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| PHOTOGRAPHY INTERNATIONAL | | 14 – 21 September 2022 | |
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| | Two major photo art fairs will take place from 15th to 18th September in Amsterdam (NL). The design of Haute Photographie (MUSEUM SQUARE) is different from the traditional art fair. Taking inspiration from museum exhibitions, the fair is set up without booths. Instead, there are lounge chairs and coffee tables near the walls where 40 artists are exhibited. Unseen (Westergasfabriek) is an art fair dedicated to the latest developments in contemporary photography. Amongst its 65 exhibitors are established international photography and contemporary art galleries, as well as young up and coming initiatives. |
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| | | The Feast, Inside, from the series Paintings, Dreams and Love © Yushi Li and Steph Wilson, courtesy of the artists. | | | | | | | | | | | | | 16 September 2022 – 18 January 2023 | | | Opening: Thursday 15 September 2022 18:30h
Meet the Foam Talents of 2022: Saturday 17 September 2022 14:00h
Foam Talents who will be present during the event: Lina Geoushy, Czar Kristoff, Linn Phyllis Seeger and Donavon Smallwood. | | | | | | | | | | | | | This fall Foam proudly presents the work of a new generation of artists in the group exhibition Foam Talent 2022. The 20 participating artists look closely at both the world around us, and the one within - without shying away from discomfort or pain. Climate change, political conflict, discrimination, displacement, and social justice issues: the works address the pressing problems of our times and remind us that photography has the potential to capture the unspeakable. We are proud to present a selection that offers as much food for thought as beauty and innovation of the medium.
Via the Foam Talent Call, an international search for talented emerging photographers under the age of 40, Foam invites photographers from all over the world to submit their portfolios. Selected photographers gain international exposure and recognition within the photography industry through a number of career-building opportunities offered by Foam, including publication in Foam Magazine’s Talent issue, a presentation on Foam’s digital platform and a travelling exhibition premiering at Foam. Additionally, the Talents will participate in a mentorship programme and various network activities, and get the opportunity for their work to be added to the prestigious Art Collection Deutsche Börse of the Deutsche Börse Photography Foundation.
Since 2021 and onwards the Talent Call will be organised bi-annually, meaning the next edition will run in 2023. At the base of this decision lies the aim to further optimise the Talent Programme and offer even more guidance to the talents in developing their artistic practice. During this 15th edition of the Foam Talent Call, twenty artists were selected out of 1.938 received submissions from 85 countries. Their portfolios have been published in Foam Magazine #61: Talent in February of this year. This fall, the group exhibition will be presented at Foam’s museum in Amsterdam and beginning of 2023 the exhibition will travel to Frankfurt.
The twenty bodies of work were selected based on how they connect to timely subjects and the ways in which they push forward the medium of photography. All in their own ways, the work dares to interrogate ideological structures and the systemic issues stemming from them. The diverse series are influenced by the patriarchal, capitalistic and religious structures that form our society. Where Lina Geoushy investigates the plethora of emotions and complex social dynamics of violence against women in Egypt with the series Shame Less, Pavo Marinović explores the archetypes and biases of masculinities specific to former Yugoslavia through the series Marbel Ass. Diego Moreno grapples with the stern presence of the Catholic Church in his youth and how this has influenced his ideas of self-perception, sexuality and family. On a more global level Kata Geibl’s constructed images are symbolically charged and interrogate the global issues that stem from capitalism and how we perceive our contemporary social, political and economic system. The artists of Foam Talent 2022 use the photographic medium to respond to, digest and navigate a world that continues to present new challenges and problematic structures | | |
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| | | | Anastasia Samoylova
Car Reflection, Miami Beach, 2018
Archival Pigment Print, 100 x 80 cm | Anastasia Samoylova
Reflection, Lake Placid, 2020
Archival Pigment Print, 100 x 80 cm |
| | | | | | | | ... until 8 October 2022 | | | | | | | | | | | | | Florida. The political swing-state. The swampland paradise. The refuge of excess. The tourist fantasy. The real estate deception. The sub-tropical fever dream. The elusive place where image and reality become inseparable. Floridas, a recent series by the American photographer Anastasia Samoylova (b. USSR, 1984), documents it all in a layered portrait of contemporary Florida. The project establishes a dialogue with the oeuvre of Walker Evans, employing a visual language similar to his detached and laconic imagery. The book Floridas was published in 2022 by Steidl and edited by David Campany. It combines Samoylova’s contemporary photographs with the historic archive of Florida images by Walker Evans, obtained from The Met Museum’s digitized collection.
