| Paris Photo 2019 | | | | The Fair Programm: exhibitions, talks, booksigning | | | | | | | | | | | | | | | Paris Photo 2019 Grand Palais | Avenue Winston Churchill | 75008 Paris
Wed November 6 : by invitation only
Thu-Sat November 7-9 : 12 pm - 8 pm
Sun November 10 : 12 pm - 7 pm
www.parisphoto.com | |
| | | Paris Photo announces 180 galleries and 33 art book dealers representing 30 countries.
Discover and rediscover leading artists through a viewing of an artistic ensemble with 30 solo shows:
JOEL-PETER WITKIN BAUDOIN LEBON, Paris & ETHERTON, Tucson | MALALA ANDRIALAVIDRAZANA CAROLINE SMULDERS, Paris | JIM GOLBERG CASEMORE KIRKEBY, San Francisco | PAOLO GIOLI DEL CEMBALO, Rome | NICOLA LO CALZO DOMINIQUE FIAT, Paris | CHEMA MADOZ ELVIRA GONZALEZ, Madrid | STEVEN ARNOLD FAHEY/KLEIN, Los Angeles | SARA-LENA MAIERHOFER FELDBUSH WIESNER RUDOLPH, Berlin | MAN RAY GAGOSIAN, Paris & 1900-2000 | ŞAHIN KAYGUN GALERIST, Istanbul | AUGUST SANDER HAUSER & WIRTH, Zurich | ANTONI MIRALDA HENRIQUE FARIA, New York | JEM SOUTHAM HUXLEY-PARLOUR, London | JOHN CHAMBERLAIN KARSTEN GREVE, Paris | ADRIAN SAUER KLEMM'S, Berlin | DARIO VILLALBA LUIS ADELANTADO, Valencia | JULIO BITTENCOURT LUME, São Paulo | AYANA V. JACSKON MARIANE IBRAHIM, Chicago | PHILIPPE CHANCEL MELANIE RIO, Nantes | TIM WALKER MICHAEL HOPPEN, London | EDWARD BURTYNSKY NICHOLAS METIVIER, Toronto | AXEL HÜTTE NIKOLAUS RUZICSKA, Salzburg | NANCY BURSON PACI, Brescia | ROBERTO HURACAYA ROLF ART, Buenos Aires | MARI KATAYAMA SAGE, Paris | YAN MORVAN SIT DOWN, Paris | AITOR ORTIZ SPRINGER, Berlin | LENNART NILSSON STENE PROJECTS, Stockholm | JUERGEN TELLER SUZANNE TARASIEVE, Paris | KEIICHI TAHARA YOSHIAKI INOUE, Osaka | | | | |
| | | | | | | | | | | | | | | | | | | | | | Chervine
Open Daily, 2018
Tirage pigmentaire sur papier baryté
50 x 60 cm
© Chervine | | | | | | | | | | | | | | | |
Maia Flore
Vol #3, 2016
Tirage pigmentaire
110 x 145,5 cm
© Maia Flore |
| | | | |
| | | | | | | | | | | | | | Xu Yong
Negatives 52
1989 / 2016
Digital Pigment Print on Dibond
60 x 80 cm
Edition of 10 | | | | | | | | | | | | | | | |
Sean Hemmerle
Reaper Drone in Temporary Hangar
Holloman Air Force Base, New Mexico
2012 / 2019
Digital Chromogenic Print
120 x 150 cm |
Oliver Abraham
Miao Zhang, journalist, 23.09.2015
2019
Barite photopaper
80 x 60 cm
Edition of 6 |
| | | | | | To accompany an article of The New York Times Magazine about how the Air Force trains its pilots to control unmanned drones used for deadly strikes in Pakistan and Yemen, the magazine assigned architecture and portrait photographer Sean Hemmerle to photograph the aircraft at Holloman Air Force Base, a training facility in New Mexico. His images make the drones look stark and strange — "They’re blind moles in the sky," says Hemmerle — and also technologically astonishing. Hemmerle, born 1966, is a New York-based photographer whose work ranges from international conflict zones to contemporary architecture. After serving in the U.S. Army, he attended the University of Miami and earned an MFA from the School of Visual Arts in New York in 1997. He quickly established his reputation as a sought-after architectural and urban landscape photographer, and since 9/11 has turned his eye toward documenting the effects of war in New York, Afghanistan and Iraq.
Xu Yong was born in Shanghai in 1954 and is an autodidact photographer. In 1989, Xu Yong photographed the Tiananmen Square protests in Beijing, China. All photographs of the events were strictly censored by the government later on. The images were therefore hidden in his archives for 25 years. In 2016 however, for the first time in Germany, a selection of his works has been exhibited at the 'Darmstädter Tage der Fotografie'. Yong decided against processing the images and instead reproduced inverted color negatives which may only be decoded with a smartphone or tablet camera, via the function of inverting color effect to negative, providing us with a surreal, yet unbiased glance at these historic eventsIn times of questionable governmental action concerning freedom of press (one of many examples is the recent announcement by.
"Freedom of Speech" is a series of portraits of extraordinary contemporary personalities by Oliver Abraham. Among them are journalists, musicians, philosophers, representatives of the "New Left" as well as artists and writers. Everyone deals with the topic of surveillance and press freedom and expresses their political attitude artistically. Due to the political events, the work has documentary elements, whereas the selection of the people as well as the presentation are subjective. The photographs are accompanied by a text by Noam Chomsky about independent journalism and how it should be shaped. The text is hidden behind the individual portraits, so one must "look behind the picture" interactively and investigatively. Following the example of Noam Chomsky’s ideas, the works explore questions about the impact of mainstream media on public opinion, press freedom and activism. | | | | |
| | | | | | | | | | | | | | Erwin Olaf
After the Bushfire, 2018
Chromogenic print
100 x 177.8 cm
Edition of 10
© Erwin Olaf | | | | | | | | | | | | | | | |
Herb Ritts
Woman with Earring - Silhouette, Africa, 1993
Gelatin silver print mounted to museum board
45 x 30 in.
Edition of 12
© The Herb Ritts Foundation |
Irving Penn
Saul Steinberg in Nose Mask, New York, 1966
Platinum palladium print
24 x 20 7/8 in.
Edition of 36
© The Irving Penn Foundation |
| | | | | | This year Hamiltons’ exhibition is divided into four main sections.
In the first room, the gallery celebrates the 50th anniversary of man setting foot on the moon with photographs by Richard Avedon of three members of the 'Mercury Seven', as well as a picture of 'Apollo 11' by Hiro and a new picture of the reflected 'Milky Way' by Australian photographer Murray Fredericks.
Paintings of Irving Penn with some of his well-known photographs, as an insight into the way the artist and photographer thought and worked are shown in the second room.
In the third is dedicated to rarely or never-before-seen prints by Helmut Newton, pairing variants with their more famous originals.
In the final room Mario Testino and Don McCullin are presented alongside photographs by Robert Frank and Herb Ritts.
