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| PHOTOGRAPHY INTERNATIONAL | | 31 Oct - 7 Nov 2018 | |
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| | | | | Private opening: Wednesday, November 7 (by invitation only) |
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| | Gathering of Indonesian housemaids on their day off – Victoria Park, Hong Kong, 2017,
from the Series Apples for Sale, 2016-17 © Rebecca Sampson | | | | Florentine Riem Vis Grant 2018/19 | | | | | | | Daily life of Indonesian domestic workers in Hong Kong | | | | 2 November – 16 December 2018 | | | Public opening: Thursday 1 November 2018 from from 5.30pm onwards
Book Launch: Apples for Sale Thursday 1 November 2018, 5.30-6pm | | | | | | | | | | | | | Foam is proud to present the first museum solo exhibition of the German-American artist Rebecca Sampson (1984). Her work is a photographic study of the daily life of Indonesian domestic workers in Hong Kong. With little to no leisure time or personal space, these labour migrants construct a parallel identity using social media channels. Far from home and in a completely female subculture, the women develop an ambiguous sexual identity. Sampson portrays this population in a layered multi-media narrative, consisting of documentary photography, social media footage, and text.
Over 300,000 foreign domestic workers work and live in Hong Kong. The large majority is from Indonesia and the Philippines. These women usually work twelve hours a day, six days a week, under appalling terms of employment. Although they are officially entitled to one day off a week, this law is often not observed in practice. Sleeping on a mattress next to the laundry machine, in the kitchen or under the stairs, these women frequently lack private space to spend their scarce leisure time. While on a visit to Hong Kong in 2013, Sampson observed how hundreds of labour migrants – homeless for one day – spent their Sundays in the parks and public spaces of the city. The photographer spent many Sundays with them and gradually got to know them. She found herself at beauty contests, night clubs, staged weddings and lavishly decorated rental containers, where the lucky few who can afford it act out their one-day existence.
Due to the lack of personal space, and trapped in the rigid corset of their daily housekeeping duties, many women seek solace on social media, where they maintain extensively elaborated alter egos. For these women, photographs offer a powerful (and often the on… | | |
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| | | Bleu Blanc Rouge no.19 2017 (Detail) © Christopher Anderson - courtesy The Ravestijn Gallery | | | | | | | | November 3 - December 8, 2018 | | | | | | | | | | | | | The Ravestijn Gallery presents ‘Blue Blanc Rouge’, an exhibition featuring new work by the Canadian photographer Christopher Anderson. In this playful and poetic series, Andersons ties different images together in a stimulating way: portraits, candid moments, still lifes. They are photographs taken in passing, carefully arranged together. Some of these images tell a clear story; others are less straightforward or even stray towards the abstract. By showing these divergent, isolated moments as a collection, Anderson invites viewers to make connections themselves and to question their meaning and coherence.
A close-up of a face, a forgotten shoe, the interior of a car. Light re ected in a puddle of rain or in the windows of a skyscraper. Anderson presents his images as pieces of a puzzle. The common thread that ties it together, which audiences will discover themselves, is formed by a number of recurring visual elements: the colour red, speci c forms and patterns, the type of sunlight that marks the end of the day. Together, these elements create a mysterious and elusive narrative, that will tempt the viewer into conversation with the work.
By observing the world through uninhibited and curious eyes, Anderson nds beauty in the smallest of details and the most trivial objects. For that reason, and in particular in this series, coincidence and association play an important part in his work. Anderson’s use of daylight is striking. Various scenes are drenched in the warm light offered by the sun as it lowers on the horizon, painting the world in a deep shade of red. In another image, the blue of twilight is juxtaposed with the last rays of the sun. Bright sunlight plays an exciting game with depth in other images. Sharp shadows draw lines … | | |
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| | Willy Ronis, "Cafe de France", L ´Isle-sur-la-Sorgue, 1979
silvergelatine print, printed later, signed, 30 x 40 cm | | | France 1935 - 1985 | | | | | | | 3 November – 21 December, 2018 | | | | Opening: Saturday, 3 November, 7–9:30 pm | | | | | | | | | | | | | In this exhibition the two internationally famous French photographers Willy Ronis and Marc Riboud guide the viewer through the everyday life in Paris from 1935 to 1985.
