| | | | | | | | | | | | Paris Photo 2024 - Galleries Grand Palais | 3 avenue du Général Eisenhower | 8e
Wed November 6 : by invitation only
Thu-Sat November 7-9 : 1 pm - 8 pm
Sun November 10 : 1 pm - 7 pm
www.parisphoto.com | |
| | | In 2024, Paris Photo is returning to the Grand Palais with 240 exhibitors from 34 countries.
The Main Sector brings together 147 galleries, combining the great names of photography with new international participations. Situated in the nave of the Grand Palais, it will feature large-format Prismes projects and installations.
This year, Paris Photo launches the new Voices Sector designed to invite the sensitive, open-minded gaze of personalities from the art world. For this first edition, the sector will be led by curators Sonia Voss, Azu Nwagbogu and Elena Navarro.
Curated by Anna Planas, the Emergence Sector showcases the dynamism of the contemporary art scene through 23 monographic projects.
Launched in 2023 under the direction of Nina Roehrs, the Digital Sector presents artistic projects that involve digital realities and the evolution of digital practices within photography as part of contemporary art. | | | | |
| | | | | | | | | | | | | Paris Photo 2024 | Main sector 147 galleries, 26 of which are new ones from the international scene.
www.parisphoto.com/... | | |
| | | | | | | | | | | | | | Michael Najjar
"hanging gardens", 2023
67 x 102 cm / 132 x 202 cm
Edition of 6 | | | | | | Solo Show Main Sector - Booth D48 | | | | | | | | | | | | |
Michael Najjar
"silk leaf", 2022
67 x 102 cm / 132 x 202 cm
Edition of 6 |
Michael Najjar
"orbital ascent" 2024 (CIVILIZATION special edition)
Format: 73 x 46,7 cm (framed)
Edition: 30 |
| | | | | | BANK proudly presents a solo exhibition by Michael Najjar (b. 1966, Germany) at Paris Photo 2024. Najjar is an internationally acclaimed artist, explorer, and future astronaut. His work spans photography, video, sculpture and writing. He is known for working closely at the intersection of art, science, and technology, dealing in complex and critical ways with the technological developments that are defining and drastically changing the early 21st century. Najjar's conceptual photography expands the possibilities of the medium, while his multidisciplinary approach fosters collaborations with scientists, researchers, and engineers.
The Paris presentation focuses on our planetary future in times of climate change and a redefinition of the relationship between humans and nature. In view of the dramatic consequences of climate change for future generations, Najjar urges a rethinking of technology, aesthetics, and culture. The presentation addresses themes like space-based Earth observation, carbon capture and storage, and biophilic architecture. Through his photography and video art, Najjar creates a conceptual space that bridges scientific knowledge with aesthetic expression, inviting viewers to contemplate how we might build a sustainable, post-destructive future.
The performative element is also central to Najjar's work. Over the past decades, he has embarked on expeditions to remote and challenging environments around the world. His artworks often originate from these field explorations, conducted in hard-to-reach, liminal locations. Najjar has summited seven-thousand-meter peaks, scaled skyscrapers, trekked across active volcanoes, glaciers, and deserts, descended into ice caves, and undergone rigorous astronaut training with the aim of becoming the first artist in space. To create his images, Najjar exposes his body to extreme experiences and tests his mental and physical limits in the context of challenging natural or technological environments. In the last 25 years, Najjar´s work has been the subject of solo and group exhibitions at prominent institutions worldwide.
Since its inception in 1997, Paris Photo has been a pivotal event on the Parisian cultural scene, bringing together leading international galleries and publishers of contemporary and modern photography annually. This year, the fair returns to the Grand Palais, a historic landmark, renowned for its elegance and architectural distinctiveness. | | |
| | | | | | | | | | Solo Shows Some galleries will offer exhibitions focused on the work of a single artist,
allowing for an in-depth exploration of their oeuvre.
● Galeria Alta Anyós, Andorra Ramón Masats »
● Anne-Laure Buffard Paris Gilles Caron »
● Atlas Gallery London Richard Caldicott »
● Caroline O’Breen , Amsterdam Misha de Ridder »
● Galerie Christian Berst Art Brut, Paris John Kayser »
● Cob Gallery London Jack Davison »
● Dolby Chadwick Gallery, San Francisco Eric Antoine »
● galerie Écho 119 Paris Sakiko Nomura »
● Einspach & Czapolai Fine Art Budapest Tamás Dezsö »
● Fraenkel Gallery, San Francisco Hiroshi Sugimoto »
● Galerie Georges-Philippe et Nathalie Vallois Paris William Wegman »
● Jackson Fine Art, Atlanta Christian Walker »
● Galerie Karsten Greve Paris, Cologne, St. Moritz C34 Herbert List »
● Loft Art Gallery, Casablanca, Marrakesch Alia Ali »
● M77 + ADMIRA Milan B47 Charlotte Perriand »
● MAGNIN-A Paris J. D. 'Okhai Ojeikere »
● Mariane Ibrahim Gallery Chicago C29 Lorraine O'Grady »
● Martch Art Project Istanbul Sinem Dişli »
● Martini & Ronchetti Genoa Lisetta Carmi »
● Momentum Fine Art Miami Aapo Huhta »
● Monitor Lisbon Elisa Montessori »
● Paci contemporary Brescia A15 Miguel Rio Branco »
● Podbielski Contemporary Milan Florence di Benedetto »
● Galerie Rabouan Moussion Paris Erwin Olaf »
● Rocket Gallery London Martin Parr »
● Spot home gallery Naples Anders Petersen »
● Stieglitz19 Antwerp A14 Daisuke Yokota »
● The Photographers' Gallery London 47D Gohar Dashti »
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| | | | | | | | | | | | | | Mark Ruwedel
Bluff Cove #3, 2015
Gelatin silver print mounted on archival board
Image size: 11 x 14 inch
Edition of 5 | | | | | | Solo Show Main Sector - Booth B11 | | | | | | | | | | | | |
Mark Ruwedel
Orchard #12C, 2021
Archival pigment print mounted on archival board
Image size: 16 x 20 inch
Edition of 5 |
| | | | | | For 2024 Paris Photo, Large Glass presents a solo show of works by American photographer Mark Ruwedel. We spotlight Ruwedel’s on-going project Los Angeles: Landscapes of Four Ecologies (since 2014) with the title making reference to British architectural critic Reyner Banham’s 1971 book, Los Angeles: The Architecture of Four Ecologies.
