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| PHOTOGRAPHY INTERNATIONAL | | 6 - 13 March 2019 | |
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| | For the eighth edition of Duesseldorf Photo Weekend 2019, more than 50 exhibitions are showcasing historical and contemporary trends in photography. Fri 8 Mar 6-9pm | Sat 9 Mar 12-8pm | Sun 10 Mar 12-6pm |
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| | Starting today on Wed March 6 The Armory Show 2019 present 200 exhibiting galleries from 7-10 March. |
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| | The major exhibition Civilization: The Way We Live Now is now opening at Ullens Center for Contemporary Art, Beijing. It is featuring more than 300 works of 100 of the world's finest photographers. It addresses and illuminates major aspects of our increasingly global 21st century civilization. |
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| | Eric Gyamfi (b. 1990, Ghana) was chosen as the winner of the thirteenth Foam Paul Huf Award for photography talents under the age of 35, selected out of 100 nominees from 24 countries. The prize consists of €20,000, a solo exhibition at Foam, the works at the next annual Talent Issue of Foam Magazine and in the internationally traveling group exhibition. |
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| | Hong Hao
Book Keeping of 2007 B
from the series My Things
2008
© 2018 Hong Hao, courtesy of Pace Gallery | | | | | | | | | | | 9 March – 19 May 2019 | | | | | | | | | | | | | Civilization: The Way We Live Nowpresents nearly 300 works by more than 130 of the world’s most renowned photographic artists, offering a complex and sprawling vision of contemporary life. The images gathered here, produced in the past 25 years, speak to the changes brought about by globalization, and draw attention both to the increasing amount of complexity and conflict, and to the unprecedented degree of interdependence, that characterize life today. They attest, as well, to the development of the medium of photography, and its ability to document these sweeping changes. Organized in collaboration between UCCA and the Foundation for the Exhibition of Photography, the Beijing presentation of Civilization is curated by William A. Ewing and Holly Roussell.
In his 2011 book, Civilization, the historian Niall Ferguson notes: “These days most people around the world dress in much the same way: the same jeans, the same sneakers, the same T-shirts… It is one of the greatest paradoxes of modern history that a system designed to offer infinite choice to the individual has ended up homogenizing humanity.” This paradox lies at the core of “Civilization,” which strives to explain the “complex whole” that is modern society, in all its spiritual and material richness. The photographers in this exhibition depict, reveal, examine, criticize and otherwise reflect our hyper-modern and complex social terrain, from Edward Burtynsky’smassively transformed landscapesto Lauren Greenfield’s revealing urban portraits,from Toshio Shibata’s highly ordered tableaus to Xing Danwen’s electronic pollution. | | |
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| | © Edward Burtynsky
Uralkali Potash Mine #3, Berezniki, Russia, 2017
Series: The Anthropocene | | | | | | | | until 18 April, 2019 | | | | | | | | | | | | | Humankind reached an unprecedented moment in planetary history. Humans now affect the Earth and its processes more than all other natural forces combined. The "Anthropocene Project" is a multidisciplinary body of work combining fine art photography, film, virtual reality, augmented reality, and scientific research to investigate human influence on the state, dynamic, and future of the Earth.
Galerie Springer Berlin is showing a high-quality selection of new photographs from the "Anthropocene Project".
The entire body of work is currently being shown simultaneously at the Art Gallery of Ontario and the National Gallery of Canada. The documentary film "The Anthropocene: The Human Epoch" by Jennifer Baichwal, Nicholas de Pencier and Edward Burtynsky will soon be shown in cinemas.
The book "The Anthropocene" has just been published by Steidl in Göttingen.
Detailed information about the entire project: theanthropocene.org | | |
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| | Susan Meiselas
Searching all travellers, Ciudad Sandino, Nicaragua, 1978
Inkjet print, 50 x 70 cm
© Susan Meiselas/Magnum Photos | | | Women War Photographers | | | | From Lee Miller to Anja Niedringhaus | | | | | | | 8 March – 10 June, 2019 | | | Talk with Carolyn Cole, Susan Meiselas, Christine Spengler: Friday, 8 March, 7 pm
Registration required | | | | | | | | | | | | | The exhibition "Women War Photographers" turns to the generally underrated contribution women have made to war photography. The presentation comprises approximately 140 photographs by Carolyn Cole (*1961), Françoise Demulder (1947–2008), Catherine Leroy (1944–2006), Susan Meiselas (*1948), Lee Miller (1907–1977), Anja Niedringhaus (1965–2014), Christine Spengler (*1945) and Gerda Taro (1910–1937). Taken between 1936 and 2011, the photographs document the long history of women photographers working in war zones and question the widely held notion that war photography is a male preserve.
