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| PHOTOGRAPHY INTERNATIONAL | | 29 Jan - 5 Feb 2020 | |
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| | photo la 2020 | | | A collaborative platform that links the international photography community; World-class artists / photographers, galleries, dealers, & publishers. Thursday, January 30th - Sunday, February 2nd
Opening Night to Benefit Venice Arts:
Thursday, January 30 (6pm - 9pm) 1 Night | 3 Days 10,000 Collectors & Enthusiasts
65 Galleries | Artists | Photographers | Experts |
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| | | Untitled, from the series Allure © Catherine Servel | | | | | | | | | | | | | until 11 March 2020 | | | | ADORNED: FASHION AND MOVING IMAGE: Friday 7 February 2020, 18.30 - 21.00 hrs | | | | | | | | | | | | | What is fashionable and what does it convey about ourselves? How do we adorn ourselves? How do we use fashion to show who we are, who we think we are, or who we want to be? The exhibition Adorned – The Fashionable Show presents intriguing and challenging fashion related photography projects created by a new generation of visual artists. They all work with fashion, but most of them are not straightforward fashion photographers. For them, fashion and style are primarily tools to construct or question identities, to empower people and to play with cultures, gender, race and ages. While some participating artists have already been discovered by well-established fashion brands, others continue to work from within their own communities. They are outspoken, challenging, critical or provocative, but always highly relevant in a time defined by fundamental power shifts in which access, diversity and identity are key words.
What we used to call fashion photography now seems to belong more and more to a spectrum of different languages. Photographers make use of fashion aesthetics to focus not so much on creating a glamorous ideal of perfect bodies with the most beautiful and precious clothes, but instead on telling stories of social and political inclusivity, diversity, identity, everyday life and an ever-changing panorama of lifestyles. This can be seen through the casting of the models, the commissioned photographers, and the geographical locations chosen for photoshoots. They challenge and question the notions and the standards of what beauty, glamour, style and ideal is. They often refuse to be labelled as fashion photographers altogether, instead creating hybrid identities for themselves in which concepts of documentary, performative arts or the chronic… | | |
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| | | Exhibition view: Aitor Ortiz, Expanded Photography 2002–2019, Galerie Springer Berlin (28 September 2019–1 February 2020). | | | Aitor Ortiz » EXPANDED PHOTOGRAPHY 2002 – 2018 | | | | Finissage: Saturday, February 1, 2020 from 1 – 5 pm | | | | Concert: 3:00 pm: Inspired by Aitor Ortiz’s series Vicinay and Link, which were created in the Vicinay ship-chain factory in Bilbao, the Spanish multi-media artist and composer Gorka Alda produced a corresponding. The composition could most recently be heard at the Aitor Ortiz exhibition at the Museo Universidad de Navarra in Pamplona, 2019. The musicians Christiane Gerhardt, Jakob Gerhardt and Tilman Muthesius will be improvising on top of the sounds of this composition. | | | | | | | | | | | | | In the exhibition "Expanded Photography 2002–2018", Galerie Springer Berlin is showing three different work cycles by the Basque artist Aitor Ortiz in which traditional photographic boundaries are surpassed in surprising and fascinating ways.
The highlight of the exhibition is the presentation of works from the related series Vicinay and Link (2018). Vicinay is a chain factory in the former industrial area of Zorrotzaurre in Bilbao. The manufacturing plant, which produced a total of 10,000km of ship-mooring chains over a 60-year period, was moved to a new location as a result of urban-development measures and gentrification. Ortiz, who grew up in the vicinity of the industrial site and has been based there via his studio for many years, had parts of the steel floor panels in the former manufacturing plant removed piece-by-piece, involving extensive effort. These heavy steel plates are characterised by distortions, folds and scars resulting from decades of pulling kilometres of extremely heavy, hot chains. The steel plates from Vicinay, which are being shown in the exhibition in the original (100 x 100cm), are therefore prints or impressions in the wider sense of the words.
The related series Link is the photographic treatment of Vicinay. With great clarity and striking sharpness, the works give expression to the work processes that formed or deformed the steel plates over decades, and to the cracks and ‘injuries’ caused to them as a result.