Willy Ronis, a representative of the French school of humanism, showed in his works the "normal life on the street". His photographs focused on people and showed mainly simple workers, women and children, who populated the streets and cafés. By deliberately omitting artificial sources of light, he created authentic moments of timeless mementos of the everyday life in France. Ronis himself described his way of photographing with the words: "patience, reflection, opportunity, form and time". These thoughts are reflected in his humanistically embossed works to the best.
As with Willy Ronis, the photographs of Marc Riboud are characterized by an excellent composition of images. With Riboud's also very sensitive depiction of people, he managed to capture the beauty of the moment. For him, taking photographs meant "fully enjoying life in every hundred and twenty-fifth second." While Marc Riboud became famous through his diverse photojournalism from around the world, Ronis created the most important part of his work in France. The exhibition shows how the already deceased artists were able to sensitively capture the beauty of the moment and the French zeitgeist of the 20th century.
Since 2000, the in focus Galerie, Cologne has been showing the photographers Willy Ronis and Marc Riboud in several exhibitions. The Suermondt Ludwig Museum in Aachen, which is renowned for its photography exhibitions, dedicated a great retrospective to Willy Ronis in 2004, inspired by the in focus gallery exhibition. Currentl… | | |
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| | | | | | | Sara-Lena Maierhofer
Tablar (Rautenstrauch-Joest-Museum, Köln)
aus der Serie: Kabinette, 2018 (Detail) |
| | | | | | | | | | | Thu 1 Nov 19:00
2 Nov 2018 – 9 Feb 2019 | | | | | |
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| | © Alex Prager, Crowd #7 (Bob Hope Airport), 2013, from the series Face in the Crowd
Courtesy Alex Prager Studio and Lehmann Maupin, New York and Hong Kong | | | | | | | 3 NOVEMBER 2018 – 27 JANUARY 2019 | | | | OPENING : FRIDAY, 2 NOVEMBER, 6.30 PM | | | | | | | | | | | | | | MBAL is hosting the first retrospective of American photographer and filmmaker Alex Prager (b. 1979), one of the most iconic artists of our time. Prager’s unique body of work, built up over the past ten years, consists of photographs and films whose common denominator is a meticulously crafted mise-en-scène. An undeniable sense of Hollywood and pop culture permeates the work of this self-taught, Los Angeles-based artist. This exhibition brings together her most important series of photographs, which together evoke a universe filled with drama, emotion and humor. Los Angeles serves as both inspiration and backdrop for her compositions – carefully staged scenes bathed in an atmosphere both intriguing and seductive. Prager favors complex sets, unafraid to deploy hundreds of extras who, lost in thought, are given equal standing in her quasi tableaux vivants. She recreates everyday scenes with her trademark attention to detail, yet her artifice is invariably betrayed by a solitary female figure in the crowd, isolated by an angst all her own. The exhibition also includes five films – Prager describes her immersive film installations as ‘full-sensory versions’ of her photographs. At once timeless and era-specific, Prager’s instantly recognizable aesthetic veers between fantasy and hyperrealism. Hers is a world governed by a palpabletension between fact and fiction, superficiality and depth. | | |
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| | © Erik Madigan Heck, Aberglasney Gardens, Wales, 2018
Courtesy Christophe Guye Galerie | | | | | | | 3 NOVEMBER 2018 – 27 JANUARY 2019 | | | | OPENING : FRIDAY, 2 NOVEMBER, 6.30 PM | | | | | | | | | | | | | | In his Old Future series, American photographer Erik Madigan Heck (b. 1983) explores the intersection of photography and painting as he borrows from and bends the genres of fashion photography, landscape painting and portraiture. Heck quickly gained prominence as a fashion photographer – his work has appeared in Harper’s Bazaar, Vanity Fair and The New York Times Magazine – while at the same time making a name for himself in the art world thanks to a sui generis photographic language. Influenced by Romantic painters, Impressionists and Les Nabis, he is able to convey the essence of painting through his lenswork and deft interplay of vivid colors and a pointillist style, producing oneiric images that transcend time. The fashion industry serves as a creative laboratory for Heck, whose creations nevertheless build on the work of the 20th century painters he admires. | | |