The outside of the booth will show Erwin Olaf, Philippe Garner, Daido Moriyama and the complete series of 'Interstate' pictures by Richard Avedon. | | | | |
| | | | | | | | | | | | | | Sara-Lena Maierhofer
Shelves (Rautenstrauch-Joest-Museum)
Photogram, 6 parts
270 x 230 cm
unique | | | | | | | | | | | | | | | | | |
Sara-Lena Maierhofer
Untitled (Carra)
Photogram on baryta paper, framed
24 x 30 cm
Ed. 4 + 1 ap |
Thorsten Brinkmann
ORBL, 2019
C-Print, framed, Museum glas
56 × 42 cm
Ed. 5 / 2 ap |
| | | | | | Decolonization, restitution, memory, photography as an instrument of power and liberation – the artist Sara-Lena Maierhofer’s new series of works "Cabinets" moves in these thematic fields. Thus her latest work complex of photographic objects and photograms presents the result of her research on non-European cultural assets in ethnological collections in Germany and Europe, e.g. the Humboldtforum Berlin, the Royal Museum for Central Africa in Tervuren or the Tropenmuseum in Amsterdam. With her "Shelfs" Sara-Lena Maierhofer enters the sensitive interior, the 'belly' of the ethnological collections – the collection depot. Using original-sized replicas of the shelves, the artist generates color photograms in the color laboratory, which function like a negative copy. The shadows of the objects visible in them meet the viewer like 'echo spaces': What culture of memory do we cultivate? Who are we and who do we want to be?
"Through the shadows and walls created in the process, the photographic objects appear slightly fragmented; cross-references to Cubist works emerge, (...). (And) that is indeed very interesting to me: the influences that non-European works of art had on European modernism at the time. Picasso went to the Musée du Trocadéro and was enthusiastic about the masks from various African countries. (...) this art, which is often said to be only handicraft." (Sara-Lena Maierhofer)
Sara-Lena Maierhofer (born 1982 german) studied at the University of Applied Sciences for Photography in Bielefeld. She received various awards such as the DAAD Scholarship for New York (2010), the Wüstenrot Foundation Award (2013), the Kunststiftung Baden-Württemberg Scholarship and the Stiftung Kunstfonds Bonn Working Scholarship (both 2015) and most recently the Project Scholarship including an acquisition of works by DZ Bank Frankfurt/M (2018). The artist has been featured in several institutional exhibitions, for instance at FOAM Amsterdam (2011), at the Kunstverein Friedrichshafen (2017) or "Jungle Paintings" in De Grote Witte Reus in den Haag (2016) among others. Maierhofer is regularly represented in thematic group shows such as the Marta Herford (2019), Kunstverein Wolfsburg (2018), ZKM Karlsruhe (2018), C/O Berlin (2017), Museum für Photographie Braunschweig (2016), Fotogalerie Wien (2014), Deichtorhallen Hamburg (2018, 2012), Fotomuseum Winterthur (2014), Mulhouse Biennale of Photography (2016) and many others.
Thorsten Brinkmann creates his works from a growing collection of found objects: discarded household objects, secondhand clothing, leftover things from middle-class domestic culture, and all types of bulky refuse. With his atmosphere-filled narratives, the artist effortlessly moves between various genres, playing with images that have been carved into our collective memory. The humorous self-portraits, the still lifes and striking draperies he has photographed as well as his paradisical landscapes allude to compositions by old masters from the 16th, 17th and 19th centuries.
Thorsten Brinkmann (born 1971 german) studied at Kunsthochschule Kassel with Prof. Floris M. Neusüss (1994-97) and at Hochschule für Bildende Künste Hamburg with Prof. Bernhard Blume and Prof. Franz Erhardt Walther. His work has been featured in group exhibitions worldwide, such as Deutsches Hygiene Museum, Dresden (2017), Hamburger Kunsthalle (2016), Schirn Kunsthalle, Frankfurt/M (2016), Villa Mondrian, NL (2014) etc. and as well as in soloshows at Gemeente Museum Helmond (2016/17), Rice Univ. Art Gallery, Houston/TX (2016), Museum Kranenburg, Bergen (2015), Palais für aktuelle Kunst, Glückstadt (2014), Houseinstallation, Pittsburgh (2013), Museo Nacional de San Carlos, Mexico City (2012), Kunsthalle zu Kiel (2011), Georg-Kolbe-Museum, Berlin (2010) etc.. Furthermore his works are represented in various public and private collections, e.g. the Museum der Moderne, Salzburg, Fotomuseum Winterthur, the Gemeentemuseum, The Hague, Kunsthalle Bremerhaven and the Falckenberg Collection, Hamburg. | | | | | | |
| | | | | | | | | | | | | | | © Aitor Ortiz, Millau 007, 2008, Archival pigment print, 57 x 125 cm | | | | | | | BOOK SIGNING: LA MEMORIA TRAZADORA, Saturday, 09.11.2019 at 4 p.m. Stand D09 | | | | | | | | | | | | |
© Aitor Ortiz
Espacio Latente 015, 2018
Archival pigment print on Hahnemuühle paper
70 x 70 x 4 cm
Ed. 7/7 |
© Aitor Ortiz
Gaudí 004, 2018
Print on Aluminum
13.5 x 13.5 cm
Ed. 3/3 |
| | | | | | Galerie Springer Berlin will present a solo show with the spanish artist Aitor Ortiz. Beyond the documental photography of architecture, and asserting the dilution factor and transmutation of reality that is associated with photographic representation, Aitor Ortiz works with space, architecture and objects as opening elements to introduce a number of visual and cognitive unknowns.
His interest persistently raises a series of dilemmas between representation and interpretation (perception) while establishing a relationship between the content of his images, the physical properties of the materials on which he reproduces his works and their physical position in an exhibition. That’s why Aitor Ortiz is trying to establish a broad spectrum of work process and a relationships between photographed places, the conscious and unconscious mechanisms involved in the process of image manipulation: the eye (interpretation, frame, contextualisation, ...), the camera (focus / blur, optical distortion, motion transmission, ...), and the brain (the limitations of an imperfect device in the interpretation of data and empirical skills: experience, association of concepts ..) that culminate in the exhibition space; where physical experience again transcends the content of his photographs as part of a process of constant interaction between their representation and the viewer's perception. | | | | |
| | | | | | | | | |
Untitled, 1964
Vintage gelatin silver print
20,5 x 25 cm
© Sanne Sannes, Kahmann Gallery |
Untitled, 1970
Vintage gelatin silver print
60 x 50 cm
© Gerard Fieret, Kahmann Gallery |
| | | | | | | | | | | | | | | |
Suave, 2016
Archival Pigment Print
60 x 90 cm
© Paul Cupido, Kahmann Gallery |
Double Hat Tino, 2019
Archival Pigment Print
90 x 120 cm
© Bastiaan Woudt, courtesy Kahmann Gallery |
| | | | | | Kahmann Gallery has been a champion of Dutch photography from the past and present since the start of the gallery in 2005. For Paris Photo 2019, Kahmann Gallery is putting the spotlight on Dutch artists who are unencumbered by the so-called rules of photography. The perfect printing technique or correct processes are of no interest to them. A highly intuitive style of photography, not heavily bogged down by concepts or technique. It is these artists who were and are on the forefront of taking the medium to new heights. Kahmann Gallery will show unique vintage prints by Gerard Fieret (1925-2009) and Sanne Sannes (1930 - 1967). In addition the gallery presents two notorious rebels from the 1960s and 70s with two up and coming names who are exploring the photographic medium in their own unique manner: Bastiaan Woudt (1987) and Paul Cupido (1972).
The photographic work of Paul Cupido revolves around the principle of mu: a philosophical concept that could be translated as ‘does not have’, but is equally open to countless interpretations. Mu can be considered a void, albeit one that holds potential. Cupido’s ongoing project Searching for Mu, which includes an artist’s book, photography and film, deals with the consoling beauty of the evanescent, the letting go of ego, and the reconnecting to deeper levels of consciousness. In the summer of 2018 Cupido worked on the project in residency in the Brazilian Amazon, this time related to the ephemeral and symbolic correspondences between the body and the earth. Cupido graduated cum laude from the Photo Academy in Amsterdam in 2017 with the first stage of Searching for Mu. He won the Benrido Hariban Juror’s Choice Award in 2017 and was featured in New Dutch Photography Talent 2018 and GUP Magazine issue 57 (2018).