In the series Espacio Latente (2008/2018) and Modular Mod (2002), Ortiz works with space and architecture as source elements in order to puzzle us both visually and cognitively. His works, which he presents only in back an… | | |
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| | | | | | | | Capitole, Lausanne, Schweiz, 2015 © Richard Thieler |
| | | | | | | | | | | | Fri 31 Jan 18:30
1 Feb – 1 Mar 2020 | | | | | |
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| | | Untitled, Lambda print on Aludibond, Edition of 6, © 2019 Thomas Wunsch | | | | | | | | 2 February - 3 May, 2020 | | | | Opening reception: Sunday, 2 February, 5pm | | | | | | | | | | | | | The photographs of Thomas Wunsch depict many different subjects and by making those subjects abstract - beyond recognition - he confers them a special aesthetic value. It is in these pictures that we encounter a kafkaesque symbolism and a very different kind of emotion. Objects lose their outline and seem to disappear. It is the in-between spaces that Thomas Wunsch wants to fill in. Looking at these photographs we can also get a sense of time and space, of movement and security - or a lack of those qualities.
Thomas Wunsch skillfully plays with our sensory perception. Our eyes are stimulated by light. The brain then interprets these stimuli by adding information to form a visual image. Imagination creates our view of the world by using the filters of our emotions, perceptions and experiences. Thus the photographs of Thomas Wunsch give the viewer more than just a fixed view of the world. "What you see is what you get" is the photographer’s underlying concept.
The highly distinctive photographs of Thomas Wunsch are a result of his attention to detail and his sophisticated digital processing, giving them a magical and mysterious quality. And because they are also very rhythmic, the distinguished German record company ECM has been publishing them for the past 20 years as CD and LP covers.
Thomas Wunsch started working in the field of photography at age 17, when he moved to the USA and became a member of the Kodak Young Photographers League. When he opened a photo studio in Hamburg he devoted himself to fashion, still life and portrait photography (he took pictures of Barbra Streisand, Sir George Solti, Frank Zappa, Yoko Ono, Ethan Hawke, Meg Ryan, Christo, Juergen Teller, Dalai Lama, Jeff Koons, Debra Winger, Adrien Brody, Hilar… | | |
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| | | | | | | Haute Couture des Himmels: "Viking", 2018
Recom Art Ditone 140 x 95cm, Unikat
© Christian von Alvensleben |
| | | | | | | | | | | | Fri 31 Jan 18:00
1 Feb – 7 Mar 2020 | | | | | |
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| | | Self Portrait with My Mother, 2011 © Anna Di Prospero | | | | | | | COLLEZIONE DONATA PIZZI | | | | | | | | 1 February – 26 April, 2020 | | | | Opening: Friday, 31 January, 7 pm | | | | | | | | | | | | | Five decades of photography, as seen from a female perspective: with RESISTANCE & SENSIBILITY, the Fotografie Forum Frankfurt presents 150 works by more than 60 Italian women photographers from 1965 until today. Various facets of daily routines, social and contemporary history are on display, mainly with a focus on women’s lives. Hopes and illusions, relationships, struggles and going beyond borders are just some of the aspects addressed.
All works are part of the Collezione Donata Pizzi. The collection, begun in 2014 by the Italian photographer and collector Donata Pizzi, is one of the few collections worldwide with works exclusively by women artists. It currently comprises more than 250 works by 70 Italian photo-graphers of different generations and is constantly growing.
True to the collection, RESISTANCE & SENSIBILITY also presents important phases and themes in recent Italian photography. Many of the early works in the exhibition are in the documentary and storytelling tradition. These include Letizia Battaglia’s sometimes shocking testimonies to the deeds of the Sicilian Mafia, Paola Agosti’s touching black-and-white descriptions of rural poverty in northern Italy, and Giovanna Borgese’s journalistic representation of women from the left-wing extremist terrorist group Prima Linea. Seldom shown until recently: Lisetta Carmi’s sensitive pictures of the transvestite community in Genoa from 1965 onwards.