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| | | | | | | Martha Rosler, Photo-Op, 2004,
from the series House Beautiful: Bringing the War Home, New Series. Photomontage. Artwork
© Martha Rosler; image courtesy of the artist and Mitchell-Innes & Nash, New York |
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| | image left: © Yvette Blumenfeld Georges Deeton, Courtesy Howard Greenberg Gallery, Art+Commerce, NYC
image right: Op Art-Fashion – Modell Lend, Paris, 1966 © F. C. Gundlach | | | | | | | Hommage à F.C. Gundlach, Photographe et Collectionneur | | | | | | | | 3 – 8 November 2018 | | | | | | | | | | | | | F.C. Gundlach arrives in Paris at the beginning of the 1950s. A breathless, restless metropolis and an attraction for cultural workers from all over the world. For the network of metropolitan bohemians, cafés such as the "Flore" are meeting places and centers of literary and philosophical exchange. The young photographer F.C. Gundlach finds his world of motifs in the city, between bistros and boulevards and among the protagonists of the cultural scene. The fashionable metropolis is, of course, also a fashion city and Parisian haute couture becomes his defining influence; here F.C. Gundlach finds the subject of his success – fashion photography. In 1952, F.C. Gundlach photographed "Dior in Paris" for Elegante Welt. Since then, the names of the major Parisian fashion regularly appear in the collections photographed by F.C. Gundlach: Chanel, Jacques Fath, Yves Saint Laurent, Pierre Cardin and many others.
F.C. Gundlach's role models Irving Penn and Richard Avedon also came to Paris for the big fashion shows. Already in the 1940s Avedon photographed the Paris couture collections for American fashion magazines. It was precisely these photographs that motivated F.C. Gundlach as a young man in the Amerika-Haus in Stuttgart to tear pages out of Vogue and Harper's Bazaar enthusiastically.
F.C. Gundlach quickly developed his own visual language, photographed changes in fashion and society over the following four decades, and created an enormous photographic oeuvre. As a commissioned photographer, his end product was the printed image in the editorial fashion sections of the magazines. His photographs satisfy the aesthetic claim he formulated himself, “to interpret the line of a new fashion in the pictorial repre… | | |
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| | | | | | | | Kenta Nakamura, Offering © Kenta Nakamura |
| | | | | | | | | | | Tue 6 Nov 18:00
7 Nov – 24 Nov 2018 | | | | | |
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| | | Kadir van Lohuizen – NOOR for Fondation Carmignac | | | | CARMIGNAC PHOTOJOURNALISM AWARD – 9th EDITION | | | Arctic : New Frontier | | | | | | | November 7 – December 9, 2018 | | | | | | | | | | | | | Dedicated to the Arctic and chaired by Jean Jouzel, and under the patronage of Minister Ségolène Royal, French Ambassador for the Arctic and Antarctic Poles, the 9th edition of the Carmignac Photojournalism Award was awarded to Yuri Kozyrev and Kadir Van Lohuizen (NOOR).
Their investigative photoreportage «Arctic: New Frontier» is a pioneering double expedition which explores the effects of climate change on the entire Arctic territory. They want to experience the dramatic transformation of natural landscapes and the demographics in the Arctic, and the impact of these changes on the lives of the region’s inhabitants.
“The photos of Yuri Kozyrev and Kadir van Lohuizen are superb. Through them, from Siberia, Svalbard and Greenland to Canada and Alaska, we discover the Arctic of today, with its landscapes and wildlife that are drawing a growing number of tourists, as well as its populations who are exposed to extreme climates and who mine resources such as nickel and, increasingly, gas, oil and coal. Protecting the environment does not appear central to their activity, to put it mildly.”