Born in The Hague, photographer Gerard Fieret is a Dutch national treasure. His eccentric style - he stamped his prints repeatedly with his name and P.O box number, and signed them obtrusively - is the mark of a rule-breaking sensibility that came into its artistic prime in the 1960s and helped pull photography into the edgiest of post-modern realms. Fieret’s camera looks unforgiving, and his subjects look back, with reserves of dignity, intelligence and a delicately balanced trust in the artist’s vision. It is a truly liberated vision of a photographer that knew, before a good many fellow fine-art photographers, that photography was meant to be stretched, scratched, pushed to its limits and graphically redefined. Signed, stamped and rife with Fieret’s gesture, fetish and feeling, these photos presented their subjectivity upon us and upon their subjects, transforming the objective moment into a life experience.
Bastiaan Woudt has seen a meteoric rise within the world of contemporary photography. After starting his own photography practice from scratch just a few years ago, with no experience or formal training, he has developed into a photographer with his own distinct signature style – abstract yet sharp, with a strong focus on detail. As a student of the history of photography through devouring photobooks and visiting museums and fairs, Woudt has a strong preference for classic subjects, such as portraits and nudes. Throughout his work we can see references to illustrious periods from photography such as Surrealism and the documentary photography of the 1960s and 70s. Thanks to a self-taught, sophisticated use of both camera and post-production techniques, he gives his own graphic and wholly contemporary twist to the classical. In 2014 Woudt was chosen as New Dutch Photography Talent, and in the same year, as well as in 2015, he was nominated for an SO Award. He was named one of the biggest talents working today by the prestigious magazine The British Journal of Photography in 2016, furthering his position as a talent on the rise. In 2017 he won the Van Vlissingen Art Foundation Award.
Sanne Sannes remains one of the most captivating photographers of the 1960’s, having produced an outstanding body of work in the mere eight years he worked as a photographer, until his untimely death at the age of 30. Women were his favourite subject and an endless source of inspiration. In a nearly obsessive way, he photographed them during ecstatic sessions, often in the nude, recording their most intimate moments. This intimacy was emphasized in out of focus and underexposed photos. Sannes wasn’t afraid to experiment with his work; he felt no qualms about using ‘wrong’ methods or techniques while making his images. He received no formal education as a photographer, he was trained as a graphic artist and painter; he was free from the formal and technical restraints that imposed other photographers. In the end, it was the emotion and atmosphere that Sannes wanted to show with his work that was the most important to him. Sannes’s work is part of many private collections across the world, as well as part of museum collections, which include the Rijkmuseum, Stedelijk Museum Amsterdam and the Nederlands Fotomuseum in Rotterdam. | | | | |
| | | | | | | | | | | | | | Hans-Christian Schink
Mya Thar Lyaung, Bago, 2013
C-Print
178 x 211 cm
© Hans-Christian Schink | | | | | | | | | | | | | | | | | |
Peter Puklus
The portrait of the Hero Father, 2017
Archival Pigment Print
32 x 43 cm
© Peter Puklus |
Andrea Grützner
Untitled#18, 2018
Archival Pigment Print
100 x 150 cm
© Andrea Grützner |
| |
| | | | | Peter Puklus: "Hero Mother - How to build a House"
Puklus deconstructs and questions the dynamics of the pre-established female and male roles: motherhood as an alleged heroic activity and the supposed duty of the father to build and protect the home. His search breaks down the traditional symbols associated with maternal and paternal figures in a playful yet critical way. Outside the confines of the photographic studio, he develops an original visual vocabulary around parental life and issues related to the construction of the family nucleus. The series was awarded the "Grand Prix des Images" in Vevey and presented there during the festival last year.
Hans-Christian Schink: "Burma"
After nearly 50 years of dictatorship, the military in Myanmar unexpectedly began to open up the country in 2011. Two years later, Hans-Christian Schink traveled to Myanmar photographing religious sites and views of cities such as Yangon, Mandalay, Lashio and Nyaungdon, where continued social upheaval remains visible in the streets. Hans-Christian Schink is considered one of the most important representatives of contemporary photography in Germany. His works, mostly landscape studies in the field of tension between nature and civilization, are exhibited internationally and can be found in important public and private collections.
Andrea Grützner: "Erbgericht"
For over a hundred years "Erbgericht" is a guesthouse in rural Saxony, in a village called Polenz. Andrea Grützner grew up nearby and tells of a big old house "full of nooks and crannies, whose corners and objects have the memories of generations attached to them. It’s a collage of material, built over generations". The images of the series are taken in one analog shot and without any post production or digital alternation of the picture, they are studies of these corners and objects. Through the use of color flash and the creation of strong shadow lines, these interiors look alienated and transformed.
Ute Mahler und Werner Mahler: "Kleinstadt"
Ute and Werner Mahler were key figures in photography in East Germany and co-founded the renowned photography agency Ostkreuz after the fall of the Wall. After having pursued successful careers for decades independently, the couple presented their first joint project in 2011, a series of black-and-white portraits titled "Monalisas of the Suburbs". In 2014, a second joint project followed, "The Strange Days", a series of large format landscape studies. This new joint project, "Kleinstadt", is an expedition to the German hinterland. A visit to the small German town, which consists of images taken in many small towns: from Arzberg to Bitterfeld, Hofgeismar, Pasewalk and Zimmern to Waden and Zehdenick. | | | | | | | | |
| | | | | | | | | | | | | | | © Yannig Hedel | | | | | | | | | | | | | | | |
© Yannig Hedel |
© Yannig Hedel |
| | | | | | With a selection of pristine vintage prints, Galerie Thierry Bigaignon presents an outstanding exhibit of some of Yannig Hedel's most important photographs. Relentless street walker, he has been tracking the race of time on the urban architecture for 50 years, day after day, season after seasons, and offers us an extensive and coherent lifetime body of work. Hedel plays with scales and with classic photography codes. The viewer no longer knows how far away the photographed object really is. The play of light and shadow confuses the spectator and envelops him in a prodigiously silent and dreamlike feeling.
Flirting with abstraction, his grayscale images are nevertheless very real! Whether he walks the streets of his home town or as he stares at the city from his apartment window, Yannig Hedel pursues his relentless quest and offers a never-ending enchantement. | | |
| | | | | | | | | | | | | | Barbara Probst
Exposure #138: Munich, Nederlingerstrasse 68, 08.13.18, 2:47 p.m.
2018
Ultrachrome ink on cotton paper
3 parts: 112 x 75cm / 44 x 29 inches
Edition of 5 +2 | | | | | | | | | | | | | | | | | |
Lilly Lulay
Our Writing Tools Take part in the Forming of our Thoughts C
2017
Lasercut, c-print
80 x 60 cm
Edition of 3 + 2 |
Lilly Lulay
Our Writing Tools Take part in the Forming of our Thoughts F
2017
Lasercut, c-print
60 x 45 cm
Edition of 3 + 2 |
| | | | | | Kuckei + Kuckei present two female artists, Barbara Probst and Lilly Lulay, who examine the photographic medium with different approaches yet offering new perspectives on how we perceive (image) realities.
Exhibited are new 'Exposures' by Barbara Probst that are always composed by a group of photographs. A closer observation unveils that they all portray the same scene and have been taken in the same second, but from very different angles. On the one hand, Probst abandons the single-eyed gaze of the camera and divides it into various points of view. On the other hand, she multiplies and diversifies the short moment of the shot.
