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| PHOTOGRAPHY INTERNATIONAL | | 3 – 9 May 2017 | |
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| | Head On Photo Festival Sydney 5-28 May 2017 The Head On Foundation believes that all photo-artists need a fair chance to show their work. This is why work submitted to the festival is judged without the artists’ names or pedigrees so the proposals stand on their merit. 100 venues | 180 exhibitions + events | 800 artists |
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| | | | | Prix du Livre Images Vevey: Jono Rotman »
After a three-day deliberation, the Grand Prix Images Vevey jury, led by artist Christian Marclay and comprising Simon Baker (Curator of photography and international art, Tate London), Lars Boering (Managing Director, World Press Photo Amsterdam), Darius Himes (Head of Photographs, Christie’s New York) and Luce Lebart (Director of the Canadian Photography Institute), has awarded the prizes.
www.images.ch |
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Grand Prix Images Vevey 2017/2018
Peter Puklus (HU)
The Hero Mother – How to build a house | | | | | | | |
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| | Kåre Kivijärvi
Solon med torsk (Solon with cod) 1965
Offset print 50 x 70 cm | | | | | | | | to 9 June 2017 | | | | | | | | | | | | | Michael Janssen is pleased to present the first solo exhibition in Germany by the Norwegian photographer and artist Kåre Kivijärvi (1938-1991). On view will be a selection of his early iconic black and white vintage prints. Additionally we screen a documentary film about him by the known Norwegian filmmaker Knut Erik Jensen. Photographer Kåre Kivijärvi was at his most productive during the 1960s. Some of his more famous images are of the fishing community in Barents Sea. Kivijärvi’s breakthrough in Norway came in 1971 when he was selected as the first photographer to participate in Statens Høstutstilling, the State-sponsored art exhibition held every autumn in Oslo. Today, he is regarded as a pioneer in Norwegian photography. Kivijärvi used the term “the moment of truth” to describe the moment he took a picture. Kivijärvi was born in Hammerfest and always professed a connection to the ethnic heritage of the Kven and to Finland. After working as a photographer‘s apprentice in Finnmark Dagblad, he was in 1959 accepted at Folkwangschule für Gestaltung in Essen, Germany, where he studied with Otto Steinert. After having served in the Norwegian air force as an aerial photographer, he accepted a position as freelance photographer for Helsingin Sanomat‘s weekly newsmagazine Viikkosanomat, which brought him on assignment to Greenland, the Soviet Union, Afghanistan, India, and Nepal. It can be said that he contributed to establish photography as a distinct art form in Norway. Kivijärvi‘s photographic style is noted for its stark, sparse imagery. His photo essay on Laestadians in Northern Norway in 1962 is a noted example of this style, as are his depiction of desolate l… | | |
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Arnold Odermatt: Emmenten, 1980
Gelatin silver print, 45 x 45 cm © Urs Odermatt, Windisch |
Arnold Odermatt: Oberdorf, 1968
Gelatin silver print, 45 x 45 cm © Urs Odermatt, Windisch |
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| | | | | | | | | – 6 May 2017 | | | | | | | | | | | | | In this exhibition, Galerie Springer Berlin presents selected works by Arnold Odermatt from “Feierabend” (After Work), which has been published by Steidl Verlag in October 2016. The book includes photographic series of objects and people from within the photographer’s environment, such as funiculars, cattle trade, village events and portraits. Odermatt also documented the then ground-breaking construction of the Swiss Lopper motorway.
