, 2017 | 25.5 x 17 cm
each Pigments on Japanese gampi paper and gold leaf | Edition 20 © Albarrán Cabrera | | | | | | | | 1 March – 12 May, 2018 | | | | Opening: Thursday, 1 March, 6pm | | | | | | | | | | | | | Albarrán Cabrera are the photographers Anna Cabrera and Angel Albarrán who work together as a collaborative duo.
Anna Cabrera was born in Sevilla, Spain, in 1969. She is a photographer and a teacher, who is currently based in Barcelona, Spain. Anna earned her B.A. in English Philology from the University of Seville in 1992.
Angel Albarrán was born in Barcelona, Spain, in 1969. He is a photographer and a curator, who is currently based in Barcelona, Spain. Angel earned his B.S. in Computer Engineering in 1994 from the Polytechnic University of Catalonia and he specialised in Mathematics at the University of Barcelona.
Anna and Angel, both have a PhD in print run and photo preservation and have had as teachers photographers such as Humberto Rivas and Toni Catany among others. In parallel to their personal photographic work, they have been requested to print for other photographers such as: Toni Catany, Claude Nori, Colita or Masao Yamamoto. They have also produced printing work for institutions such as: Fundació La Pedrera, Fundació Toni Catany, Reina Sofia Museum or Barcelona Photographic Archive.
"We are our memories. They define what and who we are and help us to understand our reality. When we remember, we do not simply recall a perfect representation of the past. We reconstruct our memories based on a set of things that happened, combined with what we perceived and imagined. Consequently, each time we recall an event, we change it. We construct a skeleton with the most important facts and fill in the gaps with our imaginations.
Thinking about the future is one of the main characteristics of being human. We visualize the future: imagining what will happen and how we'll react. When we think about the future, we do the same mental work as when we remember. We just remember a future that has not happened yet. The two activities, remembering the past and remembering the future, are deeply connected and never stop."
Albarrán Cabrera, Barcelona 2017 | | |
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| | | | | | | | | | | | | Wed 7 Mar
8 – 11 Mar 2018 | | | | | |
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| | 74
Olaf Breuning (b. 1970)
Knights, 2001
C-print mounted on aluminum 80 x 100 cm
€ 3.000 - 4.000 | | | | | | | | | | | Auction: Wednesday 28 February 2018 21:00 | | | Viewing: Fri 23 and Sat 24 February 10:00 - 22:30
Sun 25 to Tue 27 February 10:00 - 21:00 | | | | | | | | | | | | | | |
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| | | | | | A Festival on Wanderlust | | | | | | – 4 Mar 2018 | | | | | |
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© 21 February 2017 photography-now.com
Ziegelstr. 29 . D–10117 DE . Berlin . Editor: Claudia Stein + Michael Steinke . [email protected] . T +49.30.24 34 27 80 |
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