— Jean Jouzel, climatologist, winner of the 2012 Vetlesen Award and co-winner of the 2007 Nobel Peace Award as Director of the IPCC
For the very first time, two photojournalists have simultaneously covered the irreversible changes that have taken place in the Arctic, to bear witness to the effects of the melting of the ice-caps. | | |
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| | | from Street Of Broken Heart © KIM JungMan | | | | | | | | 3 November 2018 – 2 February 2019 | | | | | | | | | | | | | | |
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| | | © Karlheinz Weinberger, courtesy Galerie Esther Woerdehoff, Paris | | | | | | | | 2 November – 23 December, 2018 | | | Retrospective in cooperation with Galerie Esther Woerdehoff, Paris
Opening reception: Thursday, 1 November 2018, 6pm | | | | | | | | | | | | | The new exhibition in the Photobastei presents the Zurich artist Karlheinz Weinberger, alias Jim, as he has never been seen before: as a human being, as a Zurich citizen and as a lover of male sensuality. The exhibition goes far beyond the portraits of the "Halbstarke", with whom he became world-famous and inscribed himself in our collective and visual memory.
Weinberger's pictures almost exclusively show people - more men than women. At first glance, most of Weinberger's favourite subjects fall out of the bourgeois frame of their time. Karlheinz Weinberger's best-known pictures are portraits of the "Halbstarke". However, his work by far does not only include these portraits in their spectacular presentation, which also plays an equally decisive role in the later photographs of rockers and tattooed people. For the first time, the exhibition in Zurich shows his entire oeuvre, including key works from all periods as well as unpublished parts of his work that have a strong connection to Zurich.
This exhibition was curated by Patrik Schedler. Part of the exhibits on display is the collection first made available to the public at "Les Rencontres de la Photographie d'Arles 2017".
More information: karlheinzweinberger.ch | | |
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| | | | | | | | | | | | | Silver Eye Book Fair A celebration of independent publishers and artists creating utterly unique photobooks | | 2 – 3 Nov 2018 | | | | | | | |
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| | Mickalene Thomas
Les Trois Femmes Deux, 2018
chromogenic color print, 48 x 60 inches.
© Mickalene Thomas
Courtesy YANCEY RICHARDSON, New York | | | | | | | | | | | | | 8 – 11 November 2018 | | | | Private opening: Wednesday, November 7 (by invitation only) | | | | | | | | | | | | | Paris Photo, premier international art fair dedicated to the photographic medium, announces 180 exhibitors for the main gallery and book sectors—149 galleries and 31 art book dealers representing 28 countries, reunited at the historic Grand Palais in Paris from November 8–11, 2018. The selection includes specialist dealers showcasing historic and rare work, cutting edge galleries promoting innovative young artists, and major international galleries highlighting today’s most significant artists working with image-based art.
Welcomed this year are 25 new galleries (compared to 2017) including 17 first-ever participations, testifying to the vivacity of the market and the increasing interest for image-based art. Returning galleries include Rosegallery (Santa Monica), Cécile Fakhoury (Abidjan), Feldbush Wiesner Rudolph (Berlin) with two solo shows of Thorsten Brinkmann » and Daniele Buetti » , Keith de Lellis (New York), Patricia Conde (Mexico) and after a long absence Priska Pasquer (Cologne) and Goodman (Johannesburg/Cape Town), the latter with a series of vintage photographs from the recently deceased David Goldblatt » .
