| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 23 - 30 September 2020 | |
|
| |
|
| |
| |
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Badende (Coney Island)
Künstler unbekannt
ca. 1950-1960
handcolorierter Silbergelatineabzug
17.7 x 12.6 cm
© als Sammlung by Jacques Herzog und Pierre de Meuron Kabinett, Basel | | | | | | | Ruth and Peter Herzog Collection | | | | | | | | ... until 4 October 2020 | | | | | | | | | | | | | With the exhibition "The Incredible World of Photography", the Kunstmuseum Basel celebrates a twofold premiere: the first comprehensive portrait of Ruth and Peter Herzog’s photography collection in Switzerland is also the first presentation at the Kunstmuseum dedicated to the history of photography.
A serendipitous flea market find in the 1970s led Ruth and Peter Herzog to begin building what has since grown into a singular photography collection encompassing over 500,000 pictures. The holdings range from the medium’s early days to the 1970s and reflect all major developments in analog photography. For the nineteenth century, in particular, the two collectors made important discoveries that have deepened our understanding of the eventful history of photography. Ruth and Peter Herzog now rank among the world’s leading photography collectors.
What the Herzogs have created is nothing less than a photographic encyclopedia of life in the industrial age. The myriad anonymous masterworks throw light on an overwhelming abundance of motifs and themes from around the world and illustrate how photography tells stories and relates history. The collection as a whole maps a variety of approaches to exploring the world with and in photography. Immersion in its riches demonstrates above all that photography is far from a unified phenomenon: each individual photograph unfolds a dense web of social, institutional, and historical interconnections. | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Hein Gravenhorst: Lichtreflextranslation, 1966 © Hein Gravenhorst |
| | | | | | | | | | | | Thu 24 Sep 19:00
25 Sep – 30 Oct 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Max Pinckers: from the series "Margins of Excess" (2018) | | | | | | | | 25 September – 19 December 2020 | | | | Opening reception: Friday 25 September 12:00 | | | | | | | | | | | | | Max Pinckers’ "Margins of Excess" examines the difficult differentiation between reality and fiction in the modern media age. The notion of how personal imagination conflicts with generally accepted beliefs is expressed through the narratives of six individuals.
Every one of them momentarily received nationwide attention in the US press because of their attempts to realize a dream or passion but were presented as frauds or deceivers by the media’s apparent incapacity to deal with idiosyncratic versions of reality.
The project asks to what extent terms such as "truth", "half-truth", “lie", “fiction" and "entertainment" are connected in an era of "post-truth". The photographs are accompanied by press articles, archive material, and personal interviews.
Max Pinckers (* 1988) lives and works in Brussels, Belgium. His works are exhibited internationally and have won multiple awards, e.g. the Edward Steichen Award (2015) and the Leica Oscar Barnack Award (2018).
1-hour director’s cut of the television documentary
“Hopen op de goden: Max Pinckers”
on the making of Margins of Excess, 2018
www.maxpinckers.be/ | | |
| |
|
|
| |
| |
|
| | | | | | | Lotte Jacobi: Schauspielerin Lotte Lenya, Berlin, 1928
© The University of Hampshire, 2019 |
| | | | | | | | | | | | 26 Sep 2020 – 10 Jan 2021 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
| |
| | | © Kurt Wendlandt, "Material-Erkundigungen", Lichtgrafik, 1958 | | | | | | | 26 September – 10 November 2020 | | | | The exhibition is part of the EMOP Berlin—European Month of Photography 2020 | | | | | | | | | | | | | With about 40 works, the exhibition is dedicated to the artist Kurt Wendlandt as a light graphic artist. During his work as an illustrator, Wendlandt was confronted in the 1950s with new production-technical printing processes based on film material. Fascinated by this for him new translucent and large-format material, he expanded his experience as a photographer and turned to the techniques of image processing and generating new graphics in the darkroom. With different materials such as film, glass, glue, etc. he composed various small drawings structured in their transparency, which he could insert into his enlarger and project onto photosensitive material for enlargement. Depending on the transparency, the light intensity and the duration of the exposure during the enlarging process, light graphics of different structures were created.