For three decades, Mark Ruwedel has photographed American deserts and wild spaces that bear traces of human intervention: abandoned remains of early railway lines, brightly sinister nuclear test sites, ruined desert homes outside Los Angeles. "I have come to think of the land as being an enormous historical archive," he wrote in 1996. "I am interested in revealing the narratives contained within the landscape, especially those places where the land reveals itself as being both an agent of change and the field of human endeavour."
For the Project, Ruwedel has identified four overlapping landscape 'systems': The Rivers, The Eastern Edge, The Hills and Canyons, and The Western Edge. His work captures the dynamic landscapes of the greater LA metropolitan area, shaped by floods, fires, earthquakes and landslides; a place overwritten by industry, irrigation, urban planning and abiding fantasies about authentic wilderness.
Mark Ruwedel has won numerous awards for this outstanding work, including the Scotiabank Photography Award and a Guggenheim Fellowship (both 2014). He was shortlisted for the Deutsche Börse Photography Foundation Prize (2019) and for the Prix Pictet (2021). His work is included in major museum collections including those of the Los Angeles County Art Museum (Los Angeles), The Metropolitan Museum (New York), National Gallery of Art (Washington), The National Gallery (Canada); Stichting Foundation (Brussels), Maison Européenne de la Photographie (Paris), Tate Modern and the Victoria and Albert Museum (London). | | |
| | | | | | | | | | | | | | Erik Madigan Heck
Red Autumn Leaves, 2023
95.2 x 80.6 cm | | | | | | Solo Show Main Sector - Booth C54 | | | Book signing with Erik Madigan Heck: Friday, 8 November, 5:15 pm | | | | | | | | | | | | |
Erik Madigan Heck
Hands Draped Over Fabric, 2021
100.7 x 151.1 cm |
| | | | | | | Christophe Guye Galerie is pleased to present a solo exhibition by the American artist Erik Madigan Heck (*1983). On display is a selection of mostly never before shown works from his upcoming monograph "The Tapestry", which will be released by Thames & Hudson only a few days before Paris Photo 2024 opens its doors. Both an exploration of color and form and a dazzling artistic statement, "The Tapestry" is a one-of-a-kind retrospective—one that originated during a time of great professional and personal uncertainty for the artist. Relentlessly creative, Madigan Heck used the enforced pause in his life, with the global pandemic as the backdrop, as a contemplative space to revisit a decade’s worth of his work as a photographer and artist. This selection serves as a meditative exploration of Heck's unique fusion of photography and painting, characterized by a bold embrace of natural light, resulting in a stunning array of unapologetically beautiful and vividly colorful images. | | | | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | Prismes projects - Main Sector - Booth A24 | | | | At this year's Paris Photo Julian Sander, August Sander's great-grandson, is exhibiting the complete project "People of the 20th Century", a series of 619 photographs by August Sander for the first time in Europe. | | | | | | | | | | | | |
August Sander
Sekretärin beim Westdeutschen Rundfunk Köln, 1931
Gelatin silver print, printed 1990s by Gerd Sander
© Die Photographische Sammlung / SK Stiftung Kultur
August Sander Archiv, Köln
VG Bild-Kunst, Bonn 2024 |
August Sander
Maler [Anton Räderscheidt], 1926
Gelatin silver print, printed 1990s by Gerd Sander
© Die Photographische Sammlung / SK Stiftung Kultur
August Sander Archiv, Köln
VG Bild-Kunst, Bonn 2024 |
| | | | | | August Sander (1876 - 1964) is considered one of the most important photographers of the 20th century, both nationally and internationally. The high status accorded to him in photographic historiography is primarily based on his conceptual series "People of the 20th Century", which he developed over decades. With this magnum opus, Sander created a unique body of work that not only shaped the art of his time, but also had a lasting influence on subsequent generations of artists and photographers to this day.
Through countless publications and presentations all over the world, Sander's portrait work has received both a broad and scholarly reception. Julian Sander, the photographer's greatgrandson, is now exhibiting the complete project "People of the 20th Century" for the first time in Europe at Paris Photo. The total of 619 gelatin silver prints were printed from the original negatives by his father Gerd Sander together with Jean-Luc Differdange in the 1990s. The production was preceded by extensive research work, which took around fifteen years. It was started in 1984 by Gerd Sander and later completed together with the SK Stiftung Kultur in Cologne. Using the existing original prints and negatives, documentary materials and interviews with contemporaries of the photographer, the structure of the work, which Sander did not complete during his lifetime, was reconstructed.
From the mid-1920s until his death, August Sander worked on his project with the intention of comprehensively depicting the structure of society at the time by means of hundreds of individual and group portraits. All social classes and professional groups - from the homeless to the Grand Duke - were captured by him in his studio or in their natural surroundings, using a restrained, neutral photographic style. In doing so, he succeeded in capturing the individuality of those portrayed in a way that was as precise as it was sensitive, while at the same time working out the typical features that identified them as representatives of a particular social class. Sander's aim was to use this method to create a "mirror of the times", "to give a true psychology of our time and our people".
He divided his "cultural work in photographs", as he called it, into 49 portfolios, which he then assigned to seven superordinate groups: "The Farmer", "The Skilled Tradesman", "The Woman", "Classes and Professions", "The Artists", "The City" and "The Last People". As a kind of prologue, he also preceded the first group with the so-called "Stammappe" ["Portfolio of Archetypes"], which defined the farmer as the "archetype" of man. The basis for his extensive project was his work as a professional photographer, which gave him access to very diverse social groups. Due to the time span in which the portraits from "People of the 20th Century" were taken - the earliest photograph dates back to 1892, the latest to 1954 - Sander's series not only provides an inventory of the constitution of German society at a certain point in time, but also depicted the social and political changes brought about by the turbulent years between the German Empire, two world wars and post-war Germany. | | | | |
| | | | | | | | | | | | | | | | | | | | | | Jörn Vanhöfen
Zugspitze # 269
2024
125 cm x 219 cm
C-Print | | | | | | Duo Show Main Sector - Booth B43 | | | | | | | | | | | | | | | | | Barbara Probst
Exposure #185: Munich, Nederlingerstrasse 68, 04.21.23, 2:35 p.m., 2023
Ultrachrome ink on cotton paper
3 parts, 140 x 112 cm | | | | | | The Berlin photographer Jörn Vanhöfen, born in 1961, has vividly formulated his artistic and social position with his extensive work AFTERMATH and the book of the same name. Like his older works from AFTERMATH, the current works again contain the discrepancy between beauty and horror: a theme that runs like a red thread through his entire photographic oeuvre. Images of the eternal cycle of creation and decay, enticing in their aesthetic beauty, frightening due to the underlying content, are the subject of his interest. The structures of the surface and its colourful texture seduce and impress. The narrative quality of his earlier works recedes. Beauty and fright continue to be the irritating poles that make up the fascination of his works.