In 1934, Walker Evans created a list of subjects for documenting the "American life" as he was staying in Florida. People of all backgrounds, from the upper class to the new down-and-out. Automobiles and the automobile landscape, architecture and the American urban taste. The commerce of small and large scale, the city street ambiance and the hateful stuff. Amusement industry, fake culture, bad education, religion in decay. This is just a part of the topics reflected in Evans’ photography. Anastasia Samoylova has aimed her lens at similar subjects of culture and social values as Walker Evans between the 1930s and the 1970s. Both photographers observe, document and elegantly keep subjectivity out of the frame.
The semantics of the everyday and the framing angle give away the similarities between the working methods of Evans and Samoylova. There is a certain alerting hollowness behind the rust, the glossy cars and the pristine pinks of Florida’s buildings… | | |
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| | | | | | | | | | | | | Recaptioning Congo New perspectives on the photographic history of colonial Congo | | 16 Sep 2022 – 15 Jan 2023 | | | | | | | |
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| | Saïdou Dicko
TAPIS PEULH, 2012
Collage of photographs on wood plate
182 x 258 cm | | | | | | | | 14 September - 29 October 2022 | | | | | | | | | | | | | At an early age, Saïdou Dicko (born 1979 in Burkina Faso) realised that he could see clouds not only in the sky but also in the sands of his home town. As a young Fulani shepherd, he looks into the red sands of the Sahel and traces the pillowy shadows cast by the migrating clouds above. First the outlines of his sheep, later the silhouettes of people, all are captured vividly by Dicko on the walls of houses or on the colourful fabrics embroidered by his mother. These shadows remain the core element of his visual storytelling - spanning across his photography, film, installation work and painting.
"As a child, I looked at them (shadows) the way others look at clouds, and invented stories. I started by drawing on the floor and walls, then on fabrics that my mother embroidered."
In his early series of works, THE SHADOW THIEF, he follows his family and friends with a mobile phone camera, tracing their paths and action. But the shadow thief does not rob these people’s identity; instead, the alienation of these perspective-broken silhouettes brings us closer to the intimate gestures of the people depicted - emphasising the role of childlike play, hard work, and the complex yet familiar family dynamic.
Abstraction is adopted in the artist’s work as a trick to draw the viewer’s attention more intently to the social contexts in each scene. We see the characters at petrol stations, sat in conversation on the porches of houses, or riding their bicycles through the capital city of Ouagadougou.
Now living and working in Paris, Dicko has taken this abstraction to the next level. In his latest works, he dips the figures in his photographs in black oil, building another layer into the image, tangib… | | |
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| | | | | | | Marie Rief: bodhisattva Auflösung, 2021 ongoing
VG-Bild-Kunst Bonn 2022 |
| | | | | | | | | | | | Wed 14 Sep 19:00
15 Sep – 27 Nov 2022 | | | | | |
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| | | | | | | | DIE ORESTIE DES AISCHYLOS, Gastspiel in Athen, 1985 © Ruth Walz |
| | | | | | | | | | | | Thu 15 Sep 18:00
16 Sep – 8 Oct 2022 | | | | | |
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| | Alfred Ehrhardt
VW Käfer, Volkswagenwerk, Wolfsburg, 1949
silver gelatin print
13,0 x 18,1 cm
© Alfred Ehrhardt Stiftung/bpk | | | | | | Twenty Years of the Alfred Ehrhardt Stiftung | | | | Photography, Film, Painting, Drawing | | | | 17 September - 23 December, 2022 | | | | Opening: Friday, 16 September, 7–9 pm | | | | | | | | | | | | | This fall the Alfred Ehrhardt Stiftung is celebrating its twentieth anniversary and honors this milestone with a comprehensive exhibition of Alfred Ehrhardt’s multifaceted work!
