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| | | | | | |  | | | | | | | Haute Photographie 2019 Rotterdam | | | | | | Photography fair:
7 - 10 February 2019
VIP and Press Preview:
6 February 11.00 - 18.00 Opening:
6 February 18.00 - 23.00 Thu-Sat: 11.00 - 19.00
Sun: 11.00 - 17.00
LP2 in Las Palmas Wilhelminakade 326, 3072 AR Rotterdam
T +31 20-846 0770
info@haute-photographie.com
www.haute-photographie.com
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| | | Rotterdam’s boutique photography fair is returning during Art Rotterdam Week, the biggest contemporary art event of the Netherlands, to create new experiences for art collectors and photography enthusiasts alike. Haute Photographie will take place from 7 to 10 February 2019 at LP2 in Rotterdam. Haute is delighted to announce the participating galleries, as well as the return of the Focus Exhibitions, the high-quality book market, and the engaging educational program created in collaboration with Nederlands Fotomuseum.
Haute Photographie 2019 Campaign Artist | Participating Galleries
This year’s campaign image is work made by Marvin E. Newman (US | b. 1927), represented by Howard Greenberg Gallery (US). The photographer, an “unfairly unsung hero” according to the British Journal of Photography, is a native New Yorker who has been taking photographs since the 1940’s. Newman only recently came to wider attention through the book City of Lights: The Undiscovered New York Photographer Marvin E Newman. A selection of Newman’s work will be shown at the fair.
New galleries include Atlas Gallery (UK) showing Andreas Gefeller (DE), Kacper Kowalski (PL), Niko Luoma (FI), and Nick Brandt (UK) and Gallery Fifty One (BE) showing Bruno V. Roels (BE) and Harry Gruyaert (BE). Returning galleries include Ibasho (BE) showing Yoshinori Mizutani (JP), Miho Kajioka (JP), Toshio Shibata (JP), Naohiro Ninomiya (JP), and Toshiya Watanabe (JP); Bildhalle (CH) showing Albarran Cabrera (ES), René Groebli (CH), Thomas Hoepker (DE), and Werner Bischof (CH) and The Ravestijn Gallery (NL) showing Bownik (PL), Christopher Anderson (CA), and Mona Kuhn (BR).
Galerie Caroline O’Breen Amsterdam; Dorothée Nilsson Gallery Berlin
Galerie Wouter Van Leeuwen Amsterdam; Kahmann Gallery Amsterdam
The Little Black Gallery London; MAG Photography Amsterdam; MC2Gallery Milan | | | | |
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| | | | | | | | | |  | | | | Nick Brandt: Bus Station with Elephant in Dust, 2018 © Nick Brandt | | | | | |  | | | | | | | | | | 
NIKO LUOMA
Systematic Collapse, R to B, 2013
Archival pigment print | 
ANDREAS GEFELLER
039 (Medicane), 2018 (from The Backside of Light)
Lightjet print |
| | | | |  | | | Atlas Gallery is delighted to announce the launch of Nick Brandt's much anticipated new body of work THIS EMPTY WORLD. Two of these new works will premier at the pioneering art fair Haute Photographie. The series THIS EMPTY WORLD addresses the escalating destruction of the natural world at the hands of humans, showing a world overwhelmed by runaway development, where there is no longer space for animals to survive. Photographed on unprotected, inhabited community land in Kenya, the project is shot mostly at night with constructed sets and an enormous cast. Each image is a combination of two moments in time cap- tured weeks apart, almost all from the exact same locked-off camera position. For the very first time, Brandt's new work is in colour and digital medium format.
Niko Luoma is one of the most celebrated amongst the Helsinki School of Photography. His monumental works are highly unique, being visual records of their own creation and capturing both the scientific and unexpected nature of photography. In essence, Luoma’s focus on the process of creating a photograph becomes the very content of his work. By using an analogue technique, he exposes a negative to single lines of light hundreds and in some cases, thousands of times. “My work is about reduction and repetition, layering ideas of systems and chance. Ultimately my core interest lies not in the front of the camera, but inside of it where the exposure becomes a content.”
In the works of Düsseldorf photographer Andreas Gefeller, architectural landscapes are portrayed with blinding light, representing an allegory of today’s fast-moving and overstimulated society. His photographs also offer a manipulation of space – often from above, walking inch-by-inch across parking lots and golf courses, Gefeller amasses hundreds of high-resolution photographs of the ground. He stitches these images together into single, large-scale composites, providing a view of the ground beneath his feet so intensely detailed that it appears abstract. When seen from above, water could be the surface of skin under a microscope, fuzzy static, snow or marble. A turquoise-and-white textured expanse, crisscrossed by an intricate black grid appears alien, but is in fact the familiar pattern of a tiled swimming pool, seen from a totally unfamiliar angle.