Barbara Probst is a German photographer living between Munich and New York. In 2000 she began taking multiple images of actors in a single scene, shot simultaneously with several cameras via a radio-controlled system. The resulting series convey a complex, playful, and darkly cinematic vision of people in time and space. Probst’s works span photographic genres: landscape, still life, fashion, portraiture, and street photography. Her multi-perspective approach results in quasi-three-dimensional views of her subjects while activating philosophical problems around the question of optical authority: what is visual truth when multiple perspectives are in play? Does more visual data result in greater realism, or less?
Barbara Probst studied at the Academy of Fine Arts in Munich and at the Art Academy in Düsseldorf. Her photographs have been exhibited widely in Europe and the USA, including in 2006 in the exhibition series "New Photography" at the Museum of Modern Art in New York. She has presented her work in solo exhibitions at the Centre PasquArt, Biel, Switzerland; Domaine de Kerguéhennec, Bignan, France; Museum of Contemporary Photography, Chicago; National Museum of Photography, Copenhagen; Stills Centre for Photography, Edinburgh; Madison Museum of Contemporary Art, Madison, Wisconsin; Oldenburger Kunstverein, Oldenburg; Rudolfinum, Prague; Le Bal, Paris; Kunsthalle Nürnberg; Triennale, Milan. Her retrospective "Subjective Evidence" was shown 2024 at Kunstmuseum Luzern, now at the Contemporary Arts Center Cincinnati and will be shown at Sprengel Museum Hannover. | | |
| | | | | | | | | | | | | | | | | | | | | | Bryan Schutmaat
Gas Sign, 2015
Archival Inkjet Print
100 x 125 cm
Edition 3 + 2 AP | | | | | | Duo Show Main Sector - Booth C16 | | | | | | | | | | | | |
Thomas Manneke
Untitled, Cardboard Box, 2023
Silver Gelatin Print
60 x 50 cm
Edition 3 + 2 AP |
Thomas Manneke
Untitled, Paper Shape, 2023
Silver Gelatin Print
103 x 82 cm
Edition 3 + 2 AP |
| | | | | | From Bryan Schutmaat (*1983) we will show works from his new Series Sons of the Living. This is a body of work about the land and people along highways in the deserts of the American West. It includes intimate portraits of travelers—mostly hitchhikers and drifters who dwell along the interstate system—as well as landscapes and still life photos that reflect a country in peril. Amidst the backdrop of environmental decline, economic dispossession, and societal neglect, this work depicts the human capacity for endurance. At our critical moment in history, as we witness but fail to understand the frailty of our ecology, economy, and social stability, Sons of the Living creates an atmospheric narrative that foreshadows the risks of our society’s current path. The work both honors yet subverts the American photographic roadtrip tradition with an updated view of the 21st century’s "open road" that addresses a new era of anxiety.
Thomas Manneke’s (*1970) Series Zillion features black and white photos made from 2021 - 2023, most of them shot with an 8/10 inch camera. The works were made during the pandemic, often in collaboration with Manneke’s daughter Laurie (9 - 11 years old). Photos depict daily observations, stills of found items, and objects made by Manneke or Laurie. The title Zillion (an infinitely large number) refers to the imaginary world they have created. | | |
| | | | | | | | | | | | | | | | | | | | | | Roger Ballen
Bothered, 2021 | | | | | | Main Sector - Booth D38 | | | | | | | | | | | | | | |
Thomas Boivin
Portrait, Place de la République, 2019-2023 |
Ray K. Metzker
Man Wall Street Grid, MX, 1964 |
| | | | | | Les Douches la Galerie is thrilled to announce its participation in Paris Photo 2024. Since 2015, the gallery's artistic direction has introduced new photographers while continuing to champion those it has represented for years.
While we remain deeply committed to the intrinsic qualities of the still image, particularly vintage and unique prints, this year we are diversifying with a heightened presence of color. Following our recent representation of French artist Joël Denot, in collaboration with Galerie Modesti Perdriolle (Brussels), Les Douches la Galerie is pleased to present a selection of high-quality Cibachrome prints, pigment prints, and Polaroid snapshots. Denot's work explores light and rich chromatic saturation. This colorful selection will be complemented by previously unseen large format works and painted Polaroids by South African artist Roger Ballen, represented by the gallery since fall 2023, along with still lifes by Toni Catany and Ernst Haas' explorations of movement.
For black-and-white photography enthusiasts, we continue to support iconic American photographers like Ray K. Metzker, currently featured in a major exhibition at Fondation A in Brussels, as well as Vivian Maier and surrealist Val Telberg. Additionally, we will showcase a rare tapestry from Man Ray's Revolving Doors series, alongside experimental images by Roger Catherineau, Raoul Ubac, and Jean Painlevé, fashion photography by Frank Horvat, intimate photos by Hervé Guibert, Bogdan Konopka’s daily life scenes in China, and Jean-Claude Gautrand’s Métalopolis abstractions, recently celebrated in a major retrospective at the Réattu Museum in Arles this past summer. | | | | |
| | | | | | | | | | | | | | | | | | | | | | Lia Darjes
Plate III, 2021
Pigment Print
40 x 50 cm | | | | | | Main Sector - Booth C47 | | | | | | | | | | | | |
Jessica Backhaus
untitled #15 from the series Plein Soleil, 2023
Pigment Print
100 x 150 cm |
Mårten Lange
"Vomitorium", 2022
Pigment Print
26,5 x 40 cm |
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| | | | | INTERSECTIONS OF MEMORY AND SPACE
Robert Morat Galerie proposes an exploration into how memory, both personal and collective, intersects with the physical and imagined spaces we inhabit. This presentation brings together new works by Jessica Backhaus, Christian Patterson, Andrea Grützner, Mårten Lange, and Lia Darjes. Each artist, through their distinct lens, navigates the delicate threads that connect our memories to the spaces around us, inviting viewers into a multi-layered dialogue between what is seen, remembered, and felt.