Kurt Wendlandt (1917 Wreschen – 1998 Berlin) was a German painter, graphic artist, author and book illustrator. His work includes paintings, drawings, sculptures, photograms and light graphics, which he developed from 1958. He was the first to discover the possibility of combining film collages with Plexiglas, which makes colored spatial ideas possible. During this time he also met the photographer Heinz Hajek-Halke, from which a friendship developed. Hajek-Halke and Wendlandt belonged to the avant-garde of the Berlin light graphic scene of the 1960s.
"His rich artistic imagination happily coupled with his joy in experimentation, which allowed him to find his own unmistakable signature in this broad field".(Heinz Hajek Halke) | | |
| |
|
|
| |
| |
|
| | | | | | | Sabine Wild
L1002876 Chengdu, 2019 / L1002876 Havanna, 2014
59,4 x 42 cm, Pigmentdruck auf Hahnemühle-Photorag, Edition 5 + 1 Artist Print
© VG Bildkunst 2020 |
| | | | | | | | | | | | Sun 27 Sep 15:00
28 Sep – 24 Oct 2020 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | | | Lothar Wolleh: Wawel-Kathedrale, 1978, Inkjet, 100 x 100 cm © Lothar Wolleh Estate |
| | | | | | | | Atmosphären der Phantasie | | | 29 Sep – 12 Dec 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | 2/21/2010, 7:00 pm – 8:00 pm, S 38°49.042' E 174°34.976' © 1h / HANS-CHRISTIAN SCHINK | | | | | | | | ... until 26 March 2021 | | | | | | | | | | | | | "1h" – One hour is the duration of Hans-Christian Schink’s gaze towards the sun, and the name of its pictorial representation through photography. He uses overexposures, called solarisations, which are only possible through analogue methods.
The sun is rarely considered as a physical element. Its constant presence as a star is largely ignored by our consciousness. Human optical perception registers degrees of brightness and uses contrasts for orientation.
Hans-Christian Schink unites all of this in his photographic reflections. His representations show a contradictory situation: the depicted landscape appears static while the sun conveys movement. By distorting the physical phenomena, the images take on surreal traits, embedded in a setting devoid of human life.
The work has further paradoxes to offer: despite being a contemporary document, it takes the viewer back to the analogue principles of photography. The reduction to a pure contrast of light vs. dark recalls the long-ago beginnings of photography. But there are also parallels with the tradition of film. The sun has been separated from its original form and becomes almost unidentifiable as a rod-like, flying object. Reminiscent of a fluorescent tube, it hovers menacingly above the landscape, clearly evoking the science fiction genre.
Hans-Christian Schink was born in Erfurt, Germany, in 1961. He studied photography at the Hochschule für Grafik und Buchkunst (HGB) in Leipzig. His photographs are mostly landscape studies exploring the friction between nature and civilization. | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
| |
| | | Hors-Champs © Christian Aschman | | | | | | | | ... until 29 November 2020 | | | | | | | | | | | | | ln 2018, photographer Christian Aschman was commissioned by the Centre national de l'audiovisuel (CNA) to draw up a visual inventory, both intra and extra muros, of the "Agrocenter" industrial zone. Located in Mersch, it had been serving the agrifood industry since 1959. With a view to safeguarding a heritage site that had played a central role in the Luxembourg agricultural sector for decades, both the CNA and the photographer agreed that it was vital to establish a photographic record of it.
Spread over an area of thirty hectares, the "Agrocenter" is made up of twenty or so buildings destined for a variety of uses: production, transformation, sales, storage, quaI ity control and analysis, energy supply, maintenance and administration. Today, the site has been zoned for redevelopment to make way for a new residential and commercial district.