The anniversary exhibition is curated by director Dr. Christiane Stahl, curators Stefanie Odenthal and Dr. Marie Christine Jádi, and photo conservator Rosa Russo. Under the heading "four women, four views," and is presenting very personal highlights from Alfred Ehrhardt’s (1901–84) work and the foundation’s extensive archive holdings. This includes favorite pieces and favorite stories, never-before presented works, previously lost works, and archive materials waiting for their secrets to be revealed. The full spectrum of universal talent Alfred Ehrhardt’s work will be presented—from painting to photography to film, with astounding, exciting, and stimulating discoveries to be made.
Only recently a portfolio with unknown, outstanding works on paper turned up in the attic of the artist’s son Jens Ehrhardt. These are among Alfred Ehrhardt’s earliest works of art and provide a rare glimpse into the beginnings of his artistic activities in the 1920s. A particularly exceptional example from these works will be presented together with other previously little-known paintings and drawings. What is fascinating about this tempera-on-paper work is the spatula technique, which draws on Ehrhardt’s teachings in material studies modeled after Bauhaus preliminary courses.
Offering a genuine surprise is the presentation of "Das Watt" (The Tidelands) in which the celebrated series is considered from a very unusual perspective. Here the formal variety of abstract structures in the sand is juxtaposed with the… | | |
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| | | | | | | | Bénédicte Blondeau: aus der Serie "ONDES" |
| | | | | | | | | | | | Fri 16 Sep 19:00
17 Sep – 9 Oct 2022 | | | | | |
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| | Arnold Odermatt
Buochs, 1965
C-print on cardboard
50 x 50 cm
Edition of 15 | | | | | | | | | | | 20 September – 28 January 2023 | | | | Opening: Saturday, 17 September, 2 ‐ 6 pm | | | | | | | | | | | | | We are delighted to invite you to our group exhibition marking the 10th anniversary of Galerie Springer Berlin. When we opened the gallery in its current format 10 years ago, it was founded on Robert Springer’s 20 years’ experience of gallery work stemming from a long family tradition. The decision to run the gallery with Heide Springer resulted in a reorientation of the gallery programme towards photography. Over the past decade, we are proud to have made an international name for ourselves as a gallery in this diverse field. And alongside the necessary commercial focus, we have always placed great value on quality and curatorial concepts, and see our gallery work as a cultural task.
Luck has also played a role in our on-going work in this direction and we are grateful for it. For example, the area around our traditional location in Berlin-Charlottenburg has again developed into a much sought-after area for galleries. Important public and private institutions as well as photography galleries have since taken up residence close by, so that the area has become an attractive and recognised quarter for all interested parties.
Over the past ten years, we have succeeded in putting on exhibitions with world renowned photographers, including Edward Burtynsky who we represent exclusively in Germany, Evelyn Hofer, Ingar Krauss, Saul Leiter, Ute Mahler and Werner Mahler, Joel Meyerowitz, Loredana Nemes, Arnold Odermatt and Georges Rousse, and we have enjoyed a successful working relationship with the latter two artists for well over 20 years now.
We also present recognised European artists for the first time in Berlin: Catherine Gfeller and Aitor Ortiz. And of course our programme includes Berlin-based photographers, covering new approaches… | | |
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| | | © Sebastião Salgado, Manda Yawanawá, from the village of Escondido, 20” x 24” in. Gelatin Silver Print | | | | | | | | ... until 1 October 2022 | | | | | | | | | | | | | Acclaimed Brazilian photographer Sebastião Salgado has created numerous in-depth bodies of work documenting life on Earth, from crushing images of unimaginable hardship facedby gold miners in Brazil and pictures of hell on earth from blazing oil wells in Kuwait toscenes of serene, magnificent wilderness, Salgado has touched the depths of the human condition. Through his expansive, yet finely detailed black-and- white photographs, Salgado reveals both awe-inspiring and horrifying scenes from some of the most far-flung corners of the world, presenting us with his own unique vision of our vast planet.