Lilly Lulay explores how the smartphone and social media influences the way we use the photographic image and our perception of it. Presented are her latest laser cut photographs from the series "Our Writing Tools Take Part in the Forming of Our Thoughts" (2018). These works examine how the smartphone has changed the way friends interact with each other and what role photography plays in this process. In 2018 Lulay was selected for the Foam Talents programme and in 2019 she received a scholarship from Stiftung Kunstfonds. | | | | | | | | |
| | | | | | | | | |
Adrian Sauer: Raum für Alle - Director's house Gropius, after an AGFA color photograph from 1926 or 1927
found in the Bauhaus Archive Berlin, 120 cm x 169 cm, Digital C-Print, Framed, 2015
© Adrian Sauer / VG Bild-Kunst, Bonn, 2019. |
| | | | | | | | | | | | | | | |
Adrian Sauer: Raum für Alle - Meisterhaus Feininger, based on a photograph by Andreas Feininger from 1931
found in the Bauhaus Archive Berlin, 120 cm x 175 cm, Digital C-Print, Framed, 2015
© Adrian Sauer / VG Bild-Kunst, Bonn, 2019. |
| | | | | | Adrian Sauer (b.1976) will present his recent body of work "Raum für Alle" (space for everyone). In this series of 10 works he looks at the 'lived spaces' of the Bauhaus school, captured on historical b/w-photographs. To fully grasp these images and to re-examine what they might transport over time and cultural boundaries he first conducted art historical research on further information about the colours and patterns of walls and furniture that are not revealed by these 'documents'. With the aid of various fragments and circumstantial evidence he 're-constructed' these lost spaces case by case: using the means of his signature approach of 're-thinking and re-materialising' imagery in a juxtaposition of analogue and digital processing. The artificial recreation is not a living space, it remains an image. Although derived from photographs, they are not photographs; nor are they photorealistic images. They approach the rooms depicted in them in a manner similar to painting: they show 'spaces' – containers of time, of thought, of life per se.
Adrian Sauer explores aspects, applications and ways of producing digital images. He poses questions concerning the limits of the image in an age where camera images are increasingly becoming hybrid constructs of light measurement and mathematical calculations. Sauer’s approach revolves around creating new digital compositions on the basis of his own photographs. In doing so, he gradually covers the existing image, bit by bit, with a new layer of colour. The reality of the photograph is replaced by the processing and reality of the studio where Sauer’s images are re-created. Likewise, he discovers irritating changes that result from the technique of photography.
Adrian Sauer’s work is part of numerous public collections e.g. Sammlung des Bundes; MDBK Leipzig; Museum Folkwang; Sammlung d. Freistaates Sachsen, Dresden; CNAM-Centre Pompidou; Coll. Helga de Alvear; The Albright Knox, USA; Sammlung Philara; Sammlung Olbricht ; Zabludowicz Collection; BES Arte Lissabon; Bank of Spain Collection; DZ Bank Art Collection; Berlinische Galerie; SAP Art Collection. | | | | |
| | | | | | | | | | | | | | Timm Rautert
Food and Agriculture Organization of the United Nations
From the series: Weltraum, Rome 2014/2015
21 color photographs, C-Prints
Each 38,8 x 38,4 cm (Image size)
Each 50,8 x 40,6 cm (Sheet size)
Embossing on lower margin
Unique prints | | | | | | RECEPTION AND BOOK SIGNINGS AT PARIS PHOTO 2019 THURSDAY, NOVEMBER 7, 2019
4 PM TIMM RAUTERT » ANFANG/BEGINNINGS, NO PHOTOGRAPHING – STEIDL, GÖTTINGEN
5 PM EDMUND CLARK » MY SHADOWS REFLECTION – HERE PRESS, LONDON
6 PM YANN MINGARD » EVERYTHING IS UP IN THE AIR, THUS OUR VERTIGO – EDITIONS GWINZEGAL | | | | | | | | | | | | |
Edmund Clark
Plant 16, 2017
(Detail from My Shadow's Reflection, 2015-2017)
Archival pigment print
65 x 57 cm (Image/Sheet size)
Ed. 8 + 2 a.p. |
Yann Mingard
Untitled, from the series EVOLUTION, 2018 (Evolution 113)
C-Print on Hahnemuühle PhotoRag Baryta mounted on
aluminium in black wooden frame with UV-protective glass
70 x 55,6 cm
Ed. 1/5 + 2 a.p. |
| | | | | | Parrotta Contemporary Art presents works by three artists centering around issues of visibility with regard to notions of transparency and general public knowledge. Edmund Clark, Yann Mingard and Timm Rautert focus on the side effects and hidden facets of the so-called world order and its institutionalized forms of power. The artists capture what lies beyond the spotlights of media coverage or public reach, the unseen (or inofficial) aspects of political decisions, economic interests and social structures, which are based on hierarchy and principles of division. Gaining visibility through the photographer's eye, the extensive responsibilities of governments and agencies appear in a new light.
"In Place of Hate" by Edmund Clark deals with dangerous criminals who have committed serious offences. Clark presents images of pressed flowers he collected from the prison ground. The translucent forms, in which the plants' veins and markings become visible appear as a metaphor the inmates' experience at Grendon, where every action and flaw is closely observed by staff and peers and held to account and for how we, on the outside, see and choose what is beautiful or not.
In his series "Weltraum" (literally: "Worldspace", the German title also referring to "Outer Space"), Timm Rautert depicts different rooms and spaces in the Palazzo FAO, headquarters of the largest and oldest specialized agency of the United Nations in Rome, Italy. Comprising 197 member states, it leads international efforts to defeat hunger, focusing mostly on supporting agricultural and nutrition research and providing technical assistance to member countries to boost production in agriculture, fishery, and forestry. In this series, history and present day world politics are reflected in the light of national singularity and global unification.
In his most recent photographic project "Everything is Up in the Air, Thus Our Vertigo" (2014-2018) Yann Mingard is interested in a "photographic diagnosis of contemporaneity". He directs his attention to global phenomena, which he explores like a scientist through the gathering and comparative analysis of information. He collects observations from different periods, combines historical documents with actual image and text sources in a kind of inventory, displaying Earth in the Anthropocene in individual scenarios. At the center of the series "Great Aletsch Glacier" and "Pray" are climate change and alterations in the environment. | | | | |
| | | | | | | | | | | | | | Shalom in New York, 2006
© Inez & Vinoodh | | | | | | | | | | | | | | | |
Cindy Sherman - The Gentlewoman, 2019
© Inez & Vinoodh |
Lady Gaga / Joe Calderone 3 / You & I, 2011
© Inez & Vinoodh |
| | | | | | The Ravestijn Gallery presents the artist duo Inez & Vinoodh. Their maverick ways of working have facilitated a new perception of fashion photographs in the context of art, seeing their work grace the pages of fashion magazines and the walls of museums in equal measure. Thirty years on, Inez & Vinoodh still taunt the temporality of much modern fashion, trading trends for timeless photographs, some which are re-contextualised decades later.
Inez & Vinoodh have created editorials for an innumerable list of leading brands that include Christian Dior, Yves Saint Laurent, Gucci, Louis Vuitton and Chanel and for personalities such as Kate Moss, Lady Gaga, Rihanna, Billie Eilish, Taylor Swift, and Julianne Moore. Their work has also been exhibited in galleries and museums internationally including the Stedelijk Museum and Van Gogh Museum in Amsterdam, the Hayward Gallery in London, the Deichtorhallen in Hamburg and the Whitney Museum of Contemporary Art in New York. A retrospective show titled Pretty Much Everything 1985-2010 began its international tour at FOAM, Amsterdam in the summer of 2010 and has since travelled to the Pavilion Bienal in Sao Paulo, the Dallas Contemporary in Dallas and Fotografiska in Stockholm. This year their work will be on view at the Palazzo Reale in Milan curated by Francesco Bonami and at the Helmut Newton Foundation in Berlin.