The "Hors-Champs" exhibition is designed as a photographic stroll through a site which at the time of shooting was already partially abandoned and soon destined to vanish. To capture the spirit of the place, Christian Aschman roams through the tree-lined alleys and rows of buildings which demarcate the various sectors of the site which become his primary spatial references. He allows his gaze to wander freely so as to hit upon the point of view that best serves documentary completeness. Yet his choice of viewing angles and perspectives troubles us. Like him, we strive to visually embrace this expanse, to find our way through this setting of concrete and overgrown vegetation. But in vain! The site is simply too vast! To come to grips with this phenomenon, Christian Aschman relies on plays of light and shade, he creates suggestive images while systematically resorting to an … | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Jerry Berndt: Detroit, MI, 1972
© The Jerry Berndt Estate 2020 | | | | | | | | 25 September 2020 – 3 January 2021 | | | | Opening: Thursday, 24 September, 6-9 p.m. | | | | | | | | | | | | | The American photographer Jerry Berndt (1943–2013) documented the period between the 1960s and 1980s in America like no other photographer. By combining photojournalism with documentary and street photography, he succeeded in presenting a unique view of American society over a span of thirty years. Precisely because Berndt was part of the American protest movement, he not only persuasively visualizes central issues of recent American history such as the civil rights movement, the rights of African-Americans, patriotism, homelessness, as well as the vehement protests against the Vietnam War, racism, and nuclear power. Against a dull, dreary American cityscape, he presents the social and cultural living conditions of people who are overshadowed by a deep melancholy.
Until the 1980s, Berndt consistently followed political conflict and systematically portrayed the spectrum of American people and urban landscapes, from the middle and working classes to the residents of America’s often ignored ghettos. With series on the anti-Vietnam movement in the late 1960s, which he personally participated in, and on homelessness in America in the early 1980s, he dealt with issues that examine a country’s unresolved conflicts. Unpretentious and precise, he photographed scenes of everyday life in America that subtly reflect conflicts: shopping centers, diners, parking lots, and cars as well as beauty pageants and parades.
His works from this period show how Americans presented themselves culturally and socially, and at the same time reveal the foundation of America’s changing urban infrastructure. He visualizes an important, uncomfortable transition phase in American history and highlights the literal and ironically broken beauty of the United S… | | |
| |
|
|
| |
| |
| | Matt Black: Flint, Michigan, USA, 2015
© Matt Black / Magnum Photos | | | | | | | | 25 September 2020 – 3 January 2021 | | | | Opening: Thursday, 24 September, 6-9 p.m. | | | | | | | | | | | | | The American Magnum photographer Matt Black (*1970) has continually documented the connection between migration, poverty, agriculture, and the environment in his native California and in southern Mexico. For his project "AMERICAN GEOGRAPHY", he traveled over 100,000 miles through 46 states, including California, Oregon, Louisiana, Tennessee, and New York. During his road trip, Black visited communities with a poverty rate of over 20 percent, forming geographic areas that can be connected on a map. Black thus succeeded in portraying poverty as a collective element in the United States which links people whose lives take place beyond the American dream. "The most important key to understanding this work and why I’m doing it is where I come from," Black says about the project. "My region, and many across the country, are not represented by the great American myth, the basic idea of America."
78 photographs and objects from these trips form the focus of the exhibition "AMERICAN GEOGRAPHY", curated by Ingo Taubhorn along with the photographer, which will be presented as a worldwide premiere. "With the exhibition 'AMERICAN GEOGRAPHY' by Matt Black in the House of Photography, following Lauren Greenfield and Paolo Pellegrin, we are continuing the series of committed documentary photographers who focus on sociopolitical and social conditions of life. With his large-format, square, black-and-white pictures and overwhelming landscape panoramas, Black shows us a country far from unlimited possibilities and an American society that is largely characterized by poverty, lack of opportunity, and political resignation," says Ingo Taubhorn, curator of the House of Photography. | | |
| |
|
|
| |
| |
| | | © Ken Schles | | | #PROTESTSGOVIRAL- Images of Activism on Instagram | | | | 25 September 2020 – 3 January 2021 | | | | Opening: Thursday, 24 September, 6-9 p.m. | | | | | | | | | | | | | Since their emergence on Twitter in 2007 and their use on Instagram starting in 2010, hashtags have become the universal tagging tool in image-based social media. For the first time, they made it easy to filter and thus find posts. Since they can be used by anyone regardless of hierarchy, hashtags enable a broad audience to make public statements and to have direct access to information. Apart from restrictions related to income, gender, and ethnicities, they offer a way for interests to gain visibility and feedback. The desire to form collectives and easily launch campaigns has recently turned hashtags into effective slogans and has catapulted them from the purely digital realm onto the streets.
