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| | | | | | | | | | | | |  | BASEL ART FAIRS 2017 |
| | | | | | | | | | | |  | | | Henri Cartier-Bresson
Calle Cuauhtemoctzin, Mexico City, 1934
37.8 × 56.6 cm, 14.9 × 22.3 in
Edwynn Houk Gallery | | | | | |  | | | | | | | | | | 
Vik Muniz, Weeping Woman, After Picasso, 2007 | 
Dora Maar, Double Portrait, Paris, 1936 |
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| | | | | | | | | |  | | | Esko Männikkö
Untitled, 2012
Pigment print framed by the artist
65.0 × 75.0 cm, 25.6 × 29.5 in
Galerie Nordenhake | | | | | | | | | | | | | | | | 
John Coplans
Self Portrait, Feet, Frontal, 1984
Gelatin Silver Print
61.0 × 51.0 cm, 24.0 × 20.1 in | 
MICHAEL SCHMIDT
Ihme Zentrum (Digital), 1997
Fine art inkjet print
147.2 × 189.2 cm, 58 × 74.5 in |
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| | | | | | | | | |  | | | | In the background caerau his village, Ben James, Wales 1951 © Robert Frank | | | | | | | | | | | | | | | | |  | | | | untitled 1951, printed 1953 © Robert Frank | | | | |
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| | | | | | | | | | | | | | | | | | | | | | | | |  | | | Nan Goldin
Matt and Lewis in the Tub; Heart-Shaped Ass, Cambridge, 1988
Cibachrome Print, Edition of 25, 85 x 117 cm | | | | | | | | | | | | | | | | 
Erwin Olaf Joy 1985 | 
Herb Ritts Headless Nude Silverlane 1985 |
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| | | | | | | | | |  | | | Jacques Pugin, 001 Glaciers Rhonegletscher 3212, 2015
Galerie Esther Woerdehoff, Paris | | | | | | | | | | | | | | | | 
Simone Kappeler, Nr.3, Allen St, NY, 12 11 2015 | 
Simone Kappeler, Nr.20, Ludlow St, NY, Monique and friends, 12 12 2015 |
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| | | | | | | | | |  | | | Territory 2016 © Yvon Chabrowski
Two-channel video installation, floor-projection, HD- loop 21 min, color and sound
edition 3+1 AP | | | | | | | | | | | | | | | | 
Pernilla Zetterman, Grammar, 2008
Screen print on glass, 43 x 43 cm, Edition unique. | 
Uta Neumann, Approaching grey (Colored stones), 2014, C-Print from black/white negative, 27,4 x 32,4 cm, Edition unique. |
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| | | | | | | | | |  | | | Noga Shtainer
Chantal, 2011
InkJet Print gerahmt
80 x 120 cm | | | | Focus On Israeli Photography | | | | | | | | | | | | | | | | 
Niad, The Small Crater, 2000
110 x 165 cm © Ohad Matalon | 
Yuval Yairi,
Surveyor, 2015 |
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| | | | | | | | | |  | | | | Edward Burtynsky, Markarfljot River, Erosion control, Iceland, 2012, C-Print, 89 x 173 cm, © Edward Burtynsky | | | | | | | | | | | | | | | | 
Aitor Ortiz, Amorfosis 004, 2008 (Kreuz), Print on aluminum
140 x 110 cm | 
Georges Rousse, Uzès I 2011 c-print
mounted on aluminum 159 x 125 cm
(GF 230 x 180 cm) 5 + 1 | 
Arnold Odermatt: Grafenort. Engelberg, 1993, C-print, 45 x 45 cm
© Urs Odermatt / Windisch |
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| | | | | | | | | |  | | | | © Stephan Vanfleteren, Atlantic Wall, Quiberville, 2014 | | | | | | | | | | | | | | | | 
© Casper Faassen, Shunji, 2016 | 
© Bastiaan Woudt, J, 2016 |
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| | | | | | | | | |  | | | Albarrán Cabrera
The Mouth of Krishna Nr. 269 | Pigment-Print, Japanese gampi paper and gold leaf | 25 x 17 cm | Edition 20 (left)
This is you Nr. 46A | Pigment-Print, Japanese gampi paper and gold leaf | 23.6 x 17 cm | Edition 5 (right) | | | | | | | | | | | | | | | | 
René Groebli | Tanz mit Zigarette, Beryl Chen, London 1953 | 30 x 40 cm | Baryt-Abzug | Edition 7 & 2AP | 
René Burri | Fort Lauderdale, Florida, USA, 1966 | signierter Baryt-Abzug | 30 x 40 cm |