Discover and rediscover leading artists through a viewing of an artistic ensemble with 27 solo shows: South African Santu Mofokeng » (Carlier Gebauer, Berlin); Chargesheimer » (JULIAN SANDER Cologne); Steve Kahn » with an ensemble of conceptual works (Casemore Kirkeby, San Francisco); Michel Journiac » with the iconic series 24 Hours in the Life of an Ordinary Woman (Christophe Gaillard, Paris); Ari Marcopoulos » presents American subculture (Frank Elbaz, Paris/Dallas); Mao Ishikawa » the emergence of female photographers in 1960s Japan (NAP, Tokyo); the American feminist artist Joan Lyons » , until now little presented in Europe (Steven Kasher New York); vintage works by Ralph Gibson » (Paci, Brescia/Porto Cervo); landscapes by Lynn Davis » (Karsten Greve, Paris/Cologne); and projects by Axel Hütte » (Nikolaus Ruzicka, Salzburg), Barbara Probst » "Exposures" always composed by a group of photographs (Kuckei + Kuckei, Berlin), Erez Israeli » (Crone, Vienna). Katalin Nador » (ACB Budapest); Antti Laitinen » (ANHAVA Helsinki); Gerard Rondeau » (BAUDOIN LEBON Paris); Richard Mosse » (CARLIER GEBAUER Berlin); Erik Madigan Heck » (CHRISTOPHE GUYE Zurich); Barbara Hammer » (COMPANY New York); James Nachtwey » (CONTRASTO Milan); William Wegman » (HUXLEY-PARLOUR London); Bastiaan Woudt » (JACKSON Atlanta); Ugo Mulas » (LIA RUMMA Milan / Naples); Guy Bourdin » (LOUISE ALEXANDER Porto Cervo); Erwin Olaf » (MAGDA DANYSZ, Paris); Silvana Reggiardo » (MELANIE RIO FLUENCY Nantes); Yojiro Imasaka » (MIYAKO YOSHINAGA New York ); Jorma Puranen » (PURDY HICKS London ); Evangelia Kranioti » (SATOR Paris);
Book sector publishers and specialized art book dealers are reunited in the center of the Fair, recognized for their role in the continuing narrative of photography and the advancement of its artists. One of the Fair’s most animated sectors, visitors are offered an important selection of limited and rare editions and may attend book launches and over 200 signature sessions with renowned artists.
See the 2018 main sector galleries and publishers & art book dealers. | | |
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| | | | | | | | | | | | | Thu 8 Nov 18:00
8 Nov – 11 Nov 2018 | | | | | |
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| | | | | | 13 contemporary approaches to photography | | | | | | Thu 8 Nov 14:00
9 – 11 Nov 2018 | | | | | |
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| | | | | | | | | | | | | Fri 9 Nov 12:00
9 – 11 Nov 2018 | | | | | |
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| | | | | | | | | | Art Publishing Fair | | Thu 8 Nov 17:00
8 – 11 Nov 2018 | | | | | |
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| | | | | | | | | | a curated bookfair with 48 selected publishers, booksellers and photographers from all continents. | | Wed 7 Nov 13:00
7 – 10 Nov 2018 | | | | | |
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| | | | | | | | | | The French forum for photographers and photography enthusiasts!