The exhibition format #ProtestsGoViral developed by the House of Photography ties in with the Jerry Berndt and Matt Black exhibitions by addressing social problems and encourages visitors to reflect on the importance of hashtags in current photography focused on activism. It recognizes the posted images as documents of their time and sees the use of hashtags as a phenomenon that is already part of the current history of photography. This media revolution is democratizing documentary photography and making it one of the most important means of communication.
#ProtestsGoViral is based on a selection of viral hashtags on Instagram, the most popular image-based online platform in the United States. The posts shown are updated by the minute, in keeping with the fast pace of social media posts. This compilation thus offers direct insight into various pressing areas of political activism in the United States. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Peter Weller: Marienhütte close to Eiserfeld/Sieg, 1909–1914 (detail), stock of Die Photographische Sammlung/SK Stiftung Kultur, Cologne; permanent loan of Siegerländer Heimat- und Geschichtsverein, Siegen; modern print 2002 in cooperation with Bernd & Hilla Becher | | | | | | | photographic industrial landscapes, architectures and portraits | | | | September 28 – November 8, 2020 (Room 1) | | | | | | | | | | | | | After the exhibition "Analogies" at the Kunstarchiv Kaiserswerth in Düsseldorf was successfully shown until September 20, 2020, but could not reach all interested parties due to the situation around Covid 19, we decided to present the series of works in Cologne as well. Due to the different layout of the rooms, the presentation will be expanded for a few more exhibits.
Noteworthy pictures and sources of inspiration for Bernd and Hilla Becher are in the focus of the presentation and at the same time enter into a dialogue with selected works by the photographer couple. The photographs by Peter Weller and August Sander, whose works selected for this exhibition date back to the first three decades of the 20th century, fascinated the Bechers since the beginning of their work in the early 1960s. They had discovered Weller's negative archive, owned by the Siegerländer Heimat- und Geschichtsverein in Bernd Becher's hometown of Siegen, and Sander's first publication "Antlitz der Zeit" (1929) had long been a photographic 'must-read' for them. While Peter Weller, who voluntarily worked mainly for the documentation of mines and blast furnaces plants in the Siegerland and Westerwald, is comparatively less well known, August Sander is one of the big names in photography history, a personality who is directly associated with his portrait work "People of the 20th Century".
The exhibition shows content and methodological correspondences in the creation of the three photographic positions. The documentary description of industrial landscapes in the Westerwald and Siegerland can be found both in the systematic work of Weller and the Bechers, even motivic … | | |
| |
|
|
| |
| |
| | Martin Rosswog: Kitchen of Maria del Carmen Garcia de Figueiredo, Barrancos, Portugal, 2009
© Martin Rosswog, VG Bild-Kunst, Bonn 2020 | | | | | | | | September 28 – November 8, 2020 (Room 3+4) | | | | | | | | | | | | | The photographer and filmmaker Martin Rosswog (b. 1950) has been working on his longterm project, which is dedicated to living spaces in rural areas, since the 1980s. With great personal engagement, Rosswog has traveled to numerous regions in Europe, has been to small, sometimes remote villages and settlements in order to track down the most authentic, traditional agricultural or artisanal way of life–without ignoring the influences of modern globalization.
The current exhibition shows a selection from several photographic series developed in Portugal. Two were created in Barrancos, a small town in the southern Alentejo region, right on the Spanish border. The history of the Alentejo district, in Portuguese "across the (river) Tejo", is characterized by wealthy landowners, in whose service farm workers and day laborers often worked under precarious conditions. The climate is very dry and hot, especially in the south, so the cultivation of the soil is correspondingly laborious and the harvest correspondingly meager. In view of Rosswog's photographs, one might think of "Raised from the Ground", the novel by the Nobel Prize winner for literature José Saramago, which uses the example of a family to describe the living conditions of this impoverished class. Today the situation has improved significantly, tourism and investors from abroad have arrived.