Each of the presented artists is launching a new publication at Paris Photo.
Christian Patterson "Gong Co." (TBW Books and Images Vevey Editions) is the long-awaited follow-up to the instant-classic true-crime fiction "Redheaded Peckerwood" and murkily autobiographical "Bottom of the Lake". "Gong Co" is a long-form, monumental memento mori to the decline, death and decay of a small grocery store in the heart of the Mississippi Delta, made over 20 years, from 2003 to 2023.
Jessica Backhaus "Plein Soleil" (Kehrer Verlag) is the follow-up to the color and light studies of her series "Cut Outs". In this new series, colored paper is exposed to direct sunlight. It is deformed, bent, casting hard shadows - exploring the photographic possibilities of abstraction and crossing between documentary photography and poetic, intuitive color figuration.
Lia Darjes "Plates I - XXXI" (Chose Commune) is shortlisted for the Aperture Paris Photo Photobook Award. It is an experimental study of still life imagery. Lia Darjes has equipped cameras with motion detectors, capturing the late night visitors to left behind garden dinner tables - introducing a charming aspect of chance to the otherwise highly controlled and staged context of still life photographs.
Andrea Grützner "Erbgericht" (Hartmann Books) has been selected for the Elles x Paris Photo Parcours. It is the long-awaited publication to her award winning, long time project of architectural abstractions titled "Erbgericht". Erbgericht is a building, a guesthouse in the East German village of Polenz. Generations have memories attached to the many spaces of this building that Andrea Grützer is capturing. Using color flashes, strong shadows and shifted perspective lines, Andrea Grützner is creating an examination of emotional and visual perception, questioning memory and orientation.
Mårten Lange "The Palace" (self published) is exploring the role of architecture as a repository for history, memories and emotions. The work is based around the concept of a memory palace - a technique developed before the invention of the printing press to memorise large amounts of information. The photographs in the series were made at archaeological sites and historic buildings, dating from antiquity to the Middle Ages. However, they are not documentations of these places, but fragments of a stranger whole. Rather than capturing a specific chapter of history, they offer a meditation on the enduring presence of the past. | | | | | | |
| | | | | | | | | | | | | | | | | | | | | | Marguerite Bornhauser
Untitled (When Black is Burned), 2021
Impression d’art
120 x 80 cm
Edition of 2 | | | | | | Main Sector - Booth D20 | | | | | | | | | | | | |
Mónica de Miranda
Greenhouse series, 2024
Inkjet print on cotton paper
66 x 100 cm
Edition of 3 |
Roland Fischer
São Tomé, 2024
C-print/Diasec
160 x 121 cm
Edition of 5 |
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| | | | | Tiago Casanova
"A Turtle with a Broken Back” is a photographic essay that portrays the communities and territory of SãoTomé and Príncipe facing the challenges of resource scarcity and climate change, in a historical period thatmarks 50 years of its independence. Each photograph in this project is a testimony to the complex dynamicsof local domestic economies, where daily survival is linked to the historical consequences of the colonial past, and to the new challenges that the growth of tourism imposes. Tiago Casanova’s work has been shown in numerous solo and group exhibitions, including the ones that took place in many countries such as UK, Belgium,São Tomé e Príncipe, Greece, Austria, Colombia, Italy, Slovenia, Slovakia, Austria , Latvia, Poland, Brazil, Iceland, Turkey, Belgium, Switzerland, Germany, Georgia, and throughout Spain and Portugal. He won the prize BES Revelação, an exhibition that was held in Museu de Arte Contemporânea de Serralves, Porto, Portugal.
Roland Fischer
In this work the artist overlays abstract lines, using a unique language where intense shades amplify the emotional strength of the composition, offering contrast and depth to the dialogue between the abstract elements and the photograph. By intervening in the photograph, the artist takes on the role of a painter, composing shapes and manipulating textures, adding layers of meaning. It is these layers that give the work its depth, varying between smooth and rough surfaces, and accentuating the contrast between the real and the imagined. Roland Fischer lives and works between Munich and Beijing. He has shown his work in around 120 museums and other cultural institutions such as the Musée d'Art Moderne de la Ville de Paris, the Pinakothek der Moderne in Munich, CGAC in Santiago de Compostela, The Photographers' Gallery in London, La Maison in Paris (FNAC), MAAT in Lisbon, Musée d’Art Moderne de la Ville de Paris, or the MUSAC in Léon. His work is represented in major public and private collections.
Jessica Backhaus
With “The Nature of Things”, Jessica Backhaus draws our attention to the small things and subtle details, which, according to the artist, often have a deeper meaning and can reveal a lot about the whole picture. These nuances, though seemingly minor, can convey more than what is immediately obvious. By emphasizing the beauty in simple, everyday objects and employing a poetic interplay of light, color, and shadow, the artist creates a vivid yet quiet atmosphere of emotional contemplation. From her large number of shows we highlight the ones that took place in National Portrait Gallery, London, Goethe Institut, Paris, France, Arles, France, Centrum Kultury Zamek, Poznan, Poland, Martin-Gropius-Bau, Berlin, Kunsthalle Erfurt, Germany, Deutsche Börse Photography Foundation, Germany, Midland Art Centre, Birmingham and Scottish National Portrait Gallery. Jessica Backhaus’ works are in many prominent art collections including Art Collection Deutsche Börse, Germany, the Art Collection of the Taunus Sparkasse, Bad Homburg, ING Art Collection, Belgium and many others.
