| | | | | | | | | | | | Paris Photo 2017 Grand Palais | Avenue Winston Churchill | 75008 Paris
Wed November 8 : by invitation only
Thu-Sat November 9-11 : 12 pm - 8 pm
Sun November 12 : 12 pm - 7 pm | | | | www.parisphoto.com | | | | |
| | | | | | | | | | | | | | | | | | | | | | Stephen Shore, Trail’s End Restaurant, Kanab, Utah, August 10, 1973
© Stephen Shore, Courtesy Edwynn Houk Gallery, New York | | | | | | | | | | | | | | | | | |
© Valérie Belin, Lady inpainting, 2017 |
© Dora Maar, Double Portrait, Paris, 1936 |
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Thomas Mailaender, Plinth #1, 2017, 44 x 21 x 21 cm
Ceramic, glaze, enamel, photo-ceramic, Unique
© Thomas Mailaender |
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Hiroshi Hamaya, Dancer looking herself in a mirror, Ball Room Florida, Akasaka, Tokyo, 1935, © Hiroshi Hamaya |
Sarah Moon, From Behind, 1999
© Sarah Moon |
| | | | | | | The Michael Hoppen Gallery opened in 1992 and is renowned for nurturing new artists' careers and exhibiting acknowledged nineteenth, twentieth and twenty-first century photographic masters. Our client base is diversified: public and private museums, corporate collections, experienced and new collectors. We aim to present something unexpected to broaden visitors' perception of what photography can be, while providing the expertise to understand it. We also maintain a vigorous publishing program. | | | | |
| | | | | | | | | | | | | Franco Vaccari
Photomatic d’Italia (Milano), 1973-74
Collage of photo and photostrips on card Framed 70 x 50 cm Signed on recto
Unique piece
© Franco Vaccari / SAGE Paris. | | | | | | | | | | | | | | | |
Mario Cresci
I Rivolti, Charles Baudelaire, Bergame, 2013 Set of 46 pieces, hand-folded
Archival pigment print
60,5 x 45,5 cm
Unique piece
© Mario Cresci / SAGE Paris. |
Guido Guidi
Fiume Savio, Cesena,2007
Set of 8 C-Prints on Fujicolor Crystal Archive paper 24,5 x 19,5 cm
Signed and dated verso
Edition of 5 + 2 AP
© Guido Guidi / SAGE Paris. |
Paolo Gioli
Sconosciuti, 1995
Gelatin silver print
23,6 x 30 cm
© Paolo Gioli / SAGE Paris. |
| | | | | | Paris Photo will be introducing two photographs from the series Sconosciuti (Unknown Persons). Paolo Gioli conceived this work from 1994 to 1995, after he discovered official photo I.D shoots dating from the 1960s in the rubble of a photography studio. On the reverse of these retrieved plate negatives, Paolo Gioli discovered the traces of the previous work made by an anonymous retoucheur.
This series shows three moments to form a single piece: the time of the photograph taken by the first photographer, the time of the image editing and finally the time of the work of the artist. Seeking to give back life to these anonymous figures that were troubled by the work of the retoucheur, Gioli photographed from a reflection highlighting the trace of the craftsman and in a close-up view, these faces skinned by time and handling. This is how Gioli reinvented these portraits and brought new life into them again.
I rivolti. Charles Baudelaire is a photographic series made up of 46 copies of Baudelaire’s portrait created by Étienne Carjat in 1878. A copy equivalent to each of the 46 years of his life.
Mario Cresci connects the white surface area of the paper’s reverse side with the printed part of the recto – therefore, it is not only the photographed object that we are interested in, but how the material is going to determine our ability to understand it. The hand-made folding on cotton paper gives each print a three-dimensionality. Thought of as a narrative sequence, this piece depicts the gaze of the poet locked into the paper pleats and always offers Baudelaire’s face a whole new feel.
In the 1960s, Franco Vaccari combined the staging of everyday objects with a question on the langage of surveillance and conformity. His pieces question the spatial, physical and temporal conditions of the sensitive experience. Depicting space left by the object the artist can produce, the artwork becomes with Vaccari dependent on the viewer’s will to participate in the scheme.
The photographs that are today introduced are from the Exhibition in Real Time n.4 shown at the Venice Biennale in 1972 and Photomatic d’Italia, a piece made between 1972 and 1973. These Installation artworks establish a system of mixing the artist’s device, the response and the involvement of the viewer. In this case, the viewer is invited in these two installations to photograph himself in a photobooth, sometimes in the museum, sometimes in the street. This exhibition allows in both cases Vaccari to question private and public – private space of the booth, public space of the street, museum; the private and public aspects of our identity.
Affected by artists of the Italian Renaissance and inspired by the work of Walker Evans, Lee Friedlander and Italian neorealist photographers, Guido Guidi started working in black and white and created conceptual artworks in the early 1960’s before giving it up in order to devote himself only to color with a large Deardorff view camera.
He then committed himself to vernacular landscape and its transformations, what is now called "peripheral spaces", akin to Stephen Shore or Lewis Baltz with whom he collaborated. It is not monumental spaces that attract him, but "uncodified situations, unclear, open, misunderstood or misconceived", what is beside, above, below what is familiar or day-to-day to ourselves. He insists: "my attention is focused on the landscape when it is seen and lived on daily basis. Simultaneously, I chose to avoid folkloric stereotypes or historical myths, and focus on current simple reality. (...) Nothing is irrelevant. On the contrary, everything is worth the attention."
Also presented on our booth the works of : Piergiorgio Branzi, Alfredo Camisa, Giuseppe Cavalli, Mario Gabinio, Mario Giacomelli, Mimmo Jodice, Nino Migliori, Carlo Mollino and Ugo Mulas. | | | | |
| | | | | | | | | | | | | | East Window: Untitled #150823 2016
120 x 180 cm
© Xiaoliang Huang
Courtesy of M97 Shanghai | | | | | | | | | | | | | | | | | | | M97 Gallery is one of the first photography galleries established in Shanghai and one of the largest of its kind in China. M97 Gallery is an independent photographic art gallery that represents a range of important Chinese and international emerging and established artists. Founded in 2006 by Steven Harris, M97 is dedicated to promoting the understanding and appreciation for the art of photography in China across all genres of the medium and it now represents over 20 artists. As one of the only participating galleries presenting exclusively Chinese artists, M97 will exhibit a selection of important works from artists Adou, Wang Ningde, Fan Ho, Huang Xiaoliang, Sun Yanchu, Cai Dongdong, and others. | | |
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Brendel Rosa Canina 2017
Chromogenic print
100 x 100 cm
© Guido Mocafico | | | | | | | | | | | | | | | |
Venice Sign 2017 © Christopher Thomas |
Wall Sign (Hot Peanuts), American South 1941
Gelatin silver print, 10 5/8 x 10 3/8 in.
© The Irving Penn Foundation |
| | | | | | | Hamiltons’ highlights at Paris Photo 2017 will include a selection of Irving Penn’s rare photographs of signs, captured in the 1930s-40s in New York and the American South. The work, on exhibit at the gallery in London until 5 January 2018, shows Penn’s early interest in stepping outside the studio and his assignments. Hamiltons will also show ‘Lost in L.A.’, the most recent series from Christopher Thomas, transporting the viewer to a silent city, devoid of human presence and cars. A final highlight is Guido Mocafico’s ‘Brendel’; photographs of botanical models created by Robert and Reinhold Brendel in the late 19th and early 20th centuries. | | | | |
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Christiane Feser, Partition 67, 2017, Photo Object, 140 x 200 x 2 cm
SELECTED BY KARL LAGERFELD IN THE TOP 100 BEST WORKS OF THE FAIR! | | | | | | | | | | | | | | | |
Carla Chaim, Presença [Presence], 2015, video, color, mute, 20 min. 27 sec. |
Annegret Soltau, Selbst, 1975, Sewn Photograph, 40 x 30 cm |
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| | | | | | | | | | | | | | Elene Usdin,
Meret d’après Utagawa Kuniyoshi, 2017
From the series Les Habitants
Pigment print on Hahnemühle paper and acrylic paint, framed
65 x 65 cm, unique piece
© Elene Usdin, courtesy Galerie Esther Woerdehoff | | | | | | | | | | | | | | | |
Albarrán Cabrera,
This is you here # 145, 2017
Pigment print on Japanese paper, gold leaf, framed, 25,6 x 17 cm, edition of 20
© Albarrán Cabrera, courtesy Galerie Esther Woerdehoff |
Simone Kappeler,
Painted Desert, 7.7.1981
From the series Trough America
Ilfochrome print, framed
100 x 100 cm, edition of 7
© Simone Kappeler, courtesy Galerie Esther Woerdehoff |
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| | | | | | | | | | | | | | Karlheinz Weinberger,
St Petersinsel, 7664147, 1964
21,5 x 18 cm, vintage gelatin silver print
© Karlheinz Weinberger, courtesy Galerie Esther Woerdehoff | | | | | | | | | | | | | | | |
Karlheinz Weinberger,
Zürich, um 1961, Nachlass 268
Vintage gelatin silver print
49 x 60,7 cm, unique piece
© Karlheinz Weinberger, courtesy Galerie Esther Woerdehoff |
| | | | | | Karlheinz Weinberger (Switzerland, 1921-2006)
The gallery will be for the first time in Prismes, in the salon d’honneur in the 1st floor of the Grand Palais with vintage prints by Karlheinz Weinberger, chosen by François Cheval, curator of the Swiss Rebels exhibition in les Rencontres d’Arles this Summer. There original images, some of them exceptional by their size, were printed during the artist’s lifetime. They constitute his first personal selection as a coherent ensemble. They were exhibited for the first time in 1980 at the Klubschule Migros. Subsequently, these images were presented in 2011 at the Swiss Institute in New York, then at the Museum für Gegenwartskunst in Basel, under the title Intimate Stranger.
Born in Zurich in 1921, Karlheinz Weinberger began to take pictures as a teenager and became a member of the Bund der Naturfreunde photography club where he improved his technique. In the 40s, he joined the famous Zürich underground gay club “Der Kreis” and began to publish his photos in its magazine under the pseudonym of Jim. In the late 50s, he met young misfits on the street and began to photograph them, in studio at his mother’s apartment or during their trips in the Swiss countryside. Working all his life as a warehouseman for the Siemens factory, he devoted all his spare time to his photographic passion for eccentricity. For more than thirty years, Karlheinz Weinberger followed these young people, who reused the codes of Rebel Without a Cause and created inventive and provocative outfits. His series in black and white and colour follow rockers, bikers and tattooed misfits and offer an amazing portrait of underground Switzerland. This work of a lifetime show, with boldness, kindness and a touch of irony, a post-war generation searching for its identity. Revealed shortly before his death in 2006, the work of Karlheinz Weinberger has ever since been exhibited around the world and resulted in numerous publications. The Galerie Esther Woerdehoff owns the estate and works to uncover it. On 2017, a large retrospective exhibition took place in Les Rencontres d’Arles, along with a book published by Steidl. | | |
| | | | | | | | | | | | | | August Sander, Maler (Heinrich Hoerle), 1928
© Die Photographische Sammlung/SK Stiftung Kultur –
August Sander Archiv, Köln; VG Bild-Kunst, Bonn, 2017.
courtesy of Galerie Julian Sander, Cologne | | | | | | | | | | | | | | | |
Untitled (Wasserglas) 1934
Gelatin silver print, 8.9 x 7.7 cm
© Elfriede Stegemeyer |
May 1, 1971 1971
slide
© Paul McCarthy |
| | | | | | Drawing with light is at the root of the photographic medium. By using light as a tool in the rendering of ideas and expressions a form of visual communication was created which transverses the boundaries of our assumptions, and allows our imagination to be influenced and manipulated by “real” things, even if when what we see and what we understand it to be are very far apart. The medium has enabled our collective ability to interpret our seen world by removing the separation of the artists apparent hand in the creation of the work seen.
Galerie Julian Sander presents a group of photographs that each enforces the fundamental shift in the arts through the medium. Each work represents a different challenge to the viewer and stands as an example of how a photograph can transcend the bounds of the medium to speak in the universal language of arts. With works by Elfriede Stegemeyer, Paul McCarthy, August Sander, Chargesheimer and André Kertész. | | | | |
| | | | | | | | | | | | | | | Arnold Odermatt, Buochs 1957; © Urs Odermatt, Windisch; Courtesy Galerie Springer Berlin | | | | | | | | | | | | | | | | | | | | | | Arnold Odermatt, Buochs 1980; © Urs Odermatt, Windisch; Courtesy Galerie Springer Berlin | | | | | | | | | |
| | | | | | | | | | Place (Series) #1159 2013
Pigment Print
76 x 96 cm
© Bill Jacobson / courtesy Robert Morat Galerie |
Girl with Dots, Vienna 2014
Analogue print on baryta-paper
24 x 36 cm
© Peter Puklus / courtesy Robert Morat Galerie |
Citizen 5 2015
Pigment Print
60 x 45 cm
© Mårten Lange / courtesy Robert Morat Galerie |
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| | | | | | | | | | | | | | Serie: Silencios (2) 1995
C-Print
50 x 32 cm
© Liudmila Velasco | | | | | | | | | | | | | | | |
CUBA. Havana. 1964. Che GUEVARA. 1964
Gelatin Silver Print
© Elliott Erwitt / Magnum Photos |
Eloy Gutiérrez Menoyo, Comandante, Osvaldo Dorticós, Cuban President, and Fidel Castro, Prime Minister 1961
Gelatin Silver Print, 25,4 x 20,5 cm
© Alberto Korda |