"Women’s important contribution to war photography has not received adequate recognition", emphasizes Felix Krämer, Director General of the Kunstpalast. "The presentation demonstrates that in war reporting, like in all other areas of photography, pictures of timeless relevance have been created. They not only provide inspiration for diverse discourse, but also deserve the appropriate recognition from museums." The selected works illustrate that women photojournalists made use of various visual strategies and narrative forms. "We are showing eight female photographers with eight different perspectives on the war", explains Felicity Korn, one of the two curators. "Each of them represents her own style. Their respective approaches switch from neutral objectivity to raw directness or sympathetic engagement and empathy." What all works have in common is that they were created for the fast-moving news machinery. Each of the presented photographers published her pictures in important newspapers and magazines. The impact and significance of their photographs goes far beyond what is depicte… | | |
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| | Michael Wesely
The Museum of Modern Art New York, 7.8.2001 - 7.6.2004
C-Print UltraSecG, metal frame
125 x 150 cm
© Michael Wesely / VG-Bildkunst, Bonn 2019 | | | Michael Wesely » The camera was present 1988 - 2018 | | | | 9 March – 5 April, 2019 | | | | Opening: Friday, 8 March, 6 – 9 pm | | | | | | | | | | | | | Since 1988, the artist Michael Wesely has been creating photographic images in extreme time exposures. Motifs and events he is interested in determine the duration of the exposure: he focuses his camera on a bouquet of tulips for a whole week, it accompanies the Berlin Philharmonic throughout the entire score, as well as the three-year reconstruction of the exterior architecture of the Museum of Modern Art. In the Casa de Vidro in Sao Paulo, his lens follows the changes in nature and the changing lighting conditions for a period of one year.
Wesely has been working with time for decades. It documents his artistic work as a temporal and spatial process. It traces genesis, flowering and decay. What has just been captured in the picture is lost again, superimposed, condensed by repetitions. It becomes indistinct, blurred by elapsed time and traces of movement. The works by Michael Wesely are thus impressive testimonies of a living process.
During the Düsseldorf Photo Weekend, the Grisebach Representative Office in Düsseldorf is delighted to present a solo exhibition of Michael Wesely's long-term exposures of 30 years, in cooperation with the Berlin gallery Fahnemann. | | |
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| | Thomas Wrede: Stadt am See (from the series "Real Landscapes"), 2018
© Thomas Wrede, VG-Bildkunst, Bonn 2019 | | | | | | | | 9 March – 11 May 2019 | | | Opening: Friday, 8 March, 6 pm
Opening speech: Dr. Gerhard Finckh (Von der Heydt-Museum, Wuppertal) | | | | | | | | | | | | | At this year’s Duesseldorf Photo Weekend, Beck & Eggeling International Fine Art will present – following on the successful survey exhibition "Thomas Wrede. Sceneries" at the Von Der Heydt Kunsthalle in Wuppertal last year – a retrospective-leaning exhibition of Thomas Wrede’s most popular works on the subject of landscape and nature, as well as new works.
Everything is a question of perspective. The realization that perspective influences perception, and ultimately our image of reality, is subtly reflected in Thomas Wrede’s photographs. Wrede creates new visual worlds that only exist through the photograph and in the photograph. In the interplay between staging and reality, truth and illusion, reality and fiction, these "illusory worlds" demand a growing awareness of what we see and how we see. His images break our habits of perception that are shaped by expectations. At the same time, the photograph’s claim to reality is challenged.