Sebastião Salgado was born in 1944 in the Brazilian mining state of Minas Gerais and now lives in Paris. Initially an economist with the World Bank, Salgado began his photographic career in Paris in 1973. He worked with the Sygma, Gamma, and Magnum Photos agencies until 1994, when he and his wife Lélia Wanick Salgado founded Amazonas Images, dedicated exclusively to his work. He has traveled to morethan 100 countries for his photographic projects, resulting in many books including Other Americas (1986); Sahel, lʼhomme en détresse (1986); Sahel: the end of the road (1988); An Uncertain Grace (1990); Workers (1993); Terra (1997); Migrations and Portraits (2000); Africa (2007), Genesis (2013) and Amazonia (2021) | | |
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| | | | | | | World Press Photo of the Year
Amber Bracken for The New York Times |
| | | | Präsentiert von GEO und STERN | | | | | | | 21 Sep – 17 Oct 2022 | | | | | |
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| | | Charles Fréger: Yokainoshima, 2013-2015 | | | | | | | | | | | | | | | | | | ... until 25 September 2022 | | | | | | | | | | | | | Over the past twenty years, Charles Fréger has built up a vast collection of portraits, first by focusing on outfits and uniforms, then by exploring masked traditions on every continent. His photographs confront us with secular figures, beings with multiple and ambiguous identities on which our imagination is projected.
Four series are brought together in this vast exhibition : "Commedia dell’Arte", produced in Venice and showing the body play of his masked characters ; "Yokainoshima", in which the photographer explores the ritual figures of Japan; "Wilder Mann", a photographic campaign carried out over many years in 20 European countries ; and "Cimarron", which takes the photographer to Afro-descendant America, from the southern United States to Peru. Embodying strange, comical, sometimes frightening or extravagant animals or creatures, the figures Fréger photographs give a measure of the variety of customs and cultures around the world. By paying attention to the finery and the solemnity of the pose, the artist leaves us alone in front of these masked figures. It is then up to us to imagine the story of each of the characters. | | |
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| | ALESSANDRA DRAGONI
Clara, 2015
C-type print
Image size: 20 x 20 cm
Edition of 7
© Alessandra Dragoni | | | | | | | A window into contemporary Romagna photography | | | | | | | | 9 September – 15 October 2022 | | | | | | | | | | | | | Otto volte due presents a selection of new and recent work by eight contemporary Romagna photographers, affording insight into the unique cultural and artistic phenomena of the region.
These photographers are part of a vibrant artistic community across a network of small towns in Emilia-Romagna. Antonello Frongia, professor of photography at Roma Tre University, writes: ‘having trained with Guido Guidi and in a fertile climate of mutual exchange, these artists, born between 1963 and 1987, have honed a photographic and artistic culture that expresses itself through independent sensitivities, languages and research.’ | | |
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| | © Raissa Karama Rwizibuka for Fondation Carmignac
Bukavu, DRC, August 2020. Bukavu’s fashionistas show off their style in the streets of the capital of South Kivu. | | | | | | | Finbarr O’Reilly, laureate of the 11th edition of the Carmignac Photojournalism Award | | | | | | | | 9 September – 16 October 2022 | | | | | | | | | | | | | The collaborative reportage Congo in Conversation was launched in April 2020 by Finbarr O’Reilly, laureate of the 11th edition of the Carmignac Photojournalism Award dedicated to the Democratic Republic of the Congo. As the outbreak of the coronavirus pandemic prevented him from traveling to the DRC to work on his reportage, O’Reilly and the Award team reframed their approach to produce a reportage in close collaboration with Congolese journalists and photographers. Congo in Conversation addresses the human, social and ecological challenges that the DRC faced within the context of the global health crisis, highlighting Congolese photographers and perspectives.
The exhibition features photographs and videos by: Guylain Balume Muhindo | Arlette Bashizi | Dieudonné Dirole | Justin Makangara | Danny Matsongani | Guerchom Ndebo | Finbarr O’Reilly | Raissa Karama Rwizibuka | Charly Kasereka | Moses Sawasawa | Pamela Tulizo | Ley Uwera | Bernadette Vivuya
The exhibition is curated by Cynthia Rivera and Michael Kamber.
