| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 29 Jan - 5 Feb 2020 | |
|
| |
|
| |
| |
| | | | | Haute Photographie - a photography fair with established artists and the younger generation of photographers Rotterdam Photo - a festival, photography 4all manifestation explores the realms of our identity Art Rotterdam - contemporary art fair |
| |
| | | | | | | |
|
|
| |
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
| |
|
| |
| |
| | | Ute & Werner Mahler, #042 from the series Kleinstadt (2015-2018) | | | | | | | | | | | ... until 15 March 2020 | | | | | | | | | | | | | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | | | | | | © Beat Streuli / Galerie Jochen Hempel |
| | | | | | | | | | | | Wed 5 Feb 19:00
6 Feb – 5 Apr 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| | | | | | | Mona Schulzek: Ottomane, 2016
© Mona Schulzek, courtesy Vonovia Award für Fotografie 2019
(1. Preis Kategorie "Beste Fotoserie") |
| | | | VONOVIA AWARD FÜR FOTOGRAFIE 2019 | | | | | | | Sat 8 Feb 19:00
9 Feb – 15 Mar 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| | | | | | | Laurenz Berges, Kaiser-Wilhelm-Straße Nr. 391, 2012
© Laurenz Berges / VG Bild-Kunst, Bonn |
| | | | | | | | Das letzte Jahrhundert | | | Sun 9 Feb 11:30
9 Feb – 3 May 2020 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | | | | | | | | | Thu 6 Feb 18:00
7 Feb – 18 Apr 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | She Disappeared into Complete Silence © Mona Kuhn AD 7573 + 7085, 2014 | | | Mona Kuhn » She Disappeared Into Complete Silence | | | | ... until 23 October 2020 | | | | | | | | | | | | | The quality of light, according to Mona Kuhn, is measured in nuances of colour and – as strange as it may seam – even in sounds, or the absence of sounds. The photographer has translated this empirical experience into photographic images. Her journey towards the light took her to the Joshua Tree desert in California.
As a classical symphony is built upon rhythm and the development of an initial motif, so the potential of light is observable through its rhythmic and evolving intensity. The viewer can easily discern the alternating chromatic effects and the play of shadows. As the saturation of light increases, the shadows fade and the sounds dim. In an orchestra, every instrument is waiting for its entry or an interval. Faced with the everincreasing intensity of the sun, everything seems to hold its breath. The brightness yields only to time – a few, fleeting moments can be captured in the fullness of the light. The shadows will not be banished for long: as soon as the sun crosses the zenith, they prepare their resurrection.
The impression emanating from this magical moment is exhilarating. Do even the insects go quiet in the midday sun? There is complete silence. An illusion? This ephemeral stillness is not isolated. The muted soundscape gives way to a series of optical phenomena: reflections. The light paints non-tangible, transparent images into the desert. Mirages. Images appear and repeat themselves – mirrored or inverted. Up and down flow into each other; far blends into close. Apparitions are superimposed on each other. Straight lines are curving in the heat and brightness. Perception takes on surreal traits. Paradoxically, the light seems static amidst the shimmering vibrations. Suddenly the shadows start taking shape a… | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | Peter Lindbergh, Claudia Schiffer, Santa Monica, 1997, 2015 | Peter Lindbergh, Milla Jovovich, Paris, 1998
© Peter Lindbergh (Courtesy of Peter Lindbergh, Paris) | | | | | | | | 5 February – 1 June 2020 | | | | | | | | | | | | | Untold Stories is the first ever survey exhibition curated by Peter Lindbergh himself. Born in 1944 and raised in Duisburg, the German photographer spent two years working on an uncompromising collection of 140 photographs that will offer a deep insight into his extensive oeuvre, spanning from the early 1980’s to the present day. The exhibition celebrates the legacy of Peter Lindbergh, who passed away in September 2019, while showcasing this master’s highly personal approach to his work. "The first time I saw my photographs on the walls of the exhibition mock-up, I was startled, but in a positive way. It was overwhelming to be thus confronted with who I am.", Lindbergh explained in an interview for the catalogue in June 2019. The show offers an extensive, first-hand look at images that are usually short-lived; being mostly commissioned and published by monthly magazines such as Vogue, Harper’s Bazaar, Interview, Rolling Stone, W Magazine or the Wall Street Journal.
