| | | | | | | | Arwed Messmer: Stammheim # 12, 1977/2016 [Plattenspieler von Gudrun Ensslin]
aus: RAF – NO EVIDENCE / KEIN BEWEIS
© Arwed Messmer, unter Verwendung einer Fotografie des Landesarchiv Baden-Württemberg | | | | | Biennale für aktuelle Fotografie 2017 | | | | Farewell Photography | | | | | | | 9 September – 5 November, 2017 | | | Opening: Friday, 8 September, 7 p.m.
In 2017 the internationally renowned Fotofestival Mannheim-Ludwigshafen-Heidelberg will be renamed as the Biennale für aktuelle Fotografie | | | | | | | | | | | | | | | | | Peter Miller: Selfportrait (with Headlamp), 2009, © Peter Miller | | | | | | The first Biennale für aktuelle Fotografie, which will be on show from 9 September 2017 in Mannheim, Ludwigshafen and Heidelberg, takes its leave from photography as it has been known hitherto. Under the title “Farewell Photography”, a six-member curator team will shed light on radical ways of handling images in the digital age and present an alternative look at photography’s history. The Biennale will be showing works by more than 60 international photographers and artists in seven chapters in seven museums of the region.
Applying their different perspectives, the six curators – in seven photographic fields – will question photography’s materiality and forms of use and, equally, its socio-political potential. To that end, contemporary positions will be mirrored in historical images and image collections and likewise in regional photography archives. Commissioned works for the Biennale will be assigned to artists who react to the local socio-political conditions and milieus. The exhibitions will feature encounters between historical glass plates and digital images, photo albums of migrant families and works by international participants, artistic positions and visual press material, installations in the museum space and interventions in the urban space. At the same time, new participation formats will play an important role – via exhibits that include public interventions, the involvement of local social groups in artistic production, or open-access educational and event formats. | | | | | | | | | | Pétrel | Roumagnac: Reset/Résidus #3, 2015, © Pétrel I Roumagnac, courtesy die Künstler und Galerie Escougnou-Cetraro | | | | | |
"Farewell Photography" consists of seven exhibition chapters: At the Wilhelm-Hack-Museum in Ludwigshafen, the fracture points in the transition from analogue to digital photography will be up for discussion. In a second show at the same location, the focus lies on the performative potential of new images, away from the classic paper print. The exhibition at Sammlung Prinzhorn in Heidelberg revolves around the moment of getting photographed and the associated dialogue between photographer and picture protagonist. A small bundle of patient photographs from the Prinzhorn collection and psychology educational books from the first half of the 20th century form the exhibition’s basis. At the Heidelberger Kunstverein there will be an analysis of the role of the photographic image in political processes. Photography’s social potential to initiate turmoil and revolt is opposed by the immobilization of trends by means of images. At the Kunstverein Ludwigshafen, the theme will be the connection between globality, economy and photography. The concepts work and migration determine what photographs are shown from private and public archives, alongside other positions by contemporary artists. What a photograph gives away regarding the attitude of the authors behind the camera is put up for discussion at Zephyr in Mannheim. Images with varying function of identical events – news images, police snapshots, private pictures – will be contrasted with one another. Private dealing with images is the theme at Port25 in Mannheim. On account of its easy availability, photography has always been a popular medium of social exchange – the exhibition questions images’ dissemination paths today and what, if anything, is still being conveyed.
In addition, the photographic stock of Kunsthalle Mannheim is the source for a new work by Arno Gisinger. The glass plate archive comprising more than 7000 images – primarily art reproductions, exhibition documents and architecture photography from the museum’s founding in 1907 into the early 1960s – is the institution’s visual memory and was previously closed to visitors. It illustrates the museum’s exhibition policy, which has been characterized by political upheavals, as much as its extraordinary history, which Arno Gisinger will transfer into the public space and thus into a contemporary perceptual context. The glass plate negatives are photographically interpreted on the light table, montaged to create new narratives, and projected in the interior of the Mannheim Water Tower. For the duration of the biennial the city’s historical landmark will become a panoptic image medium.
In 2017 the internationally renowned Fotofestival Mannheim-Ludwigshafen-Heidelberg will be renamed as the Biennale für aktuelle Fotografie. Alongside BASF as Premium Sponsor, as an additional principal patron of the 2017 edition the German Federal Cultural Foundation will be making a considerable contribution to establishing the new Biennale. | | | | | | | | | | Natalie Bookchin: My Meds, 2009/2016, aus: Testament © Natalie Bookchin | | | | | | unsubscribe here
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