| | | | | | | Galerie Clairefontaine, Espace 1, was founded in 1988, showing classic modern painters like Kokoschka, Klimt and Schiele and continued to show primarily international contemporary art. In 1997, Espace 2, was inaugurated to promote photography. Dr. Marita Ruiter has also started a number of long-term projects, e.g. the annual photofestival “photomeetings luxembourg” and photography collections such as “Portraits and Reportages by Gisèle Freund”, “Fidel Castro and the Cuban Revolution 1959/60” etc. | | | | |
| | | | | | | | | | | | | | | | | | | | | | Union Avenue, Harare, Zimbabwe, 2016 2016
Diptych; Pigment ink on cotton paper
Image size 90cm x 60cm each
©Guy Tillim. Courtesy of Stevenson, Cape Town and Johannesburg | | | | | | | | | | | | | |
Senzekile II, Cincinnati, 2016 2016
Silver Gelatin print
Image and paper size: 60x 42.6cm
©Zanele Muholi. Courtesy of Stevenson, Cape Town and Johannesburg |
Amanita Fulva 2017
Archival pigment ink, collage and Posca pencil on Baryta paper, Image size: 28.5 x 19cm; Paper Size: 30 x 20.5cm
©Viviane Sassen. Courtesy of Stevenson, Cape Town and Johannesburg |
| | | | | | | STEVENSON has an international exhibition programme with a particular focus on the region. In addition to exhibiting gallery artists, it has brought the work of people like Francis Alÿs, Rineke Dijkstra, Thomas Hirschhorn, Glenn Ligon and Walid Raad to South Africa, often for the first time. The gallery opened in 2003, and has spaces in Cape Town and Johannesburg. | | | | | | |
| | | | | | | | | | | | | | Tom Arndt
Radio City, New York, Christmas 1980
Tirage gélatino-argentique moderne, réalisé par l'artiste
Dimensions du tirage : 40 x 50 cm
Titré, daté et signé par l'artiste au verso | | | | | | | | | | | | | | | | | |
Erwin Blumenfeld, Cecil Beaton, 1937
Tirage gélatino-argentique d'époque, réalisé par l'artiste
Dimensions du tirage : 33 x 24,2 cm
Certifié par Kathleen Blumenfeld, tampon Estate of Erwin Blumenfeld |
Arlene Gottfried, Woman under a Leaf, Tompkins Square Park, New York, 1983
Tirage gélatino-argentique vintage sur papier Agfa Brovira, réalisé par l'artiste; Dimensions du tirage : 27,7 x 35 cm; Signé au dos |
| | | | | | | Les Douches la Galerie, directed by Françoise Morin, features photography, both contemporary and past, organized around a common theme known as "documentary style". The gallery also shows experimental photographic work that explores and innovates formal applications of the art of photography. Les Douches la Galerie, which occupies since 2006 the gracious space of what was previously Public Baths, - is located near the Canal Saint-Martin in Paris. | | |
| | | | | | | | | | | | | | Songs of the Walés 2017
Photo book
Patrick Willocq and Kehrer Verlag | | | | | | | | | | | | | | | | | | Since 1995, Kehrer Verlag specializes in books in the fields of photography and art. Its authors have included leading photographers such as Sarah Moon, Saul Leiter, Christopher Anderson, Thomas Ruff, Rinko Kawauchi, Harry Callahan, and Charles Fréger as well as numerous emerging artists.
Kehrer Verlag | Book signings | Stand F2 | | | JESSICA BACKHAUS » A Trilogy Thu 9 Nov 6pm
ANTON ROLAND LAUB » Mobile Churches Thu 9 Nov 6pm
KEN HERMANN » Flower Men Thu 9 Nov 6pm
NINA BERMAN » An autobiography of Miss Wish Fri 10 Nov 4pm
PETER VAN AGTMAEL » Buzzing at the Sill Fri 10 Nov 4pm
SANNE DE WILDE » The Island of the Colorblind Fri 10 Nov 5pm
JULIA DE COOKER » Svalbard - An Arcticficial Life Fri 10 Nov 5pm
NICOLA LO CALZO » Regla Fri 10 Nov 6pm
GIULIO RIMONDI » Italiana Fri 10 Nov 6pm
AMELIA ALLEN » Naked Britain Sat 11 Nov 2pm
TARA BOGART » A Modern Hair Study Sat 11 Nov 3pm
GERDA SCHÜTTE » Fotografie Sat 11 Nov 3pm
JEFFREY WOLIN » Pigeon Hill : Then & Now Sat 11 Nov 3pm
NAOMI HARRIS » E.U.S.A. Samstag, 11. Nov 16 Uhr
HOSAM KATAN » Yalla Habibi - Living with War in Aleppo Sat 11 Nov 5pm
PATRICK WILLOCQ » Songs of the Walés Sat 11 Nov 6pm
KENJI TOMA » The Most Beautiful Flowers Sat 11 Nov 6pm
NINA BERMAN » AN AUTOBIOGRAPHY OF MISS WISH Friday 10 November 1:30pm
The Paris Photo Artist Talks by The Eyes | Rotonde de la Reine | Grand Palais | | | | | | |
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