The exhibition focuses on positions of feminism and the questioning of clichés of the typically female. Agnese De Donato, co-founder of the feminist magazine … | | |
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| | | | | | | | Mark Olich: from the series: "Theatrical Sketches, 2016, 32 x 40 cm |
| | | | | | | | | | | | Fri 31 Jan 19:00
31 Jan – 7 Mar 2020 | | | | | |
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| | | | | | | | Olaf Breuning, We Are All In the Same Boat, C-Print, 6 Ed. + 2 AP: 122 x 155 cm (48 x 61 in.), 2018 |
| | | | | | | | | | | | Thu 30 Jan 19:00
30 Jan – 28 Mar 2020 | | | | | |
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| | 1976 - New York, New York, USA: Teenage boy pours water down a girl's pants at park.
© Stephen Shames, Courtesy Galerie Esther Woerdehoff | | | | | | | | 28 January – 7 March 2020 | | | | | | | | | | | | | For this first exhibition of the year, the Esther Woerdehoff Gallery is proud to present a selection of exclusive vintage prints by Stephen Shames, the renowned documentary photographer born in 1947.
The young people that Stephen Shames photographed in the late 1970s, in the finest tradition of American documentary photography, were born poor in America, neglected by adults and institutions, plagued by the violence of society. The social and political commitment of Stephen Shames, who began his career in the 1960s as a photographer for the Black Panther Party, is clearly seen in these reportages, often shot over several years.
Stephen Shames captures American youth through the prism of poverty and aims to be the voice of those who are not heard. Through his photographs and their diffusion, particularly in the form of illustrated essay books, he insists on the idea that poverty is the source to all social problems and criminal behaviour. Thrown into adulthood, unprotected, the extremely young people that Shames photographs show this, without any pathos or staging. The photographer stands beside them and records the dramatic density of their daily lives, in black and white photographs full of emotion and strength. | | |
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| | Des Oiseaux 23 (2019)
Archival pigment print
Edition of 6
33 x 48 cm
© Terri Weifenbach | | | | | | | | ... until 22 February 2020 | | | | | | | | | | | | | Galerie Miranda is delighted to present a solo exhibition of recent works by Terri Weifenbach (b. USA, 1957), the artist's first solo show in France. The exhibition will feature selected prints from Weifenbach’s landmark series Des Oiseaux (2019), Centers of Gravity (2017) and The Politics of Flowers (2005). Given the importance in Weifenbach’s practice of bookmaking, the exhibition will also include rare artist books that will be exhibited alongside the prints. For the duration of the exhibition Terri Weifenbach will host at Galerie Miranda a cycle of private photobookmaking ateliers for small groups, which will be open upon reservation on a first-come basis.
Des Oiseaux (2019): Photographed in the garden of the artist's home in Washington DC, the images in this series capture the secret life of the many species of birds that inhabit our cities. Often photographing at ground level, the artist reveals the dives and looping spirals of sparrows, finches, and warblers hidden in tree trunks and amongst the leaves. The changing seasons are captured through the evolving colours of the garden and the artist deploys both a blurred and an ultra-precise focus that construct an intimate observation into this small and delicate world.
Centers of Gravity (2017): When working on Des Oiseaux, Weifenbach was often intrigued by details and it was natural for her to find the gestures of the flying and standing birds worth noting for themselves. She chose to separate the birds from their background and print in black and white in order to bring full attention to the birds' shapes, gestures and details. In the prints they are uniquely individual representations of a single moment. I… | | |
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| | | Cindy Sherman, Untitled #93, 1981 © Courtesy of the artist and Metro Pictures, New York | | | | | | | Identity and transformation in contemporary art | | | | | | | | 29 January – 21 June 2020 | | | | | | | | | | | | | The exhibition deals with the subjects of identity, whose constructions and forms of transformation are central questions of contemporary art and society. New technologies, such as the Internet, gene manipulation or cloning, are additional cause to rethink the term identity in terms of subject generation and definition.