Learn more about the participating photographers here. | | |
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| | JAN GROOVER
Untitled, 1979 (from Kitchen Still Lifes series)
Vintage chromogenic color print
16 x 20 inch / 40,6 x 50,8 cm
© Jan Groover / Galerie Miranda | | | | | | | | | | | ... until 13 November 2022 | | | | | | | | | | | | | To open its autumn 2022 program, Galerie Miranda announces a two-person exhibition by celebrated American artists Jo Ann Callis (b. 1940) and Jan Groover (b.1943-d.2012), both at the heart of the 1970s American 'new color' school of photography. The Paris exhibition will feature selected vintage and contemporary color prints from the landmark series Early Color (1976) by Callis and Kitchen Still Lifes (1979) by Groover.
Working at the peak of the American women's liberation movement, neither artist specifically declared themselves to be feminist artists yet both were producing works within and about their home environment, in the vein of militant feminist artists such as Martha Rosler (Semiotics of the Kitchen, 1975) and Judy Chicago (The Dinner Party, 1974-9). In Los Angeles in the 1970s, Jo Ann Callis was juggling two young children, numerous home moves, night school and a pending divorce. Despite these obstacles, she worked constantly to produce her seminal series Early Color. Influenced notably by Paul Outerbridge but also Hans Bellmer and Pierre Molinier, her cinematographic scenes capture the tensions and anxiety of a claustrophobic domestic environment where freedom, pleasure and curiosity are bridled. Hitchcockian by their exquisite composition, Callis created all the decors for the series that she photographed for the most part in her converted Los Angeles garage, with friends as models and the domestic objects at hand as props - string, tape, sheets, lamps, sand, honey and her household chairs, tables and plants.
Similarly, for her celebrated Kitchen Still Lifes series, Jan Groover created poetry out of a kitchen sink piled up with fork tines, butter knife blades, scalloped… | | |
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| | | | | | | | Volker Schrank: Petersdom, Rom aus der Serie "Beichtstühle" © Volker Schrank |
| | | | | | | | | | | | Thu 15 Sep 19:00
16 Sep – 20 Nov 2022 | | | | | |
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| | Heinrich Kühn
Girl in Sunday Dress, 1910
Collection Förderverein Fotostiftung Schweiz | | | Déjà-vu? Part 1 | | | | Works from the Friends of Fotostiftung Schweiz collection | | | | | | | 15 September – 31 December 2022 | | | | | | | | | | | | | Fotostiftung Schweiz is expanding: From mid-September 2022, it will be operating on additional premises at Grüzenstrasse 45 in Winterthur. Treasures from the collection and archives will be presented in a new exhibition room. Right next door, in the adjacent archive room, the infrastructure for processing photo archives has been enlarged and modernised. Since 1971, Fotostiftung Schweiz has been devoted to preserving, researching and conveying photographic works. On behalf of the Federal Office of Culture, it looks after around 100 prominent photographers’ archives or partial archives and a comprehensive collection of Swiss photography. On its new converted premises, covering an area of 250 m², visitors will for the first time be able to take a look behind the scenes of Fotostiftung Schweiz and thus have increased access to its wide-ranging activities.