More than 150 brands - | | 8 – 12 Nov 2018 | | | | | |
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| | 146
Helmut NEWTON (1920-2004)
« Tour de Plongée, Old Beach Hotel », Monte Carlo, 1981
Tirage argentique d’époque, signé, titré et daté à l’encre, copyright de l’auteur au dos
100 x 100 cm, à vue, dans un cadre
20 000 / 30 000 € | | | PHOTOGRAPHIES | | | | Collections & Propositions | | | | | | | Auction: Tuesday 6 November 2018 14:30 CET | | | Expert:
Christophe Gœury
Tel + 33 (0)6 16 02 64 91
[email protected]
Live bidding:
www.drouotlive.com
Public exhibitions:
SVV 3 rue Rossini – 75009 Paris, France
Saturday, 3 November 2018, from 11 am to 7 pm
Monday, 5 November 2018, from 11 am to 7 pm
Tuesday 6 November 2018 from 11 am to 12 noon
Online catalog:
www.millon.com
The catalog is available upon request from the Photography Department at the Millon Auction House
Contact and inquiries:
Natalia Raciborski
MILLON Photography Department
16 rue de la Grange Batelière - 75009 Paris
Tel + 33 (0)7 88 09 91 86
[email protected] | |
| | | | | | | | | | | | | The Collection of a French editor
With a large format vintage print, a solarization of calla lilies, by Man Ray from the 1930s, a manuscript written by Lucien Clergue explaining his technique, and several prints by Robert Doisneau… (Lot 99 - 15 000 / 20 000 €)
A curated selection of silver gelatin prints of the German and Suisse avant-garde, the Bauhaus, modernism… by Joost Schmidt, Josef Sudek, Hannes Meyer, Hans Finsler, Pal Funk Angelo, Charlotte Rudolph, Geza Vandor, Jolan Vadas, Károly Escher, Imre Kinszki, Elisabeth Hase, Milos Dohnanyi and unidentified photographers… (Lot 60 - 2 000 / 3 000 €)
A selection of French and American Humanist photographers of the 1950s, 60s and 70s: Henri Cartier-Bresson, Aaron Siskind, Robert Doisneau, André Kertész, Izis, René Burri… as well as a selection of modern and contemporary photographers: Robert Mapplethorpe, Roy Decarava, Christer Strömholm, Helmut Newton, Peter Lindbergh, Jeanloup Sieff, Eric Marrian, Martin Parr… (Lot 144 - 18 000 / 20 000 €, Lot 145 - 15 000 / 20 000 €)
Two English collections of contemporary photography: Ed Feingersh, Jan Lauschmann, Sammy Slabbinck, Miroslav Tichý, Hisaji Hara, Andrew Lanyon, Newsha Tavakolian, Hassan Sarbakhshian, Heidi Bradner, Nikos Economopoulos, Jack Spencer, Petrina Hicks, Frank Hunter and many others… | | |
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| | | | Lot 212
HIROSHI SUGIMOTO (B. 1948)
Church of the Light, 1997
Gelatin silver print, flush-mounted on board
58 ¾ x 47 in. (148.5 x 119.2 cm.)
€100,000–150,000
© Hiroshi Sugimoto | Lot 209
HIROSHI SUGIMOTO (B. 1948)
Brooklyn Bridge, 2001
Gelatin silver print, flush-mounted on board
58 ¾ x 47 in. (148.5 x 119.2 cm.)
€120,000–180,000
© Hiroshi Sugimoto | |
| | | Hiroshi Sugimoto Photographs : The Fossilization of Time | | | Auction: Thursday 8 November 2018, 6pm
Viewing:
Sat 3 Nov | Mon 5 Nov | Tue 6 Nov | Wed 7 Nov : 10am – 6pm
Thu 8 November, 10am – 12pm
E-catalogue: www.christies.com/salelanding
Contact: Elodie Morel, Head of Department
+33 (0) 1 40 76 84 16
[email protected] | |
| | | | | | | | | | | | | As part of Paris Photo, Christie's France will organize three events around photography. The department will present for the first time, on November 8, a monographic sale dedicated to the Japanese photographer Hiroshi Sugimoto. This sale, part of this 160th anniversary celebrating the diplomatic and artistic relations between Japan and France, will also coincide with Sugimoto's current exhibition at the Château de Versailles, from 16 October 2018 to 17 February 2019.
The sale dedicated to Hiroshi Sugimoto is a retrospective of his work, bringing together twenty-nine photographs with a global estimate of €1.5 to 2 million, representing the different themes he explored. | | |
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| | Lot 34
IMOGEN CUNNINGHAM (1883–1976)
Unmade bed, 1957
Gelatin silver print mounted on board
10 ¼ x 13 ⅜ in. (26 x 34 cm.)
€40,000–60,000 | | | PHOTOGRAPHIES | | | | | | Auction: Thursday 8 November 2018, 3pm
Viewing:
Sat 3 Nov | Mon 5 Nov | Tue 6 Nov | Wed 7 Nov : 10am – 6pm
Thu 8 November, 10am – 12pm
E-catalogue: www.christies.com/salelanding
Contact: Elodie Morel, Head of Department
+33 (0) 1 40 76 84 16
[email protected] | |
| | | | | | | | | | | | | As part of the Paris Photo fair taking in place in November, three events will be hosted by Christie’s including a monographic sale dedicated to Japanese photographer Hiroshi Sugimoto (press release attached), on 8th November 2018.
A general sale dedicated this year to contemporary photography and composed of 104 lots will be organised the same day. Visitors will have the opportunity to discover a fashion photography exhibition showcasing nearly fifty photographs by F.C. Gundlach and works from his personal collection.
For each sale, the Photographs department directed by Elodie Morel, selects high quality corpus including a series of 7 ethnographic portraits by Irving Penn, in which the aesthetics and the care taken to stage the scene, prevail over the historical and sociological character of the indigenous populations. In 1970, Penn traveled to Papua New Guinea. He first visited the tribal village of Bena, not far from the city of Goroka, where he took pictures of the natives and their traditional accessories: bilas (shell ornaments) as in Seated Warrior, Sitting Girl (€20,000- 25,000), or feathers and fur decorations. In the Asaro Valley, Penn immortalized naked men with clay masks, performers of a tribal dance organised by the Australian colonizers in 1957, as in Three Asaro Mudmen (€50,000-70,000).
The portraits, shooted in itinerant studios located in different villages, revealed more attention to details, ornaments, skin textures, and clearly emphasized by the beauty of platinum prints.
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| | 233.
Brassaï
Transmutations, 1934-1935.
Rare complete set of 12 gelatin silver prints (printed by Claudine Sudre in 1967).
30 x 24 cm | | | Photographs & photobooks
Photographies et livres de photographies | | | | | | | | | | Hôtel des Ventes Drouot | Salle 11
Drouot-Richelieu | 9, rue Drouot 75009 Paris | | | | | | | | | | Keepsake Photographique album and Blanquart-Evrard publications. Nadar signboard and rare sets on the interview of Eugene Chevreul by Félix Nadar, catacombs and sewers. 33 remarkable carbon prints large format by Adolphe Braun Archives on the work of Etienne Carjat
Claudine & Jean-Pierre Sudre collection Exceptional set of Brassaï (Transmutations & Graffiti) Rare pigment print of Frantisek Drtikol Photobooks by Brassaï, Robert Frank, Roni Horn, Daido Moriyama, Helmut Newton, Martin Parr and others including a portfolio of Hiroshi Sugimoto, Time Exposed. | | |
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| | | | | | | | | | | | | Tue 6 Nov 18:00
7 Nov – 24 Nov 2018 | | | | | |
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| | | © Sherman Ong; Nusantara: the Seas will Sing and the Wind will Carry us, 2011; Image copyright and courtesy of the Artist | | | | | | | | | | | | | 19 October 2018 – 3 February 2019 | | | | | | | | | | | | | Bangkok Art Biennale Foundation’s mission is to engage and inspire diverse Thai, ASEAN and international audiences by actively fostering recognition and appreciation of contemporary art exhibitions know as Bangkok Art Biennale (BAB). From October 19 until February 3, our nation’s capital will be brought to life as the 123 year old art exhibition Biennale comes to Bangkok for the first time. Hosting 75 internationally acclaimed artists from 34 countries, in 20 locations across the city. | | |
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| | | © Anni Hanén, from "Just Small Hiccups" 2015 | | | | | | | Confusing Public and Private | | | | | | | | – 28 November 2018 | | | | | | | | | | | | | | | As a newly emerging technology, medium and application, photography has always been associated with topics of publicity and privacy since it was invented. In the early days, photographers took essentially private pictures and viewed them in public spaces, while nowadays everyone can afford a camera phone and with mobile network and social media there appeared the demarcation of image, and in the time of constantly evolving visualization of data in contemporary art, photography has increasingly become an important medium that extends to, participate in, intervene with and helps build people’s public and daily lives. Thus, the public and private characters of photography continue to conflict, confront, integrate and spread between real and virtual spaces, and this constantly changes people’s ways of expression, relationships, behavioral habits while filling up our public and private living spaces. Eventually, with the extensive involvement of photography, public and private spaces, the boundaries between the individual and the group, and the "others" and "I" are reconstructed and redefined. During the process of these changing relationships, photography interacts and resonates in new ways with a lot of important factors such as history, reality, religion, philosophy, civilization, war, science & technology, politics and human emotions. In such a spatial-temporal environment where the public and the private are mixed, the modes of organization and thinking are extremely complex, and the atmosphere is full of a sense of ritual and absurdity, how can we start an adventure of thought – what kind of world is it? How is it related to us? It may be a Utopia or Dystopia, or even a Heterotopia or Protopia [1], and in their ideological and visual field, the way we deal with the relationship and expression of the public and private by photography will become our common goal that built on a relatively broad, distant and higher point, which is also the main point that inspired us to plan this exhibition. Therefore, this exhibition will center on photography as an interdisciplinary research field as well as its complex coexistence of the social, public and private, and it aims to explore the role and significance of photography in the tensional relationship between the public and the private... | | |
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| | | | | | | Chen Wei
The Stars in the Night Sky Are Innumerable 2010
Archival inkjet print |
| | | | Imagined Borders | | | | | | – 11 Nov 2018 | | | | | |
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| | | Untitled (Freedom Day) 2014 © Sethembile Msezane | | | | | | | Time Has Gone | | | | | | | | – End of November 2018 | | | | | | | | | | | | | "Time Has Gone", the 9th edition of LagosPhoto Festival, explores the configurations by which the past, the present and the future interact within the photographic medium. Time will be approached from different angles, highlighting matters of momentum, documentation and preservation, taking into consideration the intimacy of stories as well as the breadth of the concept itself.
LagosPhoto has invited four curators to investigate the diversity that time encompasses: Eva Barois De Caevel, Wunika Mukan, Charlotte Langhorst and Valentine Umansky. Their curatorial discourse unearths the non-linearity of time and the complexity of our experience to memory. The team chose to embrace polyphony as a way to bring out the subject’s intricacies, which are well reflected in the four curatorial texts accessible here. Each year LagosPhoto Festival hosts a variety of workshops, panel discussions, artist talks and portfolio reviews. A detailed program will be available here very soon.
LagosPhoto is the first and only international arts festival of photography in Nigeria. The festival presents photography as it is embodied in the exploration of historical and contemporary issues, the promotion of social programmes, and the reclamation and engagement of public spaces in showcasing contemporary photography. | | |
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| | | | | | | | Galerie Françoise Besson © Valérie Jouve, Jéricho 3. Courtesy Galerie Xippas |
| | | | Lyon Septembre de la photographie | | | | | | – 17 Nov 2018 | | | | | |
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| | | | | | | Thomas Bangsted, Sopnes, 2017
Courtesy the artist & Gallery Tom Christoffersen
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| | | | Photography to end all Photography | | | | | | – 31 Dec 2018 | | | | | |
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| | | « Plein soleil » © Anaïs Boileau | | | | | | | 21 exhibitions, 142 artists of Greek and international photography | | | | | | | | until 19 January 2019 | | | | | | | | | | | | | The Thessaloniki PhotoBiennale 2018 presents to the public 21 exhibitions of Greek and international photography, of varying themes and photographic approaches, with the participation of 142 artists from many countries of the world. At this year's event, the central exhibition entitled Capitalist Realism is curated by Penelope Petsini and assistant curator Fotis Milionis. Structured in two large sections hosted at the Thessaloniki Museum of Photography and the Thessaloniki Contemporary Art Center, the exhibition attempts to highlight issues that contribute to the emergence or exacerbation of economic crises in the international environment, on a contemporary and historical horizon. This year's event, which marks the 30th anniversary of its founding, adopts some new ideas and practices for the festival | | |
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© 31 October 2018 photography-now.com
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