A specially conceived artist book, made in collaboration with Hatje Cantz, will be launched simultaneously at Paris Photo. | | |
| | | | | | | | | |
FRAUKE EIGEN
Kuchi, Japan, 2008
Gelatin silver print
Signed, titled, dated and numbered on label affixed to the back
35 x 35 cm
Edition of 3 (AP) |
FRAUKE EIGEN
Mune, Japan, 2008
Gelatin silver print
Signed, titled, dated and numbered on label affixed to the back
125 x 130 cm
Edition of 3 |
| | | | | | | | | | | | | | | | | |
SAM HASKINS
November Girl, Face Close Up, 1966
Vintage gelatin silver print
30.4 x 37.2 cm
© all rights The Sam Haskins Estate |
SAM HASKINS
November Girl, Hair Motion, 1966
Vintage gelatin silver print
33.1 x 33.7 cm
© all rights The Sam Haskins Estate |
| | | | | | ATLAS Gallery presents a juxtaposition of Sixties South African and British photographer Sam Haskins and contemporary German photographer Frauke Eigen; two artists who have, in very different contexts, both explored the subject of the nude. The Atlas curation will offer an overview of their contrasting gaze, across generations and gender.
Sam Haskins (1926-2009) became famous in the '60s for his ground-breaking contribution to creative figure photography. Haskins first breakthrough project Five Girls was published in 1962 and was followed by the hugely successful Cowboy Kate & Other Stories in 1964, winning the Prix Nadar in the same year. The first photo book to contain a purely visual fictional narrative, Cowboy Kate was a decade defining, now legendary title, which influenced a wide range of style, design and entertainment professionals and sold almost a million copies worldwide. The following book November Girl (1967) was characterized by changes of tempo in strong graphic layouts and creative image montage. Sam was assembling images from two or more elements with in-camera and darkroom techniques. He used two enlargers side by side, as a lot of montage images were double exposures at the point of printing. Haskins’ vintage works from the sixties have never been exhibited en masse. With worldwide representation of the Sam Haskins Estate Atlas will present a large group of key works from all three projects, offering a powerful interpretation of his ground-breaking book’s visual narrative.
Haskins’ cinematic approach will find a complementary counterpart in Frauke Eigen's balanced and serene images. Rich, silver gelatin prints capture the concealed minimal qualities of human form and the fluidity of nature, displaying a subtle interplay between the two. Harmonious compositions, rhythmic contrasts and fine shades of grey characterise the clear black and white photographs. Eigen reduces her subjects to the simplest forms, often to the point of abstraction. She searches for harmony and symmetry, but is not afraid to embrace imperfections. This sense of pushing the images towards abstraction integrates her subjects and infuses formal lines with softness and finds structures in natural forms. Eigen uses super-matt photographic paper and a Japanese technique of laminating the prints with rice starch, emphasising the subtle nuances in the surface textures. This body of work will generate a stark contrast to Haskins' graphic and grainy compositions. | | | | |
| | | | | | | | | |
Ngwane I, Oslo, 2018, 2018
Silver gelatin print
100 x 67cm
© Zanele Muholi.
Courtesy of Stevenson, Cape Town and Johannesburg |
Isiqhaza I, Philadelphia, 2018, 2018
Silver gelatin print
90 x 60cm
© Zanele Muholi.
Courtesy of Stevenson, Cape Town and Johannesburg |
| | | | | | | | | | | | | | | | | |
MCCXXXII, MEXICO, 2018, 2018
Archival ink on Hahnemühle Photo Pearl
100 x 72cm
© Pieter Hugo.
Courtesy of Stevenson, Cape Town and Johannesburg |
Rift, 2019
Canson Rag matt art paper
50 x 40cm
© 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. | | | | | | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Antoine d'Agata © Florent Drillon | | | | | Paris Photo 2019 - Book sector | | | Book sector publishers and specialized art book dealers are reunited in the center of the Fair, recognized for their role in the continuing narrative of photography and the advancement of its artists. One of the Fair’s most animated sectors, visitors are offered an important selection of limited and rare editions and may attend book launches and over 300 signature sessions with renowned artists.
See the 2019 publishers & art book dealers... » | | | Paris Photo 2019 - Booksignings | | | | | | The Book Signing programme brings together the most renowned artists working in the medium of photography. Visitors have the unique opportunity to meet over the course of the 4 days of the fair more than 250 artists who will sign and dedicate their published works.
www.parisphoto.com/.. | | | | | | |
| | | | | | | | | | | | | | | © Katie Booth | | | Paris Photo–Aperture Foundation PhotoBook Awards | | | NAVE GRAND PALAIS - LEVEL 0 | | | Initiated in November 2012 by Aperture Foundation and Paris Photo, The PhotoBook Awards celebrate the photobook’s contribution to the evolving narrative of Photography.
Three prizes will be awarded in the following categories | | | THE FIRST PHOTOBOOK PRIZE
Marwan Bassiouni New Dutch Views | Lecturis, Eindhoven, Netherlands
Michele Borzoni Workforce | L’Artiere, Bologna, Italy
Juan Brenner Tonatiuh | Editorial RM, Barcelona
Ben Brody Attention Servicemember | Red Hook Editions, Brooklyn
Maisie Cousins Rubbish, Dipping Sauce, Grass Peonie Bum | Trolley Books, London
Maja Daniels Elf Dalia | MACK, London
Federico Estol Héroes del Brillo | Hormigón Armado, Bolivia and El Ministerio Ediciones, Uruguay
Tania Franco Klein Positive Disintegration | Editions Bessard, Paris
Gao Shan The Eighth Day | Imageless, Wuxi, China
Andres Gonzalez American Origami | Fw:Books, Amsterdam, and Light Work, Syracuse, New York
Bardhi Haliti May 25 is now October 1 | Cpress, Zürich
Csilla Klenyanszki Pillars of Home | Self-published, Amsterdam
Lam Pok Yin and Chong Ng The Untimely Apparatus of Two Amateur Photographers | Jiazazhi, Ningbo, China
Guy Martin The Parallel State | GOST Books, London
Justyna Mielnikiewicz A Ukraine Runs Through It | Pix.house, Poznań, Poland
Drew Nikonowicz This World and Others Like It | Fw:Books, Amsterdam, and Yoffy Press, Atlanta
Adam Pape Dyckman Haze | MACK, London
Mimi Plumb Landfall | TBW Books, Oakland, California
Guadalupe Rosales Map Pointz | Little Big Man Books, Los Angeles
Karla Hiraldo Voleau Hola Mi Amol | SPBH Editions, London, and ECAL/University of Art and Design Lausanne THE PHOTOBOOK OF THE YEAR PRIZE
Vince Aletti Issues: A History of Photography in Fashion Magazines | Phaidon, New York
Emi Anrakuji Balloon Position | AKAAKA Art Publishing, Kyoto
George Georgiou Americans Parade | BB Editions (Self-published), Folkestone, United Kingdom
Sunil Gupta Christopher Street, 1976 | STANLEY/BARKER, London
Sohrab Hura The Coast | Ugly Dog (Self-published), New Delhi, India
Libuše Jarcovjáková EVOKATIV | Untitled, Prague
Mari Katayama Gift | United Vagabonds, Tokyo
Santu Mofokeng Stories | Steidl, Göttingen, Germany
Thomas Sauvin and Kensuke Koike No More No Less | the(M) éditions, Paris; Skinnerboox, Jesi, Italy
Henk Wildschut Rooted | Self-published, Amsterdam | | |
| | | | | | | | | | | | | | | Arno Rafael Minkkinen » Minkkinen | | | | Kehrer Verlag | Book signings | Stand SE7 | | | | 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. | | | | | | | | | | | | | | | | | | Thursday, November 7
Djamila Grossman & Tom Licht » Be Hers Be Mine 2pm
Alexis Cottin » Chais / Cellars 3pm
Norm Diamond » Doug’s Gym - The last of its kind 3pm
Francesca Catastini » Petrus 4pm
Anja Conrad » Everything is always so perfect when you are in it 4pm
Alicja Dobrucka » I like you, I like you a lot 4pm
Friday, November 8
Beat Schweizer » Mikhailovna Called 2pm
Magda Biernat » The Edge of Knowing 2pm
Toby Binder » Wee Muckers - Youth of Belfast 3pm
Benita Suchodrev » Of Lions and Lambs 3pm
Yvonne Most » Die Erinnerungen der Anderen 4pm
Mathilde Helene Pettersen » I need a kiss before they leave 4pm
Erik Östensson 4pm
James Hill » The Castle 5pm
Tom Spach » High Garden – Hong Kong 5pm
Saturday, November 9
Arno Rafael Minkkinen » Minkkinen 2pm
Ann Massal » The Eye of the Cyclops 3pm
Vladimir Antaki » The Guardians 3pm
Ethna O’Regan » Beyond Reach 3pm
Niina Vatanen » Time Atlas 4pm
Anni Leppälä » hyle | curtain | backdrop 4pm
Aapo Huhta » Omatandangole 4pm | | | | | | |
| | | | | | | | | | | | | | Texts by Mark Gisbourne, Matthias Harder and Benita Suchodrev
Hardcover 24 x 31 cm
368 Pages
206 Duotone Illustrations
English| German
www.kehrerverlag.com | | | | | | | Book Signing PARIS PHOTO: Friday, 8. November 2019, 3PM | | | |
| benitasuchodrev.com | kehrerverlag.com | | | | | | | | | | | | | | | | | | | | "A complex pictorial-psychological investigation into a disenchanted reality and the nature of being, reminiscent of the cinema of Federico Fellini and the black-and-white English films of 1960s’ social realism." (Mark Gisbourne, Art historian, Critic, Curator)
"Intoxicating and authentic, Suchodrev’s narratives could be a daydream-like film told through stills, as in Arthur Schnitzler’s Dream Story or the work of Jim Jarmusch." (Matthias Harder, Curator, Helmut Newton Foundation)
The tourist season is over, the promenade is empty and Brexit is at the door when Benita Suchodrev returns to the British coastal town of Blackpool to photograph the hidden reality behind the famous Amusement Mile. She leads us to local churches, soup kitchens, youth shelters, old age homes and impoverished neighborhoods, meets bizarre characters, underage mothers, drug-addicts, artists, and hermits. She photographs strangers on train platforms, homeless in torn rags feasting on ham sandwiches and coffee under a dark overpass, closed storefronts and deserted alleys on a rainy night. Poetic, rough and authentic, Of Lions and Lambs is a sequel to Suchodrev’s successful debut 48 Hours Blackpool (Kehrer Verlag 2018), the sequel to a story that begins where illusions end.
"By contrast with my first book, 48 Hours Blackpool, whose swift, brutally honest depictions of British tourists rushing along the amusement mile inadvertently lived up to the popular notion of Blackpool as a ‘playground for the British working class’, this book is more about Blackpool as a dying ground for those whose class does not matter. For the most part, it’s about those who live in a contemporary Western society and, for a reason that may or may not exist, seem to carry on their shoulders every conceivable physical, mental and emotional burden, including the burden of guilt for their own demise… in this context I can’t help think of lambs that are sacrificed again and again, continuously slaughtered to die many deaths and be reborn only to die again, even while living. Their children are the tenderest of lambs that are served on dinner plates following inauguration speeches. And the rest of us … well, the rest of us are either lambs who believe they are lions or lions that life turns into lambs." (Benita Suchodrev) | | | | |
| | | | | | | | | | | | | | | | | | | | | | | Larry Sultan, Antioch Creek, from the series Homeland, 2008 © The Estate of Larry Sultan, courtesy Galerie Thomas Zander, Cologne | | | | | Fragments - Fondation A Stichting | | | | | | Fondation A Stichting opened its doors in south Brussels on the site of the former Bata factories in October 2012. Created in promotion of public interest upon the initiative of Astrid Ullens de Schooten, its vocation is to support the creation, knowledge, and preservation of the photographic image.
What is our capacity to see and to discern when we are surrounded by a superabundance of imagery, their immediacy complexified by both force and speed? The objective of the Fondation A Stichting is to explore the issues and contradictions of the image-document in order to question the world of images in which we inhabit. The collection is at the heart of the Fondation A Stichting. It is comprised of large ensembles of documentary-sensitive photographic works, many of which are world renowned, as well as the work of artists who have led long careers and are deserving of greater visibility. Since 2015, the Fondation A Stichting has dedicated an exhibition per season to a young artist. A veritable platform for the photographic image, the Fondation A Stichting also supports exhibition and publishing projects, organized in collaboration with other cultural institutions.
Photography looks to depict the world, bear witness to events that have happened, keep records, stimulate the memory and reflect on reality. Is making the visible stand out in a panoptic and digital society only intended for those who really want to see, as Lewis Baltz maintains in one of his writings? We are almost two decades into a new century yet the same questions remain unanswered, important and fundamental questions we must face up to more than ever today, beyond all forms of border. The Fragments exhibition presents a selection of these fragments of the world. | | |
| | | | | | | | | | | | | | Ayana V. Jackson (American, born 1977); Tignon, 2015
Archival pigment print; Acquired in 2016
JPMorgan Chase Art Collection; Courtesy of the artist and Mariane Ibrahim Gallery | | | COLLECTIVE IDENTITY - JP MORGAN | | | | | | | Marking our 9th year as official partner of Paris Photo, J.P. Morgan Private Bank is proud to return and exhibit a broad range of photographic portraits from the JPMorgan Chase Art Collection. Collective Identity features iconic works, as well as recent acquisitions by artists from Africa, Asia, Europe, the Middle East and the Americas. The exhibition, collaboratively curated by the JPMorgan Chase Art Collection team, reflects the Collection’s diverse and international identity as we celebrate its 60th anniversary. | | |
| | | | | | | | | | | | | | | Théâtre de guerre, Photographie avec un groupe de guérilla kurde, 2012 © Emeric Lhuisset – Résidence BMW | | | | | | LAUREATE OF THE BMW RESIDENCY | | | | BMW is an Official Partner of Paris Photo since 2003 and created the BMW Residency to support young creation, awarding a carte blanche each year to an emerging photographer. The eighth winner, Emeric Lhuisset, presents L'autre rive and invites us to reimagine the story of a land that refuses simplification. Because it focuses solely on the event, photojournalism is usually presented to us as the only relevant commentary. But, an isolated fact does not speak for itself. By nature, the speed of the event, its shock value, seem to correspond with the supposedly neutral qualities of the camera. It is not a small merit of Emeric Lhuisset to break the taboo of immediacy in favor of knowledge, the fruit of commitment and questionning. | | |
| | | | | | | | | | | | | | Soni Sahil, Responsable Marketing – Pernod Ricard India &
Finn Mac Donnell, Directeur du pub Dick Mack’s – Dingle, Irlande | | | | | | SERIOUSLY CONVIVIAL | | | | STÉPHANE LAVOUÉ X PERNOD RICARD | | | | Pernod Ricard’s tenth carte blanche photography campaign celebrates a new facet of conviviality - that intrinsic ability of the Group’s employees and brands to create genuine moments of sharing and celebration. Unlike previous editions, Group employees do not face the camera alone. As this is an exceptional year, we invited them to meet other people who, within their respective communities, act as creator, link and ambassador in relation to this culture of sharing. Stéphane Lavoué has injected all these moments of sharing with great aesthetic power and created a stunning gallery of interwoven portraits. | | |
| | | | | | | | | | | | | | | Claire Aho, circa 1958, Clary von Platen © JB | | | | | AHO & SOLDAN PHOTO AND FILM FOUNDATION | | | | | | The Foundation presents at Paris Photo three masters: the pioneering Finnish photographers and filmmakers Heikki Aho (1895-1961), Björn Soldan (1902-1953) and Claire Aho (1925-2015).
Heikki Aho and Björn Soldan were part of one of the most influential families in Finnish cultural history. Their father, author Juhani Aho (1861-1921), was married to artist Venny Soldan-brofeldt (1863-1945).
In 1924, they founded the legendary Aho & Soldan company, producing over 400 documentary films.
Heikki´s daughter Claire Aho, ‘The Grand Old Lady of Finnish Photography’, joined Aho & Soldan then opened her own studio. Cultural icon, pioneer of color photography, Claire Aho was especially active in the 1950s and 1960s. | | |
| | | | | | | | | | | | | | | Grand Prismatic Spring, Yellowstone National Park, United States, Josh Haner / The New York Times. | | | | | | CARBON'S CASUALTIES - THE NEW YORK TIMES | | | | Since 2015, Pulitzer Prize-winning New York Times photographer Josh Haner has worked across the globe documenting the pressing and wide-ranging realities of climate change. Combining the drama of drone footage from the air with the intimacy of still images from the ground, the series is an intricate exploration of the many consequences resulting from a warming world. Haner’s visual narrative starkly illuminates the ultimate legacy of climate change: the loss of our planet’s vast heritage. | | |
| | | | | | | | | | | | | | | © Samuel Fordham, I Thought I Would Sit Here and Look Out Over the Fjord for the Last Time | | | | | CARTE BLANCHE - STUDENTS 2019 | | | Paris Photo Exhibition: Booth F1 | GARE DU NORD | | | | | | Paris Photo, Picto Foundation, and SNCF Gares & Connexions, for the 3rd year, partner to launch a platform in promotion of the discovery and exposure of outstanding young talent within masters or bachelor programs in European schools for photography and the visual arts.
Four student projects, selected by a jury, will be presented in a large format exhibition in Paris Gare du Nord train station (Oct. 15 – End of Nov) and in a dedicated space at Paris Photo. Their work will also be the highlighted in a round-table discussion on emerging art and the art market.
LAUREATES :
Samuel FORDHAM : UWE Bristol – UK
Chris HOARE : UWE Bristol – UK
Fernando MARANTE : Ar.Co - Centro de Arte e Comunicação Visual – Portugal
Giulia PARLATO : Royal College of Art – UK | | |
| | | | | | --> | | | | | | | | | | Paris Photo 2019 - The Platform | | | PARIS PHOTO, AUDITORIUM - LEVEL 1 | | | The Platform conversation series is a 4-day long experimental forum focusing on issues surrounding image-based art with key figures in art and photography
Conversations - PROGRAMME »
THURSDAY 7 NOVEMBER
CONVERSATIONS ORGANIZED AND PRESENTED by DAVID CAMPANY Architecture and Image
1pm-1:45pm Jim GOLDBERG, artist, USA
2pm-3pm Christoph WIESNER, artistic director, Paris Photo
Josh HANER, photographer, The New York Times
Meaghan LOORAM, director of photography at The New York Times
3:30pm-4:15pm Victor BURGIN, artist, UK
4:45pm-6pm Power – City – Montage
Jules SPINATSCH, artist, Zurich
Felicity HAMMOND, artist, London
6:30PM-7:45PM Building and bodies of photograph
Hélène BINET, artist, London
Hannah COLLINS, artist, London
FRIDAY 8 NOVEMBER
1pm-2pm
Simon BAKER, director MEP, Paris
Mari KATAYAMA, artist, Tokyo
2:30pm-3:30pm
Jason MOLCHANOW, curator, JPMorgan Chase Art Program, New York
Ayana V. Jackson » artist, USA
CONVERSATIONS ORGANIZED AND PRESENTED by OSEI BONSU Emerging Photography
4pm-5:30pm
Marguerite BORNHAUSER, artist, France
Marie CLEREL, artist, France
Elsa LEYDIER, artist, France
Roman MORICEAU, artist, France
6pm-7-30pm
ELSA & JOHANNA, artists, France
Leandro FEAL, artist, Cuba
Nate LEWIS, artist, USA
SATURDAY 9 NOVEMBER
12:30pm-13:45pm French photography : The end of disgrace?
Michel POIVERT, art historian, Paris
Marta GILI, director, ENSP, Arles
Jérôme SOTHER, artist, France
Olga SMITH, art historian, Cambridge
2pm-4pm Learning to see the invisible
Produce numbers, call out discriminations and work for the visibility of women photographer.
Fannie ESCOULEN, independant curator, France with :
2pm-2:15pm
Agnès Saal, Highranking official in charge of diversity and equality policies at the French Ministry of Culture, Paris
2:15pm-2:45pm
Marie DOCHER, photographer and activist, Paris
Irène JONAS, photographer and sociologist, Paris
2:45PM-4PM
Delphine BEDEL, artist, editor, founder of Meta/Books, Amsterdam
Anna FOX, photographer, professor of photography at University for the Creative Arts, Farnham
Anna-Alix KOFFI, founder of the magazine Woman paper and Something we africans got
CONVERSATIONS ORGANIZED AND PRESENTED BY HANS-ULRICH OBRIST
4:15pm-5pm Ming SMITH, artist, USA
5pm-5:45pm Josef KOUDELKA, artist, Paris
5:45pm-6:30pm Samuel FOSSO, artist, Bangui
6:30pm-7:15pm Tyler MITCHELL, artist, Brooklyn
7:15pm-8pm Zanele MUHOLI, artist, South Africa
SUNDAY 10 NOVEMBER
2pm-3pm What is a vintage?
Françoise PAVIOT, gallerist, Paris
4pm-5:30pm ROUND TABLE / PERFORMANCE - DISSECT #2
Proposed by EMANUELE QUINZ and SAMUEL BIANCHINI
with
Emmanuel ALLOA, philosopher, France
Federica CHIOCCHETTI, writer and curator
Luce LEBART, historian of photography and curator
Meghann RIEPENHOFF, artist, USA
Pascal VIEL, chemist
Dork ZABUNYAN, art historian, Professeur à l'Université Paris 8
| | | | | | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Douglas Mandry | Piz Palü, aus der Serie «Monuments», 2019 | Lithographie auf gebrauchtem Gletschertuch (Geotextile) | 128 x 152 cm | Unikat | | | | | | | | | | | | | | | | | | | | Douglas Mandry | Steingletscher - 191016 - #001, 2019, aus der Serie «Monuments» | Eis-Photogramm auf Kodak-Papier | 113 x 126 | Unikat | | | | | | Douglas Mandry’s (*1989, CH) practice is a direct response to the digitalization of photography and the technological accelerations that came along with it. Always shooting his initial images in analogue, all of Mandry’s interventions in the image are done by hand, through the application of different historic photographic processes or by physically cutting and pasting.
Seductively beautiful in the use of color, the diversity of form and the choice of materials while, simultaneously, being conceptually sophisticated in terms of subject-matters and photographic processes: the starting points for the artist Douglas Mandry (b. 1989 in Geneva), who has moved to Zurich in 2013, are real world phenomena and experimenting with various photographic techniques. Oscillating between historical analogue and contemporary digital imaging methods, the artist creates his very own pictorial worlds. Observations in nature and the examination of current issues merge in his work with his reflections regarding his chosen medium photography - documentation with abstraction, reasoning with sensuality. Conceptual rigor and experimental liberties are well balanced in Douglas Mandry’s work, and the autonomous nature of photographic processes bears serendipitous results: the unforeseen meets intention and idea. This way, complex issues receive poetic allure. Each work retains a productive riddle that encourages us to question our perception of the reality of the world and the reality of images.
Douglas Mandry received a Bachelors in both Visual Communication and Photography from the University of Art and Design ECAL in Lausanne. Since graduating Mandry has been nominated for numerous awards, including the Paul Huf Award, the Swiss Federal Design Award and was shortlisted for Prix Voies-Off. | | |
| | | | | | | | | | | | | | | © Thomas Paquet / Courtesy Galerie Thierry Bigaignon | | | | | | | | | | | | | | | |
© Thomas Paquet / Courtesy Galerie Thierry Bigaignon |
| | | | | | | Thomas Paquet (born 1979) first discovered painting with his grandfather and photography in the studio of his father. After studying mathematics, he then attended the Icart Photo School. Fascinated by alternative photography techniques, he commits to a personal work which leads to experiment the photographic material. His work revolves around the notion of space and time. Far from the information overloads and the speed excesses of the digital realms, Thomas quietly explores with matter. Thomas envisages photography as an art which cannot be separated from its craft. As such, film is often at the core of his creation process and it is common for him to employ alternative techniques such as Polaroid, wet collodion prints or gum bichormate printing process. But most importantly his work is an invitation to go beyond our own expectations of reality, blurring the lines between science and poetry, materiality and abstraction, objectivity and subjectivity. | | |
| | | | | | | | | | | | | | | | | | | | | | | | | | FOTOFEVER PARIS 2019 | | | | | | PREVIEW (VIP & press): Thursday 7 November, 5pm - 7pm
OPENING NIGHT (by invitation only): Thursday 7 November, 7pm - 10pm
PUBLIC OPENING HOURS: Friday 8 November, 11am - 8pm
Saturday 9 November, 11am - 8pm | Sunday 10 November, 11am - 6pm | | | | | | | | | | | | | fotofever returns to the Carrousel du Louvre for its 8th edition!
100 galleries & publishers from 20 countries 2019 exhibitors list
250 artists presented 2019 list of artists
fotofever welcomes you for its 8th edition at the Carrousel du Louvre with an inspiring program for an international audience. More than 200 artists, 100 galleries and publishers from 20 countries are gathered for this new edition.
And once again, fotofever confirms its commitment towards living artists and offers collectors, art professionals and the public the opportunity to acquire works from an novel, accessible yet exacting selection.
This year more than ever women are honored in the heart of the city of light! And for the 180th anniversary of the invention of photography, fotofever unveils the boldness and creativity of the French scene.
To discover fotofever paris 2019 programme, click here! | | | | | | | |
| | | | | | | | | | | | | | ALAIN CORNU
Sur Paris #51, 2011
© ALAIN CORNU | | | | | | | | | | | | | | | | | |
PETER MATHIS
Aiguille de la Brenva, 2012
© PETER MATHIS |
WALTER SCHELS
Roncalli Circus - Chinese Princess, 1981
© WALTER SCHELS |
| | | | | | | |
| | | | | | | | | | | | | | Gilles Lorin
LAND OF THE GODS
Palladium Abzug, Diptychon. 2018 | | | | | | | | | | | | | | | |
Gilles Lorin
RESILIENCE
Platinum-palladium Abzug. 2012 |
Gilles Lorin
CALLA
Platinum-palladium Abzug, Blattgold. 2017 |
| | | | | | | |
| | | | | | | | | | | | | | Nataly Hocke
"Handabzug", 2012
28,4 x 21,8 cm
edition of 20
© Nataly Hocke | | | | | FOTOFEVER PARIS 2019 | | | | | | | | | | | | | | | |
Gerda Schütte
from the series "Souvenir d'Afrique-2017"
© Gerda Schütte |
Gerda Schütte
from the series "Souvenir d'Afrique-2017"
© Gerda Schütte |
| | | | | | | |
| | | | | | | | | | | | | ... more ... Photo - Book - Art Fairs Salon de la Photo | Offprint | Polycopies | Vintage Photobook Fair | AKAA – Africa | | |
| | | | | | | | | | | | | | Benji Reid, Going Home, 2019
Courtesy the artist and October Gallery | | | | | AKAA - Also known as Africa | | | | | | to discover 35 galleries and 150 artists from 25 different countries inside the beautiful Carreau du Temple. Three days to share the African energy, hear its hum and feel its vibration.
Opening Hours
Saturday: 12pm-8pm
Sunday: 12pm-8pm
Monday: 12pm-7pm | | | | | | | | | | | | | | | | |
| | | | | | | | | | | | Polycopies 2019
a bookfair with 45 publishers, booksellers and photographers from all continents.
6 - 10 November 2019 | |
| | | | Wed 5pm - 10pm | Thu 11am - 9pm | Fri 11am - 9pm | Sat 11am - 9pm | Sun 12pm - 7pm | | | | | | | | | | | | | Since 2014 Polycopies has been organizing a fair with 40 specialized international photography book publishers once a year.
Founded and directed by Laurent Chardon and Sebastian Hau, Polycopies is an non-profit for the distribution and promotion of the photographic edition (books, multiples, paper objects and experimental publishing practices) which becomes a large ephemeral bookshop, a space completely dedicated to photo books, during the week of Paris-Photo
Although Polycopies is first of all a market place, it has also become an important spot to meet with a lively crowd of amateurs, collectors, photographers and publishers of different horizons sharing and confronting their ideas on photography, discussing the practices of publishing, exchanging on discoveries made and favorite books, or even showing their book dummies and new projects. | | | | |
| | | | | | | | | | | | Offprint Paris 2019
130 independent publishers in art, photography and design, from 19 different countries
7 - 10 November 2019 | |
| | |
Thu 17:00 – 21:00, Fri 13:00 – 21:00, Sat 11:00 – 19:00, Sun 11:00 – 18:00 | | | | | | | | | | | | | To celebrate the tenth edition of Offprint Paris, 130 independent publishers in art, photography and design, from 19 different countries, come together at the Beaux-Arts in Paris.
Entrance pass (valid 4 days): 5 euros
First hour free every day
Free for students and unemployed, upon presentation of card | | | | |
| | | | | | | | | | | | Vintage Photobook Fair
6 - 9 November 2019 | |
| | | | Wed 17-22:00Thur 11-20:00 | Fri 11-20:00 | Sat 11-19:00 | | | | | | | | | | | | | | Today, photobook fairs seem to be spreading like wildfire all over the world. But at the same time, there seems to be an increasing focus on the newest books while vintage and out-of-print editions tend to be less and less visible. Paris Vintage Photobook fair has been initiated to offer an alternative to this situation. Some photobook sellers from different European countries have decided to pool their effort in order to draw attention to the vintage and out-of-print photobook, bring out its diversity and specificities, and give it the place it merits in the market as well as in the hands of collectors who value quality photobooks. | | | | |
| | | | | | | | | | | | SALON DE LA PHOTO
the French forum for photographers and photography enthusiasts! More than 150 brands - exhibitions, artists talks
7 - 11 November 2018 | |
| | | | Thu 10-19:00, Fri 10-19:00, Sat 10-19:00, Sun 10-19:00, Mon 10-18:00 | | | | | | | | | | | | | | | | |
| | | | | | | | | |
|
| | |
|