This is the first outing of these masterful images, running in parallel to the large, ongoing exhibition of Odermatt’s works in Zurich, curated by Daniel Blockwitz. On the occasion of the Zurich exhibition, Hartmann Books released an extensively biographical publication which fills the gap in German-language literature on Arnold Odermatt: “A good image must be sharp!” A book launch with the team from Hartmann books is planned for the gallery weekend. | | |
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| | | | | | | | Michael Najjar spacewalk, 2013HD video 16:9 Single channel / stereo 3.31 minutesCourtesy Benrubi Gallery and the artist, © Michael Najjar |
| | | | | | | | spacewalk (2013) equilibrium (2013) skyfall (2015) | | 4 May – 16 Jul 2017 | | | | | |
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| | | | | | | | Roger Ballen: Altercation, aus Asylum of the Birds, 2012 |
| | | | | | | | Photographies and Videos | | Fri 5 May 20:00
6 May – 13 Aug 2017 | | | | | |
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| | | Belgium, Antwerp, 1988 © Harry Gruyaert / Magnum Photos, courtesy Michael Hoppen Gallery | | | | | | | | 9 May – 27 June 2017 | | | | | | | | | | | | | Michael Hoppen Gallery are delighted to present ‘Western and Eastern Light,’ the first exhibition of photographs at the gallery by Belgian photographer Harry Gruyaert. Gruyaert is a Magnum photographer who has travelled extensively over the last 30 years photographing Europe, North Africa, the Middle East and America, often by road from the comfort of his Volkswagen Kombi. He was one of the first European photographers to take advantage of the creative potential of colour photography, following in the footsteps of great American colourists such as William Eggleston and Stephen Shore. Heavily influenced by the emergence of the Pop Art Movement in New York, Gruyaert has been a pioneer in the use of colour as a means of expression in photography. His filmic, jewel hued scenes have become something of a trademark, at times suspended in a flurry of movement, and at others thick with suspense. His dense compositions weave together a fabric of elements; texture, light, colour and architecture to create tableaux. | | |
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| | | | | | | | Luca Zanier: Parti Communiste Français PCF, Paris 2010 © Luca Zanier |
| | | | | | | | | | | Wed 3 May 18:30
4 May – 30 Jun 2017 | | | | | |
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| | | | | | | | Ulrich Schmitt: Geranie-02A-SPd, 2006 |
| | | | | | | | | | | Thu 4 May 18:00
5 May – 21 Jul 2017 | | | | | |
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| | AVE MARIA 1, 2016
© Sebastiaan Bremer / Courtesy of Edwynn Houk Gallery, New York | | | | | | | | 3 May – 24 June 2017 | | | | Opening reception: Wednesday 3 May 6:00pm | | | | | | | | | | | | | Edwynn Houk Gallery is pleased to announce an exhibition of new works by Sebastiaan Bremer (Dutch, b. 1970). The show opens on Wednesday, 3 May and runs through Saturday, 24 June 2017. The artist will be present at the opening reception on Wednesday, 3 May, from 6-8pm.
In 1998, during a residency at Skowhegan, in Maine, Sebastiaan Bremer both took a risk and made a breathtaking discovery; he upended ingrained methodologies and jettisoned just about everything that had constituted a painting for him so far, including paintbrush, brush strokes, figures and scenes rendered in paint, canvas, stretcher bars and to a certain degree, paint itself. Instead, using Milky Pens and Pentel paint pens, Bremer began to apply white pointillist dotes and small blobs in rippling and swirling patterns to enlarged copies of photographs-either found family photographs or those taken by him-essentially to draw directly on photographs. What resulted was a complex, fluid exchange between made marks and photographic image and between those marks and the photograph as an actual, physical artifact. What really began was an intricately human, searching, deeply personal response to, and transfiguration of, past situations and fleeting moments: the live, crackling, current mind operating on visual traces of the past, with all the sprawling thoughts, memories, and emotions they trigger. (Gregory Volk, “Memory and Metamorphisis: The Work of Sebastiaan Bremer,” To Joy: Sebastiaan Bremer (Frame Publishers, The Netherlands, 2016), p.9.) | | |
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| | | Chris Steele-Perkins, Young Teddy Boys in Southend, England, 1976 © Chris Steele-Perkins/Magnum Photos | | | MAGNUM ANALOG RECOVERY | | | | | | | TO AUGUST 27, 2017 | | | | | | | | | | | | | LE BAL is presenting a range of the cooperative’s treasures with contemporary prints and designs for books and publications dating from the creation of Magnum Photos (1947) till 1977. This year marks both 70 years of Magnum Photos and the completion of an archive making thousands of contemporary prints at last accessible : Magnum Analog Recovery (M.A.R.).