In his most famous series, "Real Landscapes", Wrede constructs scenes that present themselves to the viewer as impressive landscape images. The photographs show a moment of supposedly familiar reality, seemingly reproduced without any artificiality or staging. At first glance, the places seem real. But the illusion in his images is never absolute and so disconcerting fractures suddenly appear. The highly detailed miniature worlds of familiar architectural, street, and nature scenes seem strangely exposed in the real landscapes. This deception originates from blurring the boundaries of different levels of reality in the photo. The generally panoramic view evokes associations with Romantic painted landscapes. | | |
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| | México, 1969
© Graciela Iturbide / Colecciones Fundación MAPFRE, 2019 | | | | | | | 8 March – 30 June, 2019 | | | | Opening: Thursday, 7 March, 7 pm | | | | | | | | | | | | | With her black and white images Graciela Iturbide brings us the shadows of human existence. Traditions and their fragility, belief and religion, community and death are common themes for the artist. Within a five-decade career she has built an œuvre that is fundamental for understanding the development of photography in Mexico and the rest of Latin America. The Fotografie Forum Frankfurt (FFF) honours the artist, who was born in 1942 in Mexico-City, with her first retrospective in Germany. The exhibition "GRACIELA ITURBIDE" has been organised by Fundación MAPFRE, Madrid, in cooperation with the FFF. It highlights seminal works from all creative phases of this exceptional photographer and is solely comprised of photographs belonging to the Fundación MAPFRE Collection since 2008.
Many of Graciela Iturbide’s works are inspired by social norms and values, and evolve around cultural tensions, especially in her home country. This appears already in her first major photographic project "Juchitán de las Mujeres" (Juchitán of Women). Between 1979 and 1988 Iturbide repeatedly traveled to the myth-shrouded Zapotec heartland of Juchitán in the southern state of Oaxaca, which is well known for the dominance of women in the local economy and politics today. She lived within the matriarchal community and photographed the women over an extended time period, unforgettably portraying their deeply rooted independence and their dignified strength. | | |
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| | | | | | | | Louisa Marie Summer: aus der Serie "Behind The Veil", 2017 |
| | | | | | | | | | | | Fri 8 Mar 19:00
8 Mar – 21 Apr 2019 | | | | | |
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| | | | | | | | Bettina Gruber: Tulpentisch, 2016 |
| | | | | | | | Retrospektive | | | Sun 10 Mar 11:00
10 Mar – 24 Apr 2019 | | | | | |
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| | | | | | | | © Karlheinz Weinberger, Courtesy Galerie Esther Woerdehoff |
| | | | | | | | | | | | Fri 8 Mar 18:30
9 Mar – 12 May 2019 | | | | | |
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| | | Susan Meiselas. Villagers watch exhumation at a former Iraqi military headquarters outside Sulaymaniyah, Northern Iraq, 1991 © Susan Meiselas | | | | | | | | | | | | | 8 March – 2 June 2019 | | | | | | | | | | | | | The four artists shortlisted for the Deutsche Börse Photography Foundation Prize 2019 are:
Laia Abril (b. 1986, Spain) has been nominated for the publication On Abortion (Dewi Lewis Publishing, November 2017).
Susan Meiselas (b. 1948, USA) has been nominated for the exhibition Mediations (Jeu de Paume, Paris, 6 February - 30 May 2018)
Arwed Messmer (b. 1964, Germany) has been nominated for his exhibition RAF – No Evidence / Kein Beweis (ZEPHYR|Raum für Fotografie, Mannheim, 9 September - 5 November 2017)
Mark Ruwedel (b. 1955, USA) is nominated for the exhibition Artist and Society: Mark Ruwedel (16 Feb - 16 Dec 2018 at Tate Modern, London)
The winner will be announced at a special award ceremony held at The Photographers' Gallery on 16 May 2019.
Jury: Sunil Gupta, artist, writer, activist and curator; Diane Dufour, Director of Le Bal, Paris; Felix Hoffmann, Chief Curator at C/O Berlin; Anne-Marie Beckmann, Director, Deutsche Börse Photography Foundation, Frankfurt and Brett Rogers, Director, The Photographers' Gallery, London, as the non-voting chair | | |
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| | | Gretchen Bender, Total Recall (1987), Installation view at The Kitchen, 2013. | | | | | | | | 6 March – 28 July 2019 | | | | | | | | | | | | | Red Bull Arts New York is proud to present Gretchen Bender: So Much Deathless, the first posthumous retrospective of the life and work of the influential, multi-disciplinary artist. Opening to the public on March 6, 2019, and remaining on view until July 28, the ambitious exhibition returns the spotlight to one of contemporary art’s most prescient figures, detailing her historic importance and contemporary relevance.