Martin Rosswog photographed an apartment on a property belonging to former large landowners, which is occupied by Maria del Carmen Garcia de Figueiredo and her former domestic worker Maria Teresa Neves Carualho. Rosswog has comprehensively documented a total of four different properties owned by large landowners in Barrancos and the surrounding area. In contrast to these r… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | David Wojnarowicz
Arthur Rimbaud in New York Portfolio, 1978-79/2004
44 framed gelatin silver prints
Image size: 9.75 x 13 inches (each); Paper size: 11 x 14 inches (each)
(Image size: 24.8 x 33 cm [each]; Paper size: 28 x 35.6 cm [each])
Edition #6 of 6
Courtesy of the Estate of David Wojnarowicz and P•P•O•W, New York, and Morán Morán, Los Angeles |
| | | | | | | | | | | | Sat 26 Sep 11:00
26 Sep – 31 Oct 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Park Picture (Les Fleurs). 2020. Archival pigment print. 20 x 16 inches. |
| | | | | | | | | | | | Sun 27 Sep 12:00
27 Sep – 22 Nov 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | Thomas Struth
Stanze di Raffaello 2, Roma, 1990
Chromogenic print under plexiglass 2008
125 x 172 cm (175.5 x 221.5 cm)
From an edition of 10
Est. 80/100,000 EUR | | | Lempertz - Photography | | | | Invitation to Consign - Appraisal Days | | | New York (by appointment)
Brussels 22/23 September
Paris 24/25 September
Amsterdam (by appointment)
London (by appointment)
Auction 1161 Photography | Friday, 1 Dec 2020
Auction 1162 Evening Sale | Friday, 1 Dec 2020
Auction 1163 Day Sale | Saturday, 2 Dec 2020
Consignments are welcome until end of September.
Please do not hesitate to contact us for a non-binding estimation of your photography as well as for any questions concerning the auction. | | | | | | | | | | | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
| |
| |
|
| |
|
| | | | | | Propositions for Alternative Narratives | | | | | | | 24 Sep – 25 Oct 2020 | | | | | |
| | | | | | | |
|
| |
| |
|
|
|
| |
| |
|
| |
| |
| | | © Sergey Maximishin / Festival La Gacilly-Baden Photo 2020 / Fotomontage | | | Festival La Gacilly-Baden Photo 2020 | | | | All Eyes East | | | | | | Baden bei Wien: The festival will take place
14 July (French National Holiday)
to 26 October 2020 (Austrian National Holiday).
festival-lagacilly-baden.photo | |
| | | | | | | | | | | | | FESTIVAL LA GACILLY-BADEN PHOTO 2020
The festival will take place 14 July (French National Holiday) to 26 October 2020 (Austrian National Holiday).
The festival is entering its third year and it has become a communicator of topics with a strong humanistic orientation showcasing the various aspects of the relationships between people and their environment.
The festival extends over a length of 7 kilometers – divided into a "garden route" and a "town route", starting from the visitor center on Brusattiplatz. Integrated into the public space, there are about 2,000 photographs to be seen, some as large as up to 280m2.
It is the largest outdoor photography festival in Europe, visited by 266,751 visitors in 2019. Entry is free.
NEVER GIVE UP! – This is the motto 2020, which combines the work of the photographers of the Festival La Gacilly-Baden Photo in two impressive themes: "All Eyes East" and "Renaissance".
Renaissance or rebirth – stands for the commitment and awareness of the exhibiting photographers for our planet Earth with their work, just like festival founder Jacques Rocher with his gigantic 100 million trees reforestation project "Plant for the Planet".
Rebirth consequently means the hope of change for the better of our world. In this sense, remembering the Fall of the Berlin Wall 31 years ago as a unique example of how the wind of freedom triggered Glasnost (openness) and Perestroika (remodeling). And thus enabled the modernization of the social, political and economic system of the former Soviet Union, which ultimately led to the end of the Cold War. | | |
| |
|
|
| |
| |
|
| | | | | | KW Institute for Contemporary Art, daadgalerie, Gropius Bau | | | | | | | – 1 Nov 2020 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | The best of times - The worst of times | | | | | | | – 25 Oct 2020 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | The Things I Tell You | | | | | | | – 18 Jul 2021 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | open air festival - VIVA LATINA ! | | | | | | | – 31 Oct 2020 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
|
| |
|
|
| |
|
| | | | | | THIS IS THE END | | | | | | | – 31 Oct 2020 | | | | | |
| | | | | | | |
|
| |
| |
| |
|
| |
| |
|
| |
© 23 September 2020 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photo-index.art . T +49.30.24 34 27 80 |
| |