Based on Cindy Sherman's work, which is characterised by a consistent and critical to provocative questioning of the construction of identities, and whose visual worlds are fed by the overwhelming flood of images from television, films, magazines, the World Wide Web and art history, subjects like deconstruction of the portrait and cultural, gender-specific and sexual stereotypes, as well as the construction and fiction of identity, are examined in the form of comparisons of works by Cindy Sherman and contemporary artists.
Sherman's characters reflect our contemporary culture with its self-made celebrities, reality shows and social media narcissism. With her wide spectrum of scenarios, the artist demonstrates that the artificialities of such identities, which are often only created by representation – for example, in film and photography – result in identity being more easily selected and (self-) constructed than ever and shaped according to requirements, but nonetheless still determined by social standards. At the same time, the new possibilities for current individuality to recreate itself are critically questioned by subtle means.
The exploration of identity, self-image, role-playing and sexuality found its way into art primarily through women artists as part of the women's movement in the 1960s and 70s. Both in society as well as in art, a fundamental upheaval of social norms and cultural cert… | | |
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| | | Pinwall, C-prints on a wooden board (collage), 2003 © Daniele Buetti | | | | | | | | | | ... until 23 February 2020 | | | | | | | | | | | | | Photographic images capture and freeze moments: they fragment bodies, arrest movement and render our behaviours observable. Through photography, we can detect and categorise even the slightest deviations from the norm. In turn, photographs not only reinforce these norms, but can be instrumental in spawning new or deviating forms of behaviour: we may adapt to photographic models or tailor behaviours and appearances to the camera. SITUATIONS/Deviant examines the mechanisms of socio-cultural normalisation and deviation in the age of digital surveillance systems, algorithmic classification tools and preemptive technologies.
SITUATION #186: Esther Hovers, False Positives, 2015–2016
Video surveillance systems have become an integral part of public space. Like an omnipresent eye, they monitor our environment 24/7 and are crucial in the analysis and investigation of crimes. Intelligent surveillance systems not only reverse this temporal logic, but can even go one step further: they are able to detect deviant, potentially criminal behaviour based on specific corporeal signatures and can thus initiate an intervention even before a crime has occurred. For False Positives, Dutch artist Esther Hovers worked with intelligent surveillance system experts and based her project on a total of eight diagnosed ‘anomalies’: Deviations from the usual behavioural norms in public space, expressed through the body language and the movements of pedestrians. These deviations, tracked with visual technologies, are translated into data an… | | |
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| | | | | | | | | | | | | | Wed 29 Jan 14:00
30 Jan – 2 Feb 2020 | | | | | |
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| | | | | | | | | | | | | | Thu 30 Jan 18:00
30 Jan – 2 Feb 2020 | | | | | |
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| | 257.
Alexandre Grinberg (1885-1979)
Moscou, c. 1928. | | | PHOTOGRAPHIES DES XIXE ET XXE | | | | | | Auction: Thursday, January 30th at 1.30 p.m.
Vente : Jeudi 30 Janvier 2020 - 13h30 | | | Specialist : Antoine Romand -
Assisted by François Cam-Drouhin and Agathe Ouallet
22, rue Bisson 75020 Paris, + 33 (0)6 07 14 40 49
[email protected] | www.antoineromand.fr
Public exhibitions at Hôtel Drouot - SALLE 11
Wednesday, January 29th, 11.00 am to 06.00 pm
Thursday, January 30th, 11:00 am to 12:00 am
Auctioneer : Charles de Bournazel
22 rue Drouot - 75009 Paris
Tel. : +33 (0)1 47 70 00 36
[email protected]
Viewing on appointment at the specialist office
Online catalogue : www.jj-mathias.fr
Live bids : www.drouotonline.com | |
| | | | | | | | | | | | | 19th century & modern photographs by :
Gustave Le Gray, Kimbei, Abdullah Frères, James Robertson, Beato, Dumas, Bonfils, Béchard, Baldus, Marville, Braun, Carjat, Nadar, Petit, Disdéri, Durandelle, Chevojon, Eugène Atget, Désiré Charnay, Pierre Verger, Robert Doisneau, René Zuber, Paul Almasy, Willy Ronis, Denise Bellon, Pierre Boucher, Roger Schall, Willy Rizzo, Gunnar Larsen, Jacques Henri Lartigue, Jeanloup Sieff, Douchan Stanimirovitch, Lucien Clergue, René Burri, Laure Albin Guillot, Frantisek Drtikol, Sabine Weiss, Marcelle d'Heilly and miscellaneous.