Gretchen Bender (1951-2004) was a pioneering artist who worked across video, sculpture, computer graphics, photography, print and installation to interrogate the accelerated age of mass media. Moving to New York in 1978, Bender quickly fell in with the Post-Pictures Generation scene, centered around the artist-run gallery Nature Morte, as well as a milieu of artist and performers connected to The Kitchen. She befriended and collaborated with such figures as artists Robert Longo and Cindy Sherman, the choreographers Bill T. Jones and Arnie Zane, and musicians Stuart Argabright and Vernon Reid. Building upon techniques developed in her years running a feminist-Marxist screen-printing collective in Washington, D.C., Bender’s early two-dimensional work, made in New York, abstracted and juxtaposed images appropriated from across the visual spectrum: from other artists, the news cycle, and corporate and military advertising. The effect was a disturbing barrage that spoke to the accelerating power of the image in the coming digital age. | | |
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| | | | | | | | Keiji Uematsu Stone/Rope/Man II, 1974 Gelatin silver print, vintage 120 x 89 cm (47 1/4 x 35 1/8 in.) Courtesy the artist and Simon Lee Gallery, London, New York. |
| | | | | | | | | | | | Wed 6 Mar 18:00
7 Mar – 27 Apr 2019 | | | | | |
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| | Thomas Jorion, Fondali, Italie, 2017
Pigment print, American box frame in raw oak
Available in three sizes : 64 x 80 cm, 96 x 120 cm, 120 x 150 cm
Edition of 14 all sizes combined
© Thomas Jorion, Courtesy Galerie Esther Woerdehoff | | | | | | | | until April 6, 2019 | | | | | | | | | | | | | After his series Trace of Empire, where he froze the ruins of the French colonial empire, photographer Thomas Jorion offers with Veduta a view of Italy appearing from forgotten times.
Palaces, gardens, masserias, summer houses, the photographer has traveled Italy from north to south for almost ten years to find these mysterious and silent precious places that nobody cares about anymore. The grandeur and the architectural splendor of these rich residences of the 18th and 19th centuries thus persist by the prism of the photographer’s gaze. These images, so meditative, photographed with a large-format camera, invite us to an Italian journey, a solitary and beautiful Grand Tour.
Time is suddenly stretched out, without landmarks. A distortion of the present appears through these empty places, still, out of all agitation. Nature always takes up its rights in these timeless places inhabited by a presence of absence. The vegetation pushes the stones with its roots, and models the buildings with a new face, often wilder and more enigmatic, but just as fascinating.
The closed shutters of a ballroom where dust dance in the last rays of the sun and on the pendants of an old chandelier; a room painted al fresco where the nymphs of an ancient Areopagus look at us superbly in a scent of ferns and aging wood. Everything plunges us into a sweet and romantic dream.
In our societies where pressure, profitability and optimization take over every moment, Thomas Jorion find time and tells us other stories through his silent pictures. He questions us deeply about our relationship to life and time. These deserted places where man was but no longer is, question the spectator as an inevitable mise en abîme. Are we the au… | | |
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| | China, Shenzhen, 2017, Scene #1350 © Alex Majoli / Magnum Photos
The employees of a beauty parlour participate in a pep rally before starting work. | | | | | | | | until 28 April 2019 | | | | | | | | | | | | | EUROPE, ASIA, BRAZIL, CONGO. FOR EIGHT YEARS, ACROSS CONTINENTS AND COUNTRIES, ALEX MAJOLI HAS PHOTOGRAPHED EVENTS AND NON-EVENTS.
Political demonstrations, humanitarian emergencies and quiet moments of daily life. What holds all these disparate images together, at first glance at least, is the quality of light and the sense of human theatre. A sense that we are all actors attempting, failing and resisting the playing of parts that history and circumstance demand; and a sense that we are all interconnected. Somehow.