This collection, stored in the Magnum archives in Paris in boxes and bearing the name of each of the photographers, brings together the “postcard” prints sent out to the European Magnum agents for distribution to the press between 1947 and the end of the 1970s. Yet this archive only contains a tiny fraction of the hundreds of thousands of prints distributed by the Paris office during those 30 years. Only in rare cases do the stored images bear captions and the typed texts and captions accompanying the images have not always been preserved. Great icons of the 20th century are to be found alongside images never previously seen or exhibited : they are part of a dialogue linked to what the photographers had to say regarding the definition or contradictions inherent in their work and what was at stake, at a time when the world’s largest ever collective of photographers was taking shape. Their words call to mind just as many contradictory approaches to photography as the images themselves – the other side of the coin strewn with doubts and tensions which makes this array of “witnesses to the transitory” more resonant than ever.
"The war is over. The four Magnum founding members all lost their job. They decide that they would create a brotherhood, a press agency that demands not to crop the pictures, not to change the captions, not to distort the photographe… | | |
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| | | © KIM Jae-Kyung | | | | | | | | | | – 15 July 2017 | | | | | | | | | | | | | | |
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| | | Untitled No13 from the series Close (2001-2017) © Pernilla Zetterman | | | | | | | | 5 May – 17 Jun 2017 | | | | Opening reception: Thu 4 May 17:00 | | | | | | | | | | | | | The exhibition contains parts of her extensive series Close (2001-2017). Themes are control, discipline, performing but also devotion and the relation to memories.
We combine the opening with the release of her new book Turn Down Center Line (Kerber Verlag, Germany). Concept and design by Sandra Praun and Oscar Guermouche, the text is written by Timothy Persons. Zettermans first monograph Behave was published 2009 at the publising house Hatje Cantz with text by the former chief curator at Museum Winterthur in Switzerland Urs Stahel. | | |
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| | | | | | | | | | | | | The Family Camera as a cultural practice through the lens of migration | | 6 May – 29 Oct 2017 | | | | | | | |
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| | James Welling, H1 (from the series Hexachromes), 2005
© James Welling,courtesy Marian Goodman Gallery | | | | | | | | 5 May – 16 Jul 2017 | | | | | | | | | | | | | James Welling (born in 1951, Hartford, Connecticut) is one of photography’s most influential pioneering artists worldwide. For more than forty years, Welling has been exploring the foundations of the medium, drawing from it the broad range of conceptual, aesthetic and technological options without restricting himself to a specific imagery or production form. His works oscillate between analogue and digital, colour and black-and-white, camera-less and camera-based processes, dark-room alchemy and high-end digital print. By presenting Welling’s series of photographs, video, and sculpture from the 1970s to the present, this first Austrian retrospective demonstrates how his work crosses the gaps between different media, as it does between documentation and abstraction, image and reality, concept and emotion, present and past. Influenced by American Realist painters such as Edward Hopper and Andrew Wyeth Welling first studied painting from 1969 to 1971 and a year of modern dance in in Pittsburgh; then he attended John Baldessari’s Post Studio Art class at the California Institute of the Arts (CalArts). Motivated by his interest in the representatives of straight photography Paul Strand and Walker Evans and the avant-gard photographer László Moholy-Nagy and after his art studies in 1974 Welling – self-taught – took up photography. | | |
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| | Nan Goldin
Tony's back, Cambridge 1977