Over 63,000 photographs in 445 lots.
Daguerreotypes. 19th century photographs. Paris. France. Marines. Mountain. Travel. Europe. Africa. Middle East. Asia. Pacific. South America. North America. Pictorialism. Amateur photography. Cartes de visite. Portraits. Artists. Writers. Politics. Architectures. Animals. Freaky. Wars. Music Hall. Cinema. Nature. Nudes. Science. Industry. Reports. Humanist photography. | | |
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| | | | | | | | | | | | | | Fri 31 Jan 18:00
31 Jan – 29 Feb 2020 | | | | | |
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| | | Emmanuele Andrianjafy, San titre (from the series Nothing’s in Vain, 2014-2016), 2016 | | | | | | | Bamako Encounters - Streams of Consciousness | | | | | | | | ... until 31 January 2020 | | | | | | | | | | | | | | | The 12th edition of the Bamako Encounters - African Biennale of Photography—the singular photographic and lens-based art biennale on the African continent—will run in Bamako, Mali, from November 30, 2019 to January 31, 2020, celebrating its 25 years of existence since the first edition in 1994.
Conceived by Artistic Director Bonaventure Soh Bejeng Ndikung and a curatorial team comprised of Aziza Harmel, Astrid Sokona Lepoultier and Kwasi Ohene-Ayeh, joined by artistic advisors Akinbode Akinbiyi, Seydou Camara and scenographer Cheick Diallo this edition is an invitation to think about the artistic practice of photography as a stream of consciousness, as well as to consider photography beyond the tight corset of the photographic. The moment of a snapshot emanates from a flow of thoughts and associations reflecting the photographer’s inner voice, which is unavoidably and constantly in motion.
Titled Streams of Consciousness, after the eponymous 1977 record by Abdullah Ibrahim and Max Roach, the Biennale will employ multiple understandings of how such streams can be used as photographic tools. Tools that bridge the African continent with its various diasporas, in addition to conveying cultures and epistemologies. "Africa" has, after all, long ceased to be a concept limited to the geographical space called Africa. Africa as a planetary concept relates to people of African origin, the I & I, that are spread over the world in Asia, Oceania, Europe, the Americas and the African continent.
The exhibition will apply the notion of the stream of consciousness as a metaphor for the flux of ideas, peoples, cultures that flow across and along with rivers like the Niger, Congo, Nile or Mississippi.
This edition of the Biennale listens carefully to remoteness, invisible matters, hitherto erased voices and images, as well as celebrating politics and poetics of (in)animate ecosystems. It deliberates on the role of collectives in African photographic practices, and the possibility of collectively telling our own stories through images, arguing for the fact that in society we are not individuals, but dividuals: divisible entities that together make up a larger collective. In an effort to go beyond the frame of photography as a visual experience, this Biennale will engage with the textuality, the tangibility, the performativity and especially the sonicity of photography. The sonic properties of photography are envisioned as a stream of consciousness wherein the photographic and phonographic intersect. How can we understand the lyricism of the photographic in that space of cognitive flux? The stream in streams of consciousness is a spectrum that encompasses the conscious and unconscious and forms a space in which the notions of consciousness and unconsciousness collapse into each other. | | |
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| | | | | | | | © The Laboratory of Manuel Bürger |
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| | | | | | Terretoire(s) | | | | | | | – 29 Feb 2020 | | | | | |
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| | | | | | IMAGINED COMMUNITIES | | | | | | | – 2 Feb 2020 | | | | | |
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| | | | | | Every Step in the Right Direction | | | | | | | – 22 Mar 2020 | | | | | |
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© 22 January 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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