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| | | | | | | | | |  | | | Kourtney Roy, 9 Hope, 2014
Courtesy Galerie Hug, Paris | | | | | | | | | | | | | | | | 
Reine Paradis, starlake 2015 | 
Mona Kuhn, AD6408, 2014
Chromogenic print, 114 x 152 cm |
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| | | | | | | | | |  | | | 2015-05-11 10.11.07
Ink Jet Pigmentdruck, Edition 7 + 2AP, 50 x 143,9 cm
© JULIA BAIER | | | | | | | | | | | | | | | | 
Corno Grande Reflection
Campo Imperatore, Abruzzo, Italy. 2015
Silver Gelatine Print, Edition 4/25, 50 x 40 cm, framed
© MICHAEL KENNA | 
Efeu 8-4, 2016
Silver Gelatine Print
41 x 51 x 7 cm
© NORIO TAKASUGI |
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| | | | | | | | | | | | | | | | | | | | | | | | |  | | | | Emile Barret; from Of Matter and Spirit; 2015; screenshot; Sondergast Fotomuseum Winterthur | | | | | | | | | | | | | | | | | | |  | | | | Emile Barret; from Of Matter and Spirit; 2015; screenshot; Sondergast Fotomuseum Winterthur | | | | | | To investigate what photography is becoming, Fotomuseum launched its new format SITUATIONS—a dynamic program that responds to current developments within photographic culture and experiments with innovative interactions of physical and digital spaces. As a research lab, SITUATIONS examines photographic processes in a wide visual and cultural context, challenging our understanding of photography. Numbered consecutively, SITUATIONS are curated and presented as thematic clusters five times per year at Fotomuseum and beyond.
At LISTE, Fotomuseum expands its current cluster SITUATIONS/Fact from the museum walls. The show focuses on the ideas of truth and representation in the age of alternative facts, investigating photography’s crucial role as a medium whose indexical quality and visual accuracy have been closely linked to claims of objectivity and truth throughout its history. Moving from propaganda to photo forensics, from photo journalism to fake news, and from scientific evidence to censorship, the cluster will articulate different positions showing the complex role of the photographic image within this discourse.
Infiltrating the print workshop of the Warteck-Areal, this extension of SITUATIONS/Fact will see artist Emile Barret (*1989) with his collective MusicforEggplant creating a site-specific mixed media environment that addresses the notion of conspiracy theories. Inspired by the recent online #FreeTheEggplant reaction to instagram’s ban on the eggplant emoji searches, the artists will create myths, symbologies, rumours and alternative narratives around the newly acquired mystery of the eggplant image. Working from the tradition of the printing space—once the epicentre of propaganda and visual communication—the artist collective will transform the space through an intervention that will employ the photographic image in its widest forms—from prints on fabrics and sheets to wall projections.
Further presentations include spatial translations and extensions of artistic photo books by David Fathi (Anecdotal, 2015), Sara-Lena Maierhofer (Dear Clark, Study of a Con Man, 2011/2016) and Myriam Ziehli (La Montagne Dorée, 2012/2017). Investigative in nature and revolving around issues of conspiracies, make-believe, and truth, their works productively question photography’s ambivalent status between fact and fiction. | | |
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| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |  | | | | | | | | © 9 Jun 2017 photography-now.com
Ziegelstr. 29 . D–10117 Berlin . Editor: Claudia Stein . contact@photography-now.com . T +49.30.24 34 27 80 | | |
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