Kacper Kowalski is a graduate of the Technical University of Gdańsk, where he studied architecture. After having worked in architecture for four years, he devoted himself entirely to flying and photography. Both as a pilot and a photographer, he takes aerial pictures of natural and urban environments of his native Poland. Kowalski brings a radically different approach with his poetic winter landscapes shot from a gyrocopter at the constant height of 300 meters above ground, every day after the falling of fresh snow. The resulting works offer intriguing glimpses of partially erased landscapes. Within their white expanse, visual clues of human activity – agricultural structures, helipads, railways – are partially visible, though not immediately recognisable. The images, in their simplicity, invite contemplation on mankind’s impact on the environment, as well as being a meditation on loneliness, and perhaps the ultimate fragility of human existence. | | | | |
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| | | | | | | | | |  | | | © PIETER HENKET
From the series Congo Tales, 2017 | | | | | | | | | | | | | | | | 
PAUL CUPIDO
CLARO QUE SE from the series Amazonia, 2018 | 
JUSTINE TJALLINKS
Opulence from the Series Modern Times 2017 |
| | | | | | Pieter Henket rose to fame by portraying celebrities such as Lady Gaga. Recently he travelled to the Congo with a team in order to document the locals’ oral histories for the very first time. The people of Mbomo, in the middle of the Congo rainforest, lead isolated lives in harmony with nature. Their oral history, filled with folkloric tales and myths, have never been written down or shared outside of their community. After years of preparation, Henket documented the locals while they prepared for and acted out their own myths. The series Congo Tales combines intimate portraits of the characters in black and white with epic scenes in full colour, often in the context of the rainforest.
Paul Cupido’s work is concerned with and reflects upon the quest for inner peace, in the knowledge that quiet resignation is usually followed by renewed turmoil. From inside life’s paradoxes, Cupido searches for beauty in the transient. Interwoven processes of searching and making constitute his versatile approach to photography and other media. In 2017, Cupido graduated cum laude from the Fotoacademie Amsterdam (BA) with the first installment of his ongoing multimedia project Searching for Mu. He was awarded an artist-in-residence at the Belfast Photo Festival 2017 and the Hariban Juror’s Choice in Japan. GUP Magazine included his work in New Dutch Talent 2018. Cupido’s work has been exhibited at Haute Photographie (Rotterdam and Stockholm), Foam (Amsterdam), Athens Photo Festival 2018, Festival Internacional de Fotografia (Paraty), and Encontros da Imagem (Finalist Discovery Awards, Braga). Summer 2018 he continued working on Searching for Mu in residency in the Brazilian Amazon.
Justine Tjallinks aims to capture the uniqueness of individuals and the diversity of human beauty. Strongly inspired by the master painters from the Dutch Golden Age, her artworks feature muted colours and balanced compositions. Fashion design is often used as an additional means of expression. Even though a sense of nostalgia speaks through her art, the aim is to always remain in line with the contemporary zeitgeist. Tjallinks, a self-taught photographer, started her career as an art director and worked for several leading fashion titles in The Netherlands. After some years working with photography in this way, she realised that she wanted her own vision through photography to come to life, and decided to take the leap towards a new career in 2014. | | | | |
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| | | | | | | | | |  | | | BOWNIK
Disassembly 21, 2012
50 x 60 cm / framed 53 x 62,5 cm
Edition of 8 + 2AP
Technique Archival Pigment ink on cotton paper | | | | | | | | | | | | | | | | 
CHRISTOPHER ANDERSON
Bleu Blanc Rouge no. 23; Sete France, 2011
Technique Chromogenic color print on archival cotton paper, mounted, white wooden frame, museumglass
132,1 x 101,5 cm, framed 134,5 x 103,9 cm; Ed 9
101,5 x 78,5 cm, framed 103,6 x 80,6 cm; Ed 15) | 
MONA KUHN
Mirage II, 2012
Technique Chromogenic print and walnut wood
frame with optiwhite glass
76,2 x 76,2 cm; Edition of 8 + 2AP
122 x 122 cm in an edition of 3 |
| | | | | | Bownik (born 1977) is a visual artist. His large-format photographs deal with youths, reconstruction of values and the impact of technology on everyday life. Visual conventions taken from the cinema, police archives and classic paintings make up the map over which the artist traverses. Bownik is a graduate of the Academy of Fine Arts in Pozna?. His works are in collections at the Huis Marseille Museum for Photography in Amsterdam, the National Library in Warsaw, the ING Polish Art Foundation and in private collections. Bownik was nominated for the 2014 Paszporty Polityki award. He is the author of the photo book Disassembly (the main prize in the Photographic Publication of the Year in 2014, and nominated for the Photobook Award Kassel 2014). Bownik lives and works in Warsaw.