Lindbergh’s comprehension of fashion photography was that it can – and should – exist very well without putting fashion in the centre. His images successfully transcend their own context, redefining the parameters of fashion photography and contemporary culture. "The exhibition allowed me to reconsider my images in a non-fashion context. The presentation aims to open the photographs to different interpretations and perspectives." stressed Lindbergh during the conversation. "However, I don’t try to claim that my pictures aren’t fashion photographs, that wouldn’t be true either. I insist on the definition 'fashion photography' because for me that term doesn’t mean that one has to depict fashion ... | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | | Denis Dailleux: La dame aux fleurs, Ghana. 2012. C-Print, 38 x 38 cm, Ed. 12 | | | | | | | | ... until 22 February, 2020 | | | | | | | | | | | | | "I first discovered Ghana when I came across the beautiful book Paul Strand dedicated to this country. It made such an incredible impression on me that on that day, I promised myself that I would one day go and photograph Ghana.
After Gallimard Editions published my book "Fils de Roi" — a work entirely dedicated to Egypt —, I felt that the time had come for me to find new sources of inspiration. In search of fresh landscapes and new ways of being, I set out to explore Sub-Saharan Africa.
My first encounter was in Accra, with the community of Jamestown’s fishermen. There, I was struck by scenes straight out of old oil paintings. The light along the ocean dazzled, transforming the men into silhouettes. After experiencing the prudishness of Egypt, I loved the beauty and the freedom of the Ghanaian bodies. For a photographer, these bodies are a gift.
Further to meeting Joseph, I visited his village in the Ashanti region. But Ghana is not a country so easily tamed, and I had to make many return trips. And during my last trip, I found that my stubbornness had paid off. It was then that I discovered a village at the foot of Lake Volta where I encountered the most beautiful people. It was there that I took what may be my finest portraits - of a village idiot, of the children, and once again, of a group of fishermen.
I love this feeling of perpetual discovery which reminds me of childhood. I try to live within this eternal yet self-renewing state of constant rebirth." Denis Dailleux
Denis Dailleux was born in 1958 in Angers, France. He has published a series of photography books, portraying Egypt, Cairo, his impressions of the revolution, and Ghana.
Dailleux h… | | |
| |
|
|
| |
| |
|
| | | | | | | | | | | | | | Thu 6 Feb 18:30
6 Feb – 9 May 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
|
| | | | | | | Mika Rottenberg
Spaghetti Blockchain, 2019
Videostill, Einkanal-Videoinstallation
Ton (7.1 Surround Sound), Farbe, 18:15 min
Courtesy the artist and Hauser & Wirth
© Mika Rottenberg |
| | | | | | | | der Niedersächsischen Sparkassenstiftung | | | Fri 7 Feb 19:00
8 Feb – 10 May 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | John Baldessari
Studio
1988
Lithograph, silkscreen
Edition of 150
30 1/2" x 38 1/2" |
| | | | | | | | | | | | Sat 8 Feb 16:00
8 Feb – 14 Apr 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Alexander Rodchenko
Gathering for a Demonstration
1928 | | | | | | | | ... until 5 April 2020 | | | | | | | | | | | | | | The Lumiere Brothers Center for Photography presents an exhibition of photographs by the outstanding Russian avant-garde artist Alexander Rodchenko from the collection of the Still Art Foundation, established by Elena and Mikhail Karisalov. The exhibition will include Rodchenko's works of different years, from the first photographic experiments of the 1920s to the end of the 1930s. The exhibition will feature portraits of Rodchenko's friends—artists, architects, poets, writers, filmmakers, employees of the magazines LEF and Novyi LEF, including the familiar portrait of Lily Brik, which was used in the advertising poster for the Leningrad Department of Gosizdat (State Publishing House), several photographs of Vladimir Mayakovsky from the first photoshoot in Rodchenko's studio on MyasnitskayaStreet (1924), and the famous photograph of Osip Brik, where one of the lenses in his spectacles is replaced by the LEFlogo.The exhibition will also include family portraits: Rodchenko's mother, his wife Varvara Stepanova and daughter Varvara Rodchenko, architectural shoots and photo