Majoli’s photographs result from his own performance. Entering a situation, he and his assistants slowly go about setting up a camera and lights. This activity is a kind of spectacle in itself, observed by those who may eventually be photographed. Majoli begins to shoot, offering no direction to people who happen to be in their own lives before his camera. This might last twenty minutes, or even an hour or more. Sometimes the people adjust their actions in anticipation of an image to come, refining their gestures in self-consciousness. Sometimes they are too preoccupied with the intensity of their own lives to even notice. Either way, the representation of drama and the drama of representation become one. | | |
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| | | | | | | | Kazuyoshi Usui “Showa96”(#2) 2019 ©Kazuyoshi Usui |
| | | | | | | | | | | | Fri 8 Mar 18:00
8 Mar – 30 Mar 2019 | | | | | |
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| | | | | | | | | | | | | | Wed 6 Mar
7 – 10 Mar 2019 | | | | | |
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| Awards / Call for entries |
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| | Zheng Yuan: DREAM DELIVERY (Still), 4K-Video, 13’, color, sound, 2018
© Zheng Yuan | | | | | | | | | | | | | Friday 8 March 6-9pm | Saturday 9 March 12-8pm | Sunday 10 March 12-6pm | | | | | | | | | | | | | | | For the eighth edition of Duesseldorf Photo Weekend, more than 50 exhibitions are showcasing historical and contemporary trends in photography. Current trends in contemporary photography, questions concerning the change in meaning of visual culture and society, are here reflected in photography and its cultural history.
One of this years main emphasis is the reflection on current social discourses which deal with the development of gender, identity and social systems.
Contrary to the general idea that war photography is a profession dominated by men, the exhibition Women war photographers. From Lee Miller to Anja Niedringhaus, at the Kunstpalast shows that there is a long and important tradition of female photographers working in war zones.
Uncertain States Scandinavia » , a artists collective from Oslo, is exhibiting contemporary portraits and, moreover, is presenting the current issue of its magazine Issue 09.
Body in Pieces is the name of the exhibition at KAI 10 | ARTHENA FOUNDATION about the human body, on which the key contradictions of the present-day are manifested.
The Polish Institute is likewise presenting the works of the upcoming Polish artist Weronika Gęsicka » in the exhibition Seltsam [Strange]. This artist manipulates the images in her photographs and, in this way, questions human memory and the mechanisms behind it.
The dual exhibition memo at the Setareh Gallery is presenting a dual exhibition titled memo with photographs of Sabine Dusend » and Morgaine Schäfer » concentrating on memories captured or deleted by visual media.
Ricarda Roggan » approaches the essence of disused or obsolete machine objects and thereby unfolds an analytical spectrum of object-space relationships. A typology of a world of things that has fallen into oblivion opens up and is now presented in the Sammlung Philara with the exhibition Ex Machina. | | |
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| | | | | | Leaving the Echo Chamber | | | | | | | 7 Mar – 10 Jun 2019 | | | | | |
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| | | | | | | | CAO Fei, China b.1978 / Asia One (still) 2018 / HD video installation: 63:20 minutes, sound, colour, ed. 1/8 / Purchased with funds from Tim Fairfax AC through the Queensland Art Gallery | Gallery of Modern Art Foundation 2018 / Collection: The Queensland Art Gallery / © The artist |
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| | | | | | | | Zach Blas and Jemima Wyman “im here to learn so :))))))” (2017), HD video still four-channel, HD video installation (courtesy of the artists) |
| | | | As We May Think: Feedforward | | | | | | – 10 Mar 2019 | | | | | |
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| | | | | | | | Zanele Muholi, 2018, installation view, Kochi-Muziris Biennale. Courtesy: Kochi Biennale Foundation |
| | | | Possibilities for a Non-Alienated Life | | | | | | – 29 Mar 2019 | | | | | |
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| | | | | | | | Sonia Madrigal, El abance. XVIII Bienal de Fotografía. Foto: Cortesía del Centro de la Imagen. |
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| | | | | | | | | | 11th Moscow International Biennale | | | | | | | Feb – April 2019 | | | | | |
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© 12 Feb 2019 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
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