Déjà vu? Part 1
The first two exhibitions in room 2 are dedicated to the high-calibre collection that the association Friends of Fotostiftung Schweiz has amassed since it was founded in 1982. Today, this collection comprises over 2000 photographs and has two focal points: outstanding works from the history of international photography and important positions in recent Swiss photography. To mark the association’s 40th anniversary, these two focal points are to be presented one after the other. Under the title Déjà-vu? Part 1, the aim is, on one hand, to take a fresh contemporary look at masterpieces from the history of photography, by photographers such as Man Ray, Julian Margaret Cameron, Alexander Rodchenko and Berenice Abbott; on the other hand, the story of how this collection came about, the value attached to it and the gaps within it are to be addressed and thematised. Dé… | | |
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| | | | | | | | | | Leni Sinclair – participant observer | | | Thu 15 Sep 18:00
15 Sep – 23 Oct 2022 | | | | | |
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| | | | | | | 1970er-Jahre. Rast auf der Fahrt in die Türkei
Privatfotografie © Familie Yeşiltepe |
| | | | | | | | | | | | Eine biografisch-fotografische Recherche in der Schweiz und der Türkei
İsviçre-Türkiye arasında biyografik/fotoğrafik bir araştırma. | | | Thu 15 Sep 18:30
16 Sep – 6 Nov 2022 | | | | | |
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| | | | | | | | | | | | | | Wed 14 Sep
15 – 18 Sep 2022 | | | | | |
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| | | | | | | | | | | | | | Thu 15 Sep
16 – 18 Sep 2022 | | | | | |
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| | | | | | | | | | | | | | Thu 15 Sep
15 – 18 Sep 2022 | | | | | |
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| | | | | | | | | | | | | | Fri 16 Sep
19 – 22 Sep 2022 | | | | | |
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| | | | | | | | | | | | | | Main weekend
Fri 16 - Sun 18 Sep
9 Sep – 2 Oct 2022 | | | | | |
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| | | | | | | | | | | | | | Thu 15 Sep 20:00
15 – 18 Sep 2022 | | | | | |
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| | | | | | Festival de photographie international et gratuit | | | | | | | 17 Sep – 2 Oct 2022 | | | | | |
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| | | | | | New beginnings from images - Investigations into reality and the inner gaze: 1,800 exhibitions, 1,760 authors and 742 exhibition spaces, | | | | | | | 14 Sep – 31 Oct 2022 | | | | | |
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| | | Big Melt / Vesterålen News © Jonas Bendiksen / Magnum photos | | | Festival La Gacilly-Baden Photo 2022 | | | | DUE NORTH | | | | | | | | | | | | | | | | | | | | DUE NORTH is an opportunity to highlight the often little-known creative power of artists from Northern Europe who, since the dawn of photography, have maintained an almost carnal connection with the ruggedness of their homeland. For the inhabitants of Denmark, Finland, Iceland, Norway and Sweden, solitude and wild nature are integral to their relationship with the world. They do not exploit the fruits of nature blindly, but try to understand how everything works and observe it with a caring eye. Their knowledge and constant desire to learn more about flora and fauna lead them to be very committed to respecting nature.
It is no wonder that the countries of the North, with their outrageous economic health, are among the most pleasant nations to live. Regularly crippled by frost and cold and accustomed to the great outdoors, they have developed a centuries-old tradition of political consensus, rejection of conflict and social development based on strict conservation of natural resources. In Copenhagen, 40% of the inhabitants cycle to work, in Stockholm the buses run on bioethanol, and in Reykjavik geothermal energy is now commonplace. Some will see the legacy of Lutheranism, others the more distant traces of the Viking tradition. You can't survive in the far north without a certain willingness to adapt. In countries where warmth and light are vital six months out of twelve, the environment is a crucial challenge. So it is understandable that Swedish teenager Greta Thunberg has become the new face of climate change for the world's youth: she knows that melting glaciers and sea ice are not far from home and that it is not a boreal illusion. If your culture is threatened by the effects of global warming, it is your duty to alert the public.
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| | | | | | Theatre of Dreams | | | | | | | – 23 Oct 2022 | | | | | |
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| | | | | | We, on the Rising Wave | | | | | | | – 6 Nov 2022 | | | | | |
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| | | Alfredo Jaar: Searching for Africa in Life, 1996. Courtesy of the artist | | | | | | | 12 Exhibitions on "CURRENCY" | | | | | | | | EXHIBITIONS until SEPTEMBER 18, 2022 | | | | | | | | | | | | | With twelve exhibitions starting from May 20, 2022, the 8th Triennial of Photography Hamburg will engage the theme of "Currency" from multiple angles and perspectives. From colonial-era photo albums to visual reveries, social documentary and conceptual approaches to photography, the exhibitions explore the polyphonic ways in which photographs are produced, circulated and interpreted. The exhibition parcours through Hamburg was conceived by artistic director Koyo Kouoh and her international team, alongside the curators of the ten participating museums and exhibition venues in Hamburg. The exhibitions will be accompanied by numerous events and a festival lasting several days in June 2022.
At the Hall for Contemporary Art of the Deichtorhallen Hamburg, Koyo Kouoh, Rasha Salti, Gabriella Beckhurst Feijoo and Oluