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| PHOTOGRAPHY INTERNATIONAL | | 5 - 12 December 2018 | |
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| | | | | The Addis Foto Festival» is directed biannual by award winning photographer Aida Muluneh. The weeklong international festival is held in Addis Ababa, Ethiopia and features in its 5th edition 2018 exhibitions, portfolio review, conferences, projections and film screenings of continental and international photography. 14th Angkor Photo Festival» Siem Reap, Cambodia, is a free international platform and educational resource for established and emerging photographers. In the US are starting the Miami Street Photography Festival» and PhotoNOLA 2018» in New Orleans. More than 50 photographers and artists were invited to India, to the Kochi-Muziris Biennale 2018», showing Possibilities for a Non-Alienated Life. |
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| | | A.W.C. #0516 #506 Chromogenic color print acrylic face-mounted 60 cm x 60 cm © Ralf Tooten | | | Ralf Tooten » A.W.C. 2018 - Asian Workers Covered | | | | On the occasion of the first Bangkok Art Biennale 2018 | | | | 12 December 2018 – 3 February 2019 | | | | | | | | | | | | | In Thailand, completely covered up construction workers are a familiar sight. Thousands of them toil in intense heat on skyscrapers and along roadsides. In their lunch-breaks, they sit by the side of other people’s dreams they have been recruited to build, and laugh, eat and smoke, sometimes without removing their protective clothing - masks, sunglasses, balaclavas, scarves - which renders them virtually invisible to ordinary Thais.
The brilliance of Ralf Tooten’s stark portraits of these "AWC – Asian Workers Covered" – rests in his ability to make a social taboo highly visible. Tooten shot the original AWC series between 2006 and 2009. He set up his mobile studio – a dark background, a few lights – in quiet corners of Bangkok’s construction sites and photographed scores of male and female workers from Thailand, Laos, Cambodia and Burma. In 2012, Tooten shot a second series of portraits in Ratchaburi, a town in central Thailand, and went on to spread his work across 2000 square meters of vinyl banners on the town’s public structures – the first time contemporary art was made accessible to so many people in Thailand.
The photographs, all taken on a mid-format Hasselblad V on negative film, are deceptively simple. There’s a fashionable and yet arbitrary riot of colors at play in the subjects’ head and face coverings that betrays a stubborn vivacity quite in contrast to their blank eyes. And there are weightier reasons than heat, dust and pollution for the workers’ disguises. In many parts of Asia, light skin is seen as highly desirable, a visual marker for class and wealth. As a consequence, the men and women Tooten captured fear the sun. And as many are illegal foreign workers, they also fear the authorities.
In October 2018, Ralf Tooten was invited to exhibit AWC at the inaugural Bangkok Biennale. Once again, the photographer found a way to present his poignant images in unusual environments. His 14 by 14 meter portrait of a female worker looked out over shoppers at BACC (Bangkok Art and Cultural Centre), while screens in downtown shopping centers flashed his portraits at passing Bangkokians. The Biennale’s main curator, Prof.Dr. Apinan Poshyananda dubbed this the "Tooten Attack".
Ralf Tooten’s project offers ordinary Thais another view of their country, reminding them by whom their cities are built, while lending identity and dignity to people who enjoy too little of either. To paraphrase a famous quote by the Urdu poet Kabir: "He is putting up mirrors in the city of the blind." | | |
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| | | | | | | | Anna Fox, Zwarte Piet, 1994-99 |
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8 Dec 2018 – 6 Jan 2019 | | | | | |
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| | | | | | | | Blocs of Monster 2 negative 2018 © Xiaoyi Chen |
| | | | | | | | | | | Sat 8 Dec 16:00
8 Dec 2018 – 6 Jan 2019 | | | | | |
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| | | | | | | | © Ruth Orkin Photo Archive, American Girl in Italy, 1951. |
| | | | | | | | | | | Wed 5 Dec 19:00
6 Dec 2018 – 10 Feb 2019 | | | | | |
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| | | | | | | | Zaōdō-Halle © FUJITSUKA Mitsumasa |
| | | | | | | | | | | 30 Nov 2018 – 22 Feb 2019 | | | | | |
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| | | | | | | Jorge González
© Anatol Kotte |
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| | | | | | | | Alexis Hunter: Approach to Fear, Voyerism, 1973/2006, Sammlung Verbund Wien |
| | | | over 300 artworks from the Vienna
SAMMLUNG VERBUND collection | | | | | | Tue 11 Dec 18:00
12 Dec 2018 – 3 Mar 2019 | | | | | |
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| | Installation view, Isabelle Graeff Installation view Isabelle Graeff
© CDI 2018 | | | | | | | | until 27 September 2019 | | | | | | | | | | | | | | | Isabelle Graeff moved to England after a death in the family. Coming to terms with significant events in a person’s life requires time for recentering and questioning of identity. The personal circumstances intuitively put the German photographer in tune with the particular atmosphere in a country on the threshold of the Brexit decision.
Her work is not beholden to a specific genre. Isabelle Graeff’s snapshots seem to draw a portrait of the country. Just as the change of seasons introduces a mood shift, so her visual inventory catalogues an atmosphere that portends an upheaval. Perhaps it is merely subjective impressions that retrospectively make the connection between the photographs and Brexit and give the collection its name. But aren’t images always the result of subjective impressions? And isn’t the viewer’s gaze invariably tinted by interpretation?
Viewing it from the other side of political developments, a wholly new portrait emerges, showing a desolate cultural landscape, wide nature shots, austere urbanity and a variety of human faces. Stagnation and change, expectation and wonder, proximity and distance, familiarity and foreignness alternate. The glance towards strangers is fleeting. The alternation of subjects from image to image conveys a feeling of movement through space and progress through time. The photographer lines up impressions like links in a chain. Just like a jigsaw puzzle, these snippets combine to form a full picture between subjective premonition and factual documentation – the freedom of deciphering it is up to the viewer.
More Information: www.editionexit.com | | |
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| | TB-0632 + TB-0793: Single images from "Tanzboden 1", Panorama Recording, Mannheim, 2015.
© Jules Spinatsch, 2018; Courtesy Galerie Luciano Fasciati, Chur, Christophe Guye Gallerie, Zürich | | | Jules Spinatsch »
Semiautomatic Photography 2003-2020 | | | | 12 December 2018 – 27 January 2019 | | | | Opening reception: Tuesday 11 December 18:00 | | | | | | | | | | | | | Jules Spinatsch is one of the most important Swiss photographers on the international scene today. To be specific, he has exhibited at the MoMA in New York, the Fondation Cartier in Paris, the Villa Arson in Nice, the Walker Art Center in Minneapolis, Tate Modern in London, the SFMoMA in San Francisco, as well as at Kunsthaus Zürich or the Fotomuseum Winterthur, to mention only those institutions.
It is the CPG that has been the most frequent exhibitor of his work up to now, with two solo exhibitions (at the CPG in 2003 and Artgenève in 2015) and four group exhibitions, one not on CPG premises. Joerg Bader has already written five essays about the artist’s work. It is against this background that Jules Spinatsch, believing he had considered the question from every angle, wanted to take stock at the CPG of his practice of taking semiautomatic photographs.
The exhibition will bring together the 22 panoramic photograph projects he has carried out between 2003 and 2016 using a technique the artist developed himself from a semi-automatic webcam, in collaboration with the computer specialist Reto Diethelm.
Starting in 2003, the date of his first solo exhibition at the CPG entitled Temporary Discomfort, the artist has succeeded in responding artistically to a method of photographic production which would subsequently only become more widespread, namely automated surveillance photography. The first panorama made in 2003 during the World Economic Forum at Davos, the photographer’s birthplace, marks a turning point in the history of critical photography.
It has to be remembered that three years earlier Allan Sekula, as a private citizen (with no press card or accreditation) in the middle of the crowd at the major demonstration against the globalisation of the economy in Seattle, immortalised the nascent alternative globalization movement. | | |
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| | | | | | | | Giacomo Brogi: Neapel, Vicolo del Pallonetto in Santa Lucia, um 1880 |
| | | | | | | | A travel to Italy | | | | | | Fri 7 Dec 19:00
8 Dec 2018 – 14 Apr 2019 | | | | | |
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| | © Alex Prager, Crowd #9 (Sunset Five), 2013, from the series Face in the Crowd
Courtesy Alex Prager Studio and Lehmann Maupin, New York and Hong Kong | | | | | | | until 27 JANUARY 2019 | | | | | | | | | | | | | | | | 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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| | | | | | | | Untitled 2018, Archival pigment print |
| | | | | | | | | | | Thu 6 Dec 18:00
29 Nov 2018 – 5 Jan 2019 | | | | | |
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| | | Metamorfosis, 2016 © Isabel Muñoz, courtesy Galerie Esther Woerdehoff | | | | | | The Anthropology of Feelings / Fragments | | | | extended, until 22 December 2018 | | | | | | | | | | | | | | | | | How not see a network of close interconnexions between several worlds in Su dance, Shiite rituals, Peul scari cations. The reduction of photography to the documentary form prevents access to a universe, that of a human community which turns sacri ce into the supreme act of knowledge. The exuberance and pleasure experienced in the solitude of pain pay tribute to the dead and the gods. Serenity and ecstasy are at the end of the journey of abandonment and violence.
If it is true that these “transmitters” are recognisable for their excess and that they show appearances which we consider grotesque, this is the price at which the body rises. We cannot access the other world without disincarnating ourselves in ours. Because they accept to become an instrument of higher powers; by offering themselves to them, Isabel Muñoz’s subjects can rejoin their ancestors, whether real or mythical. | | |
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| | | | | | | Katharine Cooper: "Cheryldean, Hestia, Marisa & Clara: Girls in the Park at Prins Albert, South Africa"
© Katharine Cooper, courtesy Flatland Gallery, Amsterdam |
| | | | portrait photography from the private collection SpallArt | | | | | | Sat 8 Dec 11:00
8 Dec 2018 – 10 Mar 2019 | | | | | |
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| | | Caddies go to work at the Mission Hills golf course, Guangdong, China. Photograph: © Andrew Rowat | | | | | | | | | | | | | until 17 February 2019 | | | | | | National Museum of Art 313 Gwangmyeong-ro, Gyeonggi-do, 13829
Gwacheon - South Korea
www.mmca.go.kr | |
| | | | | | Civilization: The Way We Live Now is an international photography exhibition co-produced by the National Museum of Modern and Contemporary Art (MMCA), Korea and the Foundation for the Exhibition of Photography (FEP), Minneapolis/ New York/Paris/Lausanne. The exhibition features over 500 original prints by over 130 photographers from 32 countries.
This exhibition was organized to attempt a view of our global civilization, as it has taken shape over the past 25 years. Looking through the camera lens, the exhibition focuses on our current "planetary-wide" civilization, and how the world’s citizenery responded with the formation of a distinct "collective life." The audience, upon entering, will be faced by the immensity of contemporary civilization, and its pulsating vitality.
The exhibition approaches "civilization" from an all-encompassing perspective when charting the journey of human society and—as the concept of civilization becomes ever more complex and abstract—it shows how the world of photography embraces and interpretes "civilization," and enriches our understanding of its meaning. Through this exhibition, the public is invited into the collective lives of contemporary society, to survey its formation, and surmise what’s to come in the future.
After its showing at the MMCA, Civilization will travel on to the Ullens Center for Contemporary Art in Beijing, China; the National Gallery of Victoria, Melbourne, Australia; and the National Museum of Civilization, Marseille, France.
This exhibition is curated by William A. Ewing, and Holly Roussell from FEP, and Bartomeu Mar&iacu… | | |
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| | | | | | | Krishak - Yield of Time (2018)
© Anja Bohnhof |
| | | | | | | | | | | Wed 5 Dec 19:00
6 Dec 2018 – 3 Feb 2019 | | | | | |
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| | The Dating Brokers: An Autopsy of Online Love
screenshot, website, 2018 © Joana Moll, Ramin Soleymani and Tactical Tech | | | SITUATIONS/To look is to labor | | | | SITUATIONS Cluster #150 - #159 | | | | | | | 8 December 2018 – 17 February 2019 | | | Opening of SITUATIONS/To look is to labor: Friday, 7 December from 6 to 9 p.m.
Join some of the artists and speakers of the conference «Image Net/Works» for drinks and snacks. | | | | | | | | | | | | | The photographic industry not only introduced new fields and practices of work, but was furthermore instrumental in the optimisation of industrialised forms of labour. Photographic images, in turn, became crucial in re-organising our perception by capitalising on our gazes. In today's digital systems, the viewer’s gaze is tracked and analysed to perfect the “harvesting of eyeballs”, turning every spectator into a worker.
In the production models of our so-called attention economy, digitally networked technologies and photographic media play a fundamental role. Photographic images on major social media platforms are accompanied by metrics that suggest their value, giving rise to new forms of labour, with influencers, cloud workers and crowdfunding campaigns being some of the – more or less visible – agents in the global production tied to the networked image. The current cluster investigates these increasingly complex modes of production and the relations between photographers, the image network, as well as images and their viewers. | | |
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| | | | | | | | | | | | | Wed 5 Dec | 6 – 9 Dec 2018 | | | | | |
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| | | | | | | | | | | | | Thu 6 Dec | 6 – 9 Dec 2018 | | | | | |
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| | | | | | | | | | | | | Thu 13 Dec 10:00
8 – 11 Dec 2018 | | | | | |
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| | | from the series Fortia © Keyezua | | | | | | | Uniting Africa and the World Through Photography. | | | | | | | | 6 – 10 December 2018 | | | | Opening: Thursday 6 December 18:00 | | | | | | | | | | | | | | Established in 2010, the Addis Foto Fest biannual is a photography festival that is directed by award winning photographer Aida Muluneh. Produced by Desta for Africa (DFA), the weeklong international festival is held in Addis Ababa, Ethiopia and features exhibitions, portfolio review, conferences, projections and film screenings. Through the participation of the continental and as well the international photography community our main objective is to support the development, dissemination and promotion of image from Africa. | | |
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| | | | | | Possibilities for a Non-Alienated Life | | | | | | 12 Dec 2018 – 29 Mar 2019 | | | | | |
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| | | | | | | | | | | | | Sat 8 Dec
8 – 18 Dec 2018 | | | | | |
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| | | | | | | | Femmes Fontaines series, 2012-2018 © Marianne Maric |
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| | | | | | | Bangkok Art Biennale’s installation of A.W.C. portrait #8991 at BACC Bangkok
mounted vinyl banner 1400 cm x 1400 cm © ralf tooten |
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| | | | | | | | Harit SRIKHAO, Thailand b.1995 / Heaven Gate, from the Whitewash series 2015-16 / Digital photograph / 64 x 100.3cm / © The artist / Image courtesy: Gallery VER, Bangkok |
| | | | | | | | | | | 24 Nov 2018 – 28 Apr 2019 | | | | | |
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| | | | | | | | © Natan-Dvir,-14th-St-Union-Sq1 - detail |
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| | | Han Lei : Peak Flown From Afar | | | | | | | The Wind of Time | | | | | | | | 1 December 2018 – 3 January 2019 | | | | | | | | | | | | | Lianzhou Foto Festival celebrates photography with over 60 international shows and a thematic exhibition. The theme exhibition ‘The Wind of Time’ of Lianzhou Foto Festival 2018 will gather the work of 25 local and international photographers, all investigating the ways we have shaped our world to fit our modern needs, technological ambitions, globalized and liberal ideals – and how in turn, this new modern world has shaped us, impacted labour and trade, modified the way we interact and occupy space. Curated by French curator Jérôme Sother, the theme exhibition will present artists such as Mathieu Pernot, Mohamed Abakar, Jacqueline Hassink, Yann Mingard, Oliver Sieber, Zhou Tao, Tom Wood, Salvatore Vitale, David de Beyter, Eline Benjaminsen, Lau Wai and more.
Furthermore 30 solo exhibitions are included by Paulo Coqueiro (Brazil), Erwin Blumenfeld (Germany / USA), Koji Onaka (Japan), Zhang Kechun, Zhang Er (China). | | |
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| | | | | | | | © Marie Hudelot, Camouflage Aux Plumes, from the series Heritage |
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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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| | | | | | Brave New World | | | | | | – 10 Feb 2019 | | | | | |
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| | Petros Efstathiadis, The bottom of the pool, 2016
From the series Gold rush. Courtesy of the artist and CAN (Christina Androulidaki Gallery) | | | | | | | 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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| | | I’m just Wan Chai girl, 2018 © Lau Wai. Jimei x Arles Discovery Award | | | | | | | | | | | | | – 2 January 2019 | | | | | | | | | | | | | Co-produced by Three Shadows Photography Art Centre and Xiamen’s Jimei District - Tianxia Jimei Media, the festival’s art direction is ensured by Bérénice Angremy and Victoria Jonathan, co-founders of cross-border art agency Doors 门艺. This year, the festival will boast 30 exhibitions and feature the work of 70 artists from the United States, France, Switzerland, Poland, Turkey, South Korea, Slovenia, and of course China.
Bringing each year to China exhibitions from one of the most renowned photo festival in the world, Rencontres d’Arles, Jimei x Arles also aims at providing a platform for new Chinese photography with several exhibitions showcasing young Chinese photographers and curators. Aside from the Jimei x Arles Discovery Award, which rewards a Chinese photography talent with 200,000 RMB and an exhibition at Rencontres d’Arles the next summer, the festival has created in 2017 a special prize for women photographers: the Jimei x Arles – Madame Figaro China Women Photographers Award, co-organized with women's magazine Madame Figaro, with the support of Women in Motion, an international programme launched in 2015 by luxury group Kering to showcase the contribution of women to the film and image industry.
Along with the exhibition program, a number of events are organized for photography professionals, art lovers and the public during the Opening Week: PhotoFolio Reviews, public discussions about photography, performances, university lectures, and exhibition tours guided by artists and curators. | | |
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© 5 December 2018 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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