Cibachrome Print, Edition of 25, 49 x 65 cm | | | | | | | | 5 May – 11 June 2017 | | | | Opening reception: Thursday 4 May 6:00pm | | | | | | | | | | | | | The Galerie Fabian & Claude Walter is pleased to announce an exhibition in cooperation with Daniel Blochwitz that is showcasing a selection of photographs by Nan Goldin taken between 1980 and 2001 from an extraordinary private collection. The photography collector and former dancer had a long-standing personal relationship to the artist. Some of the images for The Ballade of Sexual Dependency were taken in his Boston house at the time; others show him later as a guest of a leather bed & breakfast in Berlin - one of those photographs even ended up on the cover of Berlin’s Zitty magazine. Due to his insistent intervention, Nan Goldin was the first woman granted access to this gay establishment. For that reason, too, Nan Goldin’s oeuvre has been enriched by some wonderful motifs. Nan Goldin’s uncompromising and intimate images were groundbreaking for entire generations of younger photographers. Initially only edited into slide shows to be presented at local night clubs, Nan Goldin’s photographic impressions of her not so ordinary everyday life shows a parallel world on the glittery edge of society between identity search and intoxication, lust and loss, love and pain. After publishing the book "The Ballade of Sexual Dependency", a reference to a song of the same title from Berthold Brecht’s and Kurt Weill’s Three Penny Opera, her work was exhibited at a number of museums and galleries. Most recently the Museum of Modern Art in New York was showing a selection of 700 images from "The Ballade of Sexual Dependency". | | |
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| | | | | | | | | | Die Kinder der Charité | | Thu 4 May 18:00
5 May – 5 Jun 2017 | | | | | |
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| | | | | | | | | | | | | Fri 5 May 17:00
5 – 7 May 2017 | | | With a fresh format of a young art fair, we propose an event that will bring the general public to the emerging photographers. Fair open to galleries, curators and managers to show their works and publicize their creators in Barcelona. The Foundation Enric Miralles space will be structured to accommodate up to 15 exhibitors. | | |
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| | William Klein
„Macy's + Christmas Shopping, NY“. 1954
Gelatin silver print, 1989. 22,3 × 35,5 cm (30,4 × 40,4 cm) (8 ¾ × 14 in. (12 × 15 ⅞ in.)) | | | Modern and Contemporary Photographs | | | | | | | Photography Auction: 31 May, 2017 in Berlin | | | | | | | | | | | | | | | | |
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| | | | | | | | | | BARCELONA'S EMERGING PHOTOGRAPHY FESTIVAL 2017 | | Fri 5 May 17:00
5 – 7 May 2017 | | | Art Photo Bcn is a Photography Festival and Fair aimed to activate the art circuit and the incursion of new creative values. Thouthg to be approachable to general and specialized public by showing works and projects of new artists. An hybrid event pointing towards a single objective: promote and strengthen the work of emerging photographers. | | |
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| | | Deana Lawson (b. 1979), Ring Bearer, 2016. Inkjet print, 43 x 54 in. (109.2 x 137.2 cm). Collection of the artist; courtesy Rhona Hoffman Gallery, Chicago, and Sikkema Jenkins & Co., New York | | | Whitney Biennial 2017 | | | | | | | – 11 June 2017 | | | | | | | | | | | | | The 2017 Whitney Biennial, the seventy-eighth installment of the longest-running survey of American art, arrives at a time rife with racial tensions, economic inequities, and polarizing politics. Throughout the exhibition, artists challenge us to consider how these realities affect our senses of self and community. The Biennial features sixty-three individuals and collectives whose work takes a wide variety of forms, from painting and installation to activism and video-game design. In a suite of photographs from her new project, The Silent General, An-My Lê examines allusions to the past in modern-day Louisiana. In one image, a monument to a Confederate Army general quietly interrupts a quotidian urban landscape; another captures a moment on the set of a recent film about a Confederate Army deserter. As in so many of Lê’s works, in these images the imagined past and the actual present coexist in the same frame, begging the question: when does history end and the present begin? Taken as a group, the photographs propose that perhaps history never ends, that the raw materials of America’s bloodiest war—issues of race, class, labor, and wealth—are still deeply enmeshed in the landscape of the United States and the fabric of its society. | | |
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© 3 May 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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