Marguerite Bornhauser
“When Black is Burned” is a series somewhere between reality and fiction, poetry and everyday life, that plays with the codes of abstraction and photographic figuration to plunge us into a chiaroscuro universe, brightly coloured and populated by shadows, ghosts and daydreams. This work is made up of dense light and materials where shadows create landscapes and motifs. The burnt black of the shadows resonates with the intensity of the colours and the sensuality of the bodies.” - Damarice Amao
Marguerite Bornhauser’s work has been shown in numerous art institutions, galleries and art festivals in many different countries and cities such as France, Cincinnati, London, Brussels, Portugal, Istanbul, Switzerland, Japan, Spain, Amsterdam and Bahreïn. Her first solo show was at Maison Européenne de la Photographie (MEP) in 2019. In 2020 she won the Photo London x Nikon Emerging Photographer of the Year Award. In 2021, the Grand Palais gave her carte blanche to document the renovation project over the four years it would take to complete, resulting in a publication and an exhibition.
Mónica de Miranda
Greenhouse questions how soil, land and borders connect with the politics of the body today, and particularly of the migrant body, the diasporic being in constant movement and transition. The soil is seen as a repository of memories, from geological transformations to historical violence and resistance. Greenhouse project is currently on display at the Portugal Pavilion at the Venice Biennale until November 24.
Mónica de Miranda is a Portuguese/Angolan visual artist, filmmaker and researcher and work has been presented at major international events such as Biennales de Lubumbashi, Berlin, Dakar, Casablanca, Bamako, Houston, also at Festival de Fotografia Europea in Reggio Emilia. As artist and co-curator of the project Greenhouse, Monica represents the Portugal Pavilion at La Biennale di Venezia 2024. Among her many exhibitions we hightlight the ones that took place at CAIXA Cultural, Rio de Janeiro, Bildmuseet, Umeå, Fondation Kadist, Paris, Gulbenkian Foundation Lisbon, MUCEM, Marseille, AfricaMuseum, Tervuren, MAAT, Lisbon, MUAC, Mexico, Barbican, London Autograph, London, Frac Pays de la Loire, Nantes, Uppsala Museum, Sweden Suède, MNAC, Lisbon, among others. Mónica’s work features in collections worldwide.
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| | | | | | | | | | | | | | | | | | | | | | Irving Penn, Mascara Wars, New York, 2001
Courtesy The Michael Hoppen Gallery, London | | | | | | Main Sector - Booth B41 | | | | | | | | | | | | |
Dora Maar
A l’Origine du Simulateur, Madrid, 1932
Courtesy The Michael Hoppen Gallery, London |
László Moholy-Nagy
Jealousy ( Eifersucht ),1924-27
Courtesy The Michael Hoppen Gallery, London |
| | | | | | The Michael Hoppen Gallery returns to ParisPhoto for its 26th year; the gallery is one of only two galleries to have attended every year since the fair’s inception.
We will exhibit rare vintage photographs by artists including Dora Maar, László Moholy-Nagy, Man Ray, Horacio Coppola, Kansuke Yamamoto and Kati Horna to honour the 100th anniversary of the Surrealist Manifesto, alongside further prints by Manuel Álvarez Bravo and Claude Cahun.
Highlights include Dora Maar's A l’Origine du Simulateur, Madrid (1932), which served as the source material for her significant collage work, Le Simulateur (1935). We will show a diverse group of photographs which depict the community of artists and intellectuals who contributed to the foundation of Surrealism in Paris during the 1920s. These include unique photomatons of significant figures such as Paul Éluard and Louis Aragon from the collection of André Breton. Also included is a rare early portrait by Man Ray of his friends Henri Pierre Roché (the author of Jules et Jim) and Helen Hessel. This will be shown alongside photographs from Man Ray’s seminal series Mathematical Forms, created at the Institut Henri Poincaré in Paris as a collaborative project with Marcel Duchamp.
Representing our longstanding commitment to Japanese photography, we will exhibit a group of important vintage works by Kansuke Yamamoto, the celebrated pre-war Japanese photographer and poet. Born in Nagoya, Yamamoto was exposed to European Surrealism during the 1930s, before co-founding the Nagoya Photo Avant-Garde in 1939. At this edition of Paris Photo the gallery will launch our latest publication dedicated to Yamamoto’s life and works. Strictly limited to 125 copies this beautifully crafted book will be available for purchase at our stand (B41) at a special price of €65 during the fair (first 50 copies).
We will spotlight works by other Japanese artists including Ei-Q, Osamu Shiihara, Tōmatsu Shōmei and Shigeru Ōnishi. The gallery will also exhibit several important works that reflect the enduring influence of the Surrealist gaze in a more contemporary context. These include rare photographs by artists including Guy Bourdin, Irving Penn and Tim Walker, who have each embraced a Surreal emphasis on provocative contrast and the uncanny in their individual practices. To compliment this selection, we will also display some unusual 19th century photography of the kind that Surrealist artists sought out as source material for their collages, fuelling their fascination with early photography.
Finally, we will show a series of Claude Cahun’s early collage work, first published as gravures in her unconventional masterpiece of memoir, Aveux non Avenus (1930). These platinum prints were created from original glass-plate negatives found at Cahun’s home in Jersey after her death, and printed by Studio 31. They will be available exclusively to institutions as reference materials, to further public understanding of Cahun’s radical legacy. All proceeds will be used to support an emerging artist exploring the possibilities of Surrealism today in photography.
During the Fair we will release an illustrated monograph dedicated to the Japanese Surrealist artist Kansuke Yamamoto (1914-1987). The second book in our series exploring icons of Japanese photography, this publication will be launched in conjunction with our display of a group of rare vintage prints from the artist’s estate. It is published in a strictly limited edition of 125 copies with design by Pony Studio and a text by Lucy Fleming-Brown, and will be on sale at our stand exclusively during Paris Photo. Alternatively, you may reserve your copy here | | | | |
| | | | | | | | | | | | | | | | | | | | | | Juan Pablo Echeverri
MUTILady, 2003
9 color photographs mounted on artist frames, hand-painted
Each 60 x 60 x 12 cm, installed ca. 200 x 200 x 12 cm
Edition 3 of 5+1 a.p. | | | | | | Main Sector - Booth D34 | | | | | | | | | | | | |
Erica Baum
Forever Foe (Enclosing) 2009 / Forever Foe (how long?) 2009
Archival pigment prints, oak-frame, museum-glass
22.9 × 22.9 cm / 40.2 x 40.2 cm
Edition of 6 + 2 a.p. |
Erica Baum
Forever Foe (how long?) 2009
Archival pigment prints, oak-frame, museum-glass
22.9 × 22.9 cm / 40.2 x 40.2 cm
Edition of 6 + 2 a.p. |
| | | | | | "The Language(s) of the Photographic" is a curated dialogue and a cross-generational selection from the gallery program – featuring works by Erica Baum, Viktoria Binschtok, Juan Pablo Echeverri and Jan Groover.