Christopher Anderson first gained recognition for his pictures in 1999 when he boarded a handmade, wooden boat with Haitian refugees trying to sail to America. The boat, named the Believe In God, sank in the Caribbean. In 2000 the images from that journey would receive the Robert Capa Gold Medal. A full member of the world-renowned Magnum agency since 2010, Anderson is active as a documentary photographer while also making very personal work. His entire oeuvre can be considered as one: his journalism is as personal as his autonomous photography, always attempting to show the humanity behind the headlines. What often makes him stand out is the use of particular, soft-toned colours that result in the surprisingly stark presence of the people and objects depicted.
Mona Kuhn is best known for her large-scale photographs of the human form. Her approach is unusual in that she develops close relationships with her subjects, resulting in images of remarkable intimacy, and creating the effect of people naked but comfortable in their own skin. In addition, Kuhn's playful combination of visual strategies such as translucency explores our connectedness with the environment. A sublime sense of comfort and intelligence permeates her works, showing the human body in its most natural state while simultaneously re-envisioning the nude as a contemporary canon of art. | | | | |
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| | | | | | | | | |  | | | Werner Bischof
Shinto Priests, Meiji Shrein, Tokyo, Japan, 1951
Platinum-Palladium-Print, 56 x 76 cm, Edition of 5 & 2 AP
signed and stamped by Estate © Werner Bischof/Magnum Photos | | | | | | | | | | | | | | | | 
RENÉ GROEBLI
THE EYE OF LOVE, SITTING NUDE NO.521, Paris, 1952
Silver Gelatine Print 40 x 50 cm
Framed with glass 50 x 60 cm, Edition of 7 | 
ALBARRÁN CABRERA
MOUTH OF KRISHNA NO 60766, 2018
Pigments on Gampi Paper and gold leaf, 40 x 50 cm
Framed with museum glass 50 x 60 cmm Edition of 10 |
| | | | | | Werner Bischof was born in Switzerland 1916. He studied photography with Hans Finsler in his native Zurich at the School for Arts and Crafts, then opened a photography and advertising studio. In 1942 he became a freelancer for Du magazine, which published his first major photo essays in 1943. Bischof received international recognition after the publication of his 1945 reportage on the devastation caused by the Second World War. In the years that followed, Bischof traveled in Italy and Greece for Swiss Relief, an organization dedicated to post-war reconstruction. In 1948 he photographed the Winter Olympics in St Moritz for Life magazine. After trips to Eastern Europe, Finland, Sweden and Denmark, he worked for Picture Post, The Observer, Illustrated and Epoca. He was the first photographer to join Magnum with the founding members in 1949.
The artistic duo Angel Albarrán and Anna Cabrera (both born 1969, based in Barcelona) have spent a lot of time in Japan, and their travels to the country have strongly influenced the aesthetic content of their work and the printing techniques they use. The question running like a thread throughout their work is how images trigger individual memories in the viewer. Depending on their social and cultural backgrounds and on their personal experience, viewers perceive images in completely different ways. Albarrán Cabrera see their photographs as objects in their own right: they handcraft their prints using classic printing methods, such as platinum and silver halide, or invent new ones, such as pigment prints on gold leaves, create copies that are unique in themselves. The poetic and sensual nature of these prints is proof of an unrivalled craftsmanship.
Swiss-born photographer René Groebli has a body of work that spans over 60 years. He started out as a photo reporter in the 1940s, working for magazine Die Woche and going on assignments to Africa and the Middle East for London agence Black Star. In the mid-fifties he founded his own studio for advertising and industrial photography. Here he specialised in colour photography and he experimented with the dye transfer process. Then, in the 1980s, he returned to creating artistic essays in black and white. He continues his personal work until the present day.
Thomas Hoepker studied art history and archeology, then worked as a photograper for Münchner Illustrierte and Kristall between 1960 and 1963, reporting from all over the world. He joined Stern magazine as a photo-reporter in 1964. Magnum began to distribute Hoepker’s archive photographs in 1964. He worked as a cameraman and producer of documentary films for German television in 1972, and from 1974 collaborated with his wife, the journalist Eva Windmoeller, first in East Germany and then in New York, where they moved to work as correspondents for Stern in 1976. From 1978 to 1981 Hoepker was director of photography for the American edition of Geo. Hoepker worked as art director for Stern in Hamburg between 1987 and 1989, when he became a full member of Magnum. | | | | |
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