reports: the legendary Balconies (1925), Fire Escape (1925), Stairs (1929), as well as Pioneer with a Trumpet (1930) and Pioneer Girl (1930). | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | | Fratelli Alinari: Wheat Ears, 1878-1885, albumen paper © Archiv der Universität der Künste, Berlin | | | | | | | Photographs from the Berlin University of the Arts 1850 | | | | | | | | 7 February – 14 June, 2020 | | | | Opening: Thursday, 6 February, 7pm | | | | | | | | | | | | | Paragons Afterimages, the exhibition title refers to correlations between images, but also their production, referring to the connections between images and a method of using existing images to produce new ones. In the art schools of the 19th and early 20th centuries, photographs served as models or paragons and were employed purely for teaching purposes. Budding artists used photographic templates as important creative aids – they provided the model, in art classes, for the students’ "afterimages" or "copies" created in the form of paintings, sculptures, drawings and graphic designs. Indeed, the photographs themselves also, in a sense, constituted an "afterimage" by reproducing the scene “captured” through the eye of the camera.
The Berlin University of Arts archives have preserved an extensive and valuable collection of photographic teaching aids dating back to the 1850s originating from the University’s predecessors, the Berlin Academy of Arts and the renowned College of Applied Arts. It is unique within Germany and comprises some 25,000 individual photographic prints as well as several individual sets and albums. After years of neglect, it has recently been reappraised by archivists and academics. This Münchner Stadtmuseum exhibition offers a fascinating first-ever opportunity to view an extensive selection of the images from the collection.
The templates, models, prototypes and specimens typically used as teaching aids from as early as the 16th century come in many different guises. They would customarily comprise plaster casts, copper engravings, photographs, drawings and replicas. On occasions, Berlin’s Academy of Arts and its College of Applied Arts would even employ … | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Meiro Koizumi (b. 1976, Gunma, Japan; lives and works in Yokohama); still from My Voice Would Reach You; 2009; HD color video with sound; 16:45 min.; image courtesy of the artist, Annet Gerlink Gallery, Amsterdam, and MUJIN-TO Production, Toyko |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | © Gérard Musy; courtesy Galerie esther Woerdehoff Paris |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | Michael Höpfner: Von Gramsh nach Sheper
Silbergelatineprint, 50 × 6cm, 2019 |
| | | | | | | | | | | | Thu 6 Feb 19:00
7 Feb – 4 Apr 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Esther Hovers, from False Positives, 2015–2016. © Esther Hovers. | | | | | | | | | | | | | ... 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.
With works by Mitra Azar, Daniele Buetti, Esther Hovers, Simone C. Niquille, Carrie Mae Weems and Mushon Zer-Aviv.
Kindly supported by Ars Rhenia Foundation.
SITUATION #186: Esther Hovers, False Positives, 2015–2016
19.10.2019–16.02.2020
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… | | |
| |
|
|
| |
| |
| |
|
| |
| |
| | Bastiaan Woudt, Left: Tinotenda III, 2015, right: Hairpiece, Mukono, 2017
Archival Pigment Print on Inova Baryta Papier, 120 x 90 cm each, Edition 10 & 2 AP | | | | | | | | ... until 22 February 2020 | | | | | | | | | | | | | Bastiaan Woudt has enjoyed a meteoric rise to success within the world of contemporary photography. After starting his own photography practice from scratch a mere five years ago, with no experience or formal training, he has developed into a photographer with his own distinct signature style – abstract yet sharp, with a strong focus on detail.
As a student of the history of photography, learnt through devouring photobooks and visiting museums and fairs, Bastiaan Woudt has a strong preference for classic subjects, such as portraits and nudes, and we see references to illustrious periods from photography throughout his work, such as Surrealism and both the fashion and documentary photography of the 1960s and 70s. But through a sophisticated use of both camera and post-production techniques, which he has taught himself by heavily experimenting with both, he gives his own graphic and wholly contemporary twist to the classical.
Bastiaan Woudt’s work was exhibited in museums, at fairs and in galleries worldwide. In 2014 he was chosen as New Dutch Photography Talent, in 2016 he was named one of the biggest talents working today by the prestigious magazine The British Journal of Photography, furthering his position as a talent on the rise. In 2017 he won the Van Vlissingen Art Foundation Award. In 2019, his extensive monograph "Hidden" was published by Ypublishers.
"My inspiration comes from many forms of art, but in particular, the old masters of photography like Irving Penn, Richard Avedon, Man Ray, Bill Brandt, all amazing minds. They nailed what it takes to make an interesting image: Dynamics, movement, imperfection, feeling. Besides photography, there are many more ways I get inspired. Paintings, the way the Dutch masters saw the light is extraordinary. I believe that in art photography, you have to create a little dream world: a unique insight into the photographer’s mind. Black and white help to differentiate from reality. I find that color is too distracting."
- Bastiaan Woudt | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | | | | | | | | | | | | | 6 – 9 February 2020 | | | | Opening reception: Wednesday 5 February 19:00 | | | | | | | | | | | | | Haute Photographie Returns With Six New Talents
Haute Photographie – the boutique photography fair – returns to Rotterdam for the fifth time. The fair is centred around a group exhibition including works ranging from the masters of photography to the youngest and most exciting talents working with the medium today.
One of the most extraordinary aspects of the fair is the Haute Talent Programme, which aims to support, coach and present a strong selection of recently graduated photography talents. Unique in this approach, Haute Photographie has been guiding the best graduates towards their first commercial appearance.
Haute Photographie takes place during Art Rotterdam Week from 6 to 9 February – the most important art event of the Netherlands to discover new and young art. | | |
| |
|
|
| |
| |
| |
|
| |
| |
| | What's The Light Light Dark Dark Point Point Point, 2018
© Patrick Waterhouse; The Ravestijn Gallery, Amsterdam | | | | | | | | | | | | | 6 – 9 February 2020 | | | | Opening: Wednesday 5 Februray 18:00 | | | | | | | | | | | | | | A week in which the city opens its doors and offers you the best in art, design and architecture. Throughout the week, the city bustles with special openings, exhibitions in museums and art institutions, lectures, guided tours, performances, debates, pop-up shows, musical events and various fairs. For the first time, performance art is represented as a destination, an initiative of Art Rotterdam. The Performance Show, curated by Zippora Elders, offers more than 12 non-stop performances, including performances by students from the Rotterdam academies, and can be seen in the building complex of AVL Mundo/Atelier Van Lieshout. At Art Rotterdam, Projections, the video art department, has been completely redesigned by main sponsor citizenM, and the prize winner of the fourth NN Group Art Award will be presented in the booth where the work of the four nominees is on display. Again this year, there are free shuttle buses that will take you from the Van Nelle Factory to the Museum Park, the Kop van Zuid and the Vierhavens area.For the complete program in the city: see the renewed website artrotterdamweek.com. | | |
| |
|
|
| |
| |
|
| | | | | | | | | | | | | | Wed 5 Feb 19:00
5 – 9 Feb 2020 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | ZsONA MACO Foto Presents its 5th edition with a selection of vintage, modern and contemporary photography of worldwide galleries. | | | | | | | Wed 5 Feb 16:00
5 Feb – 9 Feb 2020 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
|
| |
| |
| |
|
| |
|
|
| |
|
|
| |
| |
|
| |
|
|
| |
|
| | | | | | | | © The Laboratory of Manuel Bürger |
| | | | | | | | | |
|
| |
|
| | | | | | Terretoire(s) | | | | | | | – 29 Feb 2020 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | Every Step in the Right Direction | | | | | | | – 22 Mar 2020 | | | | | |
| | | | | | | |
|
| |
| |
| |
|
| |
| |
|
| |
© 5 February 2020 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
| |