On view are key pieces with institutional pedigree and work freshly out of the studio, which will be premiered at Paris Photo. In conceptual and painterly progressions that oscillate between abstraction and figuration, our presentation unfolds a variety of ways of engaging with the medium, tracing different approaches to manifold languages of the photographic – (analogue) text and (digital) texture; still-life vs. performative practice; the 'studio' vs. the layered depths of the 'www' and the various ways of 'smart communication' of our times...
In Erica Baum‘s (*1961, New York) works from her Dog Ear-cycle, photography and printed matter together become visual poetry between reduced abstraction and concrete immediacy. At Paris Photo we will present a larger grid of this pivotal series – bringing together works from 2009-2022.
digital semiotics is the telling title of a visual endeavour by Viktoria Binschtok (*1972, Moscow). In these completely 'made-up'-images she brings together a kind of photographic alphabet of digital communication in our networked world via her iconographic pictorial language. A juxtaposition of precise image-making strategies and performative aspects layered around coded communication, signs and signals, text and poetry; sub-culture and mainstream imagery; with analytical acuity, formal rigidity and free play between the digital and the analogue.
The nine-part performative block MUTILady by the Colombian artist Juan Pablo Echeverri (1978-2022) from 2003 shows how the perception of personality can be influenced by external changes and manifested through photography. It is a major early work in Echeverri‘s ouevre, which is currently enjoying a revived re-contextualization. Shifting Identities, the perfomance of the self, vulnerability and the irrefutable dignity of being 'human'.
Another highlight is a rare set of vintage photographs by Jan Groover (1943-2012) from the late 1980s and early 1990s. These fascinating chromogenic color prints show still lifes that take the historically contested rivalries between the pictorial processes of photography and painting ad absurdum and formulate their own position within art history. Being Jan Groover's largest prints, they are often referred to as arguably the most visionary works in her ouevre per se – as such aesthetic and conceptual blueprints of the booth. | | |
| | | | | | | | | | | | | | | | | | | | | | Andreas Mühe
Bunkerbeschussplatte, 2021
C-Prints, 9 pieces, 40 x 30 cm each
Edition of 3 + 2 AP | | | | | | Main Sector - Booth B53 | | | | | | | | | | | | |
Anaïs Tondeur
le trèfle, l’abeille, 2023
Pigment Print auf Hahnemühle Fine Art Papier
70 x 50 cm
Edition of 5 |
Christiane Feser
Makierungen 03, 2024
Photo-Object,
Archival Inkjet Pigment Print, map pins and thread
80 x 60 x 1 cm
Unique piece |
| | | | | | Annegret Soltau (*1946) is a pioneer in the field of feminist art and Body Art, however, her works still generate controversy today. Again and again her artworks are considered offensive, are censored or pulled from exhibitions. In the digital age where the internet offers an anyonymous platform to users, such concrete and physical images seem disconcerting. Today, her work boasts an unbroken authenticity. For over 40 years, the artist has occupied herself with her physical and mental identity. In doing so, she utilizes her environment, her family and children over and over in her work.
During her two pregnancies, German artist and performer Annegret Soltau documented how her body changed with video and photography. By scratching, cutting, collaging, and stitching, the artist altered and reconfigured the negatives. The work is an expression of a fragmented identity and also juxtaposes the roles of woman, artist, and mother. Auf dem Gebärtisch [On the birthing table] is a photographic triptych that portrays the naked body of the pregnant artist. Sitting on a delivery table, the figure gradually emerges from a white sheet that is draped around it like a shroud. This photomontage raises questions about medically assisted reproduction, and the physical body is both the medium and subject of this intervention.
Christiane Feser (*1977) is known for her ongoing series of photo-objects: three-dimensional, photographic sculptures that behave like representational and optical experiments; simultaneously exploring the perceptions of a camera and a person. By transforming the flat print back into a dimensional object with its own sense of time and space, she shatters the basic tenet that a photograph reproduces a scene existing elsewhere.
Anchored in ecology thought Anaïs Tondeur searches for a new form of political art. Crossing natural sciences and anthropology, myth making and new media processes, she creates speculative narratives and engages on investigations through which she experiments other conditions of being to the world. Working with photographies, installations, or videos. she seeks a new aesthetic, in the sense of a renewal of our modes of perception, and explores beyond the separation between nature and culture, other modes of relationships with humans and other than humans.
At the foreground of her practice are elusive elements of the climate (but also of us), namely radioactive traces, soot particles, waning plants, a prehistoric whiff, human tears—all pointing to the intricate inextricability between our bodies and the world. And all encountered in sites of late industrialism—decaying infrastructures such as former photographic factory sites, nuclear exclusion zones, polluted skies, and planetary spaces where ruins are not inert, but alive with residues unexpectedly full of potential. It is through such places that Tondeur’s work breeds novel engagements, pointing to alternative forms of (toxic) relationalities and photographic materialities.
Andreas Mühe (*1979) is one of the best-known artists in Germany. He became internationally known through his exploration of German history and identity. In his photographs he deals with sociological, historical and political themes, which he stages in special environments with elaborate lighting contrasts.
As monumental forms made of concrete, bunkers crisscross Europe's landscape. The dark past is firmly inscribed in the bunkers. But their archaic form, far removed from ideological tastes and planned purely for utility and efficiency, removes them from any temporal and spatial classification. What is past here can be future somewhere else, and vice versa. In all its monumentality, weight and hardness, the bunker paradoxically represents the flow of history and meaning. The only constant is the gap between the function of attack and protection. While on the French coast the bunkers are now a popular meeting place for young people and a playground for children, elsewhere in the world new bunkers are being built for war. | | |
| | | | | | | | | | | | | | | | | | | | | | Timm Timm Rautert
Henri Cartier-Bresson, Salzburg 1986
Gelatin silver print on baryta
50,8 x 61 cm | | | | | | Main Sector - Booth A48 | | | | | | | | | | | | |
Gabriele and Helmut Nothhelfer
Wedding für Kinder – Kinderfest im Schillerpark, Berlin 1984
Vintage gelatin silver print on baryta
36 x 28 cm |
DETLEF ORLOPP
Detlef Orlopp
Meret O., 3.5.1978
Vintage gelatin silver print on baryta
60,6 x 50,5 cm |
| | | | | | THE ARTIST'S PORTRAIT
In its 13th Paris Photo presentation, Galerie Parrotta is devoting itself exclusively to the genre of the portrait. This is considered to be the earliest and, to this day, the most prominent pictorial task in art. From the Vera Icon, the 'non-man-made' portrait, to the digital world of our 'facial society' (Thomas Macho), the face is the 'vanishing point of all images' (Hans Belting). With five exemplary photographic positions, Galerie Parrotta presents five very different approaches to an ultimately impregnable field: the portrait.
Since 1973 - the year of their wedding - Gabriele and Helmut Nothhelfer have created a joint photographic oeuvre of unobtrusive formal intent and quiet perfection. As flaneurs of German leisure life, they have created a multi-layered social portrait that makes aesthetic contradictions disappear: the sharpness of social photography, playful lightness and human discretion.
Detlef Orlopp describes his photographic images as light drawings, which are created from reflections and refractions on surfaces. In addition to his landscape photography, Detlef Orlopp has also been taking portraits of people since the early 1960s. Just as nature develops from concrete topographical places into signs of the landscape, his portraits also seem to reflect this simultaneously distanced and yet close-up gaze, allowing the concrete people to become signs of humanity.
A recurring focus for Timm Rautert is the artist portrait; he made his first one of the Czech photographer Josef Sudek on the occasion of an exhibition by Otto Steinert and his students. This was followed by portraits of Otl Aicher, Pina Bausch, André Heller, Jasper Morrison and Eric Rohmer. Rautert focusses not only on the person, but also on their surroundings and actions; the circle of influence of the person portrayed is captured as part of their identity.
In 2003, the artist Clare Strand invited six girls to have their auras photographed in a local New-Age holistic remedy shop. Their images were output as colour Polaroids for £5 each. By working with young girls, Strand is referencing photography’s inception, its early associations with otherworldliness and its connection to young women and girls. This is exemplified through protagonists like The Fox Sisters, Elsie Wright, Frances Griffths and Stanislava Tomczyk, among others. These ethereal, haloed images, which resemble Orthodox icons, were then re-photographed and meticulously produced as large formal black-and-white images and titled "Photisms" - referring to false perceptions or hallucinations of light.
The first absolutely black portraits of Bernar Venet's brother Francis and Martine, who are indistinguishable, were created in 1961. Photographed in complete darkness, only the title allows the models to be identified. Later, in 1963, he produced some very dark portraits showing the reflection of faces in black mirrors. In 1989, Venet took up the idea again for a series of portraits of friends and family members. | | | | |
| | | | | | | | | | | | | | | | | | | | | | Keiichiro Goto
Memorandum | 1947 | 25.1x30.1
© Estate of Keiichiro Goto, courtesy MEM, Tokyo | | | | | | Main Sector | | | | | | | | | | | | |
Minayoshi Takada
Title unknown | 1950 | 55.3x45.5cm
© Estate of Minayoshi Takada, courtesy MEM, Tokyo |
Keiichiro Goto
Finale | 1957 | 20.1x17.2cm
© Estate of Keiichiro Goto, courtesy MEM, Tokyo |
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| | | | | | | | | | | | | | | | | | | | | | | | | | Voices sector Paris Photo is launching the Voices sector this year, inviting three curators to develop a proposal around contemporary themes to (re)emerge an artistic scene or medium practice. Voices can be discovered in the Southeast Gallery on the ground floor of the Grand Palais.
2024 Curators: Elena Navarro, Azu Nwagbogu, Sonia Voss. | | |
| | | | | | | | | | | | | | | Claudia Andujar, A Sônia, 1971 - Courtesy Vermelho | | | | | | | | | | | | | | | | Imperfect Paradises by Elena Navarro
The works gathered in Voices belong to artists from different generations who have represented the vibrant and complex scene of contemporary imagery in Latin America..
Whether through experimental series, reflections on the construction of identity and the body, explorations of political or sexual dissent, or investigations into the nature of photography, this diverse range of practices both exposes and challenges the social, political, and economic conditions of their countries of origin. With their atemporal nature, these works reconsider té concept of modernity as imposed by institutions.
“I will show how vibrant is the art scene in Latin América, from Mexico to Argenti- na, from historical photography to contemporary artists that are pushing the bounda- ries of the medium.”
Elena Navarro, Founder of FotoMexico, Independent Curator | | | | |
| | | | | | | | | | | | | | | Lebohang Kganye, Prisoner doing the general work, 2022 – Courtesy La Patinoire Royale Bach | | | | | | | | | | | | | | | | Liberated Bodies by Azu Nwagbogu
The concept of «Liberated Bodies” for Paris Photo Focus invites us to challenge and extricate the objectivity of archives— both those we inherit and those we create. This challenge is essential to discover new, subjective meanings that transcend traditional historical functional understanding and utility of photography as a medium of artistic inquiry.
By emancipating photography from its conventional roles, from its function in passed on histories, hegemony, power structures, surveillance, patriarchy and its role in propaganda in mass media, we can explore its potential to transcend and transmigrate into the realm of an understanding of the medium and its artistic merits—as a means of understanding deeper emotional truths. Truths that involve more profound evidence, one of having a life, a history, narratives, consciousness towards the possibility of a better understanding of a more humane world. Through recursive, revisiting and reinter- preting of archives, we open new pathways for creative expression and intellectual inquiry. This in turn fosters a more nuanced and comprehensive understanding of the definitive visual language that shapes our world.
“Photography is light and light banishes darkness. It illuminates and informs”
Azu Nwagbogu - Founder and Director of LagosPhoto Festival, Independent Curator | | | | |
| | | | | | | | | | | | | | | Markéta Othová, Untitled, 2017 – Courtesy Fotograf Contemporary | | | | | | | | | | | | | | | | 4 walls by Sonia Voss
Faced with the coercive power to which many Eastern and Northern European countries were subjected between the end of World War II and the fall of the USSR, artists, particularly in the 1970s and 1980s, developed diverse and powerful strategies. Armed with the sovereignty of their bodies, imagination, and often humor, they confronted res- trictions on freedom, censorship, and the normativity of images. Staging and composi- tions, interventions on the image, and the search for transcendence of the everyday were all ways to transfigure reality, mock it, or re-enchant it. The presented galleries propose to continue exploring a now historical period, but one whose many protago- nists remain to be discovered by the public. The connection of the exhibited works, imbued with a common spirit of resistance, allows for cross-readings and an assessment of their current relevance.
“In the coercive system of Soviet occupation, [...] the room was at times a laboratory, at times a personal theater, and at times an observatory.”
Sonia Voss - Independent Curator | | | | |
| | | | | | | | | | | | | | | | | | Emergence sector The Emergence sector offers an exploration of the contemporary art scene at its most creative. The 23 solo shows organised by new galleries highlight a diverse range of techniques and themes, taking experimentation with the medium in new directions. From engagement with contemporary issues and experiments with perception to abstraction, the exhibition reveals the latest developments from a new generation of artists.
The Emergence sector is located on the first-floor walkways. | | |
| | | | | | | | | | | | | | | Camille Vivier, Candle (Key), 2021. Courtesy Madé & Camille Vivier | | | | | | | | | | | | | | | | Curated by Anna Planas
The exhibition stands out through the diversity of techniques and themes presented, pushing the experimentation with the medium towards new directions.
The power of documentary photography, positioned between resistance and resilience, unfolds across several projects addressing themes such as identity, exile, gender, equality, ecology, nature, and memory. Each adopts the technique that best reveals it, from analog photography to collage, embroidery, and archival methods.
A series of projects blur our sense of perception, playing with the boundaries of abstraction. Through various acts of recomposition, the artists establish a unique dialogue with their photographed subjects, invoking science, collage, and particular printing techniques.
Further exploring the relationship between the photographer and their subject, to the point where they merge into a single entity, several works examine the body—female and constructed, acrobatic and sculptural, fluid and visceral—showing the ongoing dynamic of a new generation of artists. | | | | |
| | | | | | | | | | | | | | Karla Hiraldo Voleau
Virgen De Guadalupe, 2023
63.6 x 43.6 cm | | | | | | Solo Show Emergence Sector - Booth M01 | | | | | | | | | | | | |
Karla Hiraldo Voleau
Julita, 2023
63.6 x 43.6 cm |
Karla Hiraldo Voleau
Elizarda, 2023
63.6 x 43.6 cm |
| | | | | | In the Dominican Republic, abortion is illegal under all circumstances, with sentences of up to 20 years of imprisonment. Despite the international debate, the "tres causales" (incest/rape, danger to the mother's life, non-viable fetus) are still not recognized. Abortion remains clandestine, influenced by misogynistic Christianity and a deeply rooted patriarchy. Many conversations with Dominican activists have revealed that abortion is a common practice despite the ban.
Karla Hiraldo Voleau's project "Doble Moral" aims to give voice to Dominican women through their stories of illegal abortions and encouraging, supportive photographic portraits. The project is the laureate of the Picto Talent Prize 2024, and recipient of the CNAP grant 'Soutien à la photographie documentaire contemporaine' 2023 + Pro Helvetia research trip grant 2023 + the City of Lausanne 'Soutien à la création' 2023 + Playsuisse x Basecamp Locarno grant 2023. It consists of 30 testimonies and as many portraits and selfportraits - partly anonymous to protect the identity of the participants, nine of which will be presented at the fair. | | | | |
| | | | | | | | | | | | | | | | | | Digital sector For the second year, Paris Photo 2024 proposes a new sector dedicated to photography in the digital age. Again curated by Nina Roehrs – specialist for art in the digital age – the Digital Sector features a selection of fifteen contemporary art galleries and curated platforms at the forefront of new technologies, showcasing artists who integrate digital realities into their work. Thematic group exhibitions and solo artist presentations will offer an in-depth presentation of photography at the intersection with technology and digitalisation. Paris Photo, the first European fair to dedicate a programme specifically to digital art, provides a unique location for the sector, in the nave of the Grand Palais. | | |
| | | | | | | | | | | | | | | Alina Frieske, News Feed, 2024 - Courtesy Fabienne Levy | | | | | | | | | | | | | | | | The Digital Sector at this year’s Paris Photo continues to explore the evolving intersection of photography with digital culture. Following last year's success, this dedicated section highlights the fair’s commitment to examining how technological advancements are reshaping the art world. Photography’s link to technological progress is stronger than ever in today's digital-dominated visual culture. The Digital Sector offers a platform to discuss these changes, bridging traditional and contemporary practices and recognising the profound impact of digital practices on the future of art and photography.
This year’s Digital Sector will feature 5 thematic duo and group exhibitions and 10 solo artist presentations, brought together by fifteen international exhibitors. These multifaceted presentations will explore photography at the intersection of technology and digitalisation, offering a wide range of artistic perspectives – from artificial intelligence, moving image, virtual reality to networked-image based collages and digital painting.
Art in the digital age is anything but uniform. With the increasing digitalisation of our world, the boundaries between the physical and digital realms are becoming ever more blurred. This shift is evident in the works and creative processes of contemporary artists. What begins in the digital domain can manifest physically, and vice versa, often resulting in hybrid forms that seamlessly transition between the two.
The curatorial approach emphasizes the artists' engagement with technology, highlighting how digital tools and processes are not only expanding creative possibilities but also reshaping established art genres such as painting, sculpture, and photography. A key theme is the influence of data and algorithms and artificial intelligence on our contemporary visual culture, demonstrating how these forces shape not only the creation but also the dissemination and interpretation of visual art in the digital age. Whereby, a common point of departure for the artistic negotiations presented is the image and the question of its relationship to reality in the field of tension between analogue and digital worlds.
Overall, the Digital Sector at Paris Photo emphasises the importance of thoughtful engagement with digital technologies and their cultural relevance in contemporary art. It provides a vital space for artists, curators, collectors, and viewers to explore the evolving art landscape in the digital age, positioning Paris Photo as a leader in the dialogue between tradition and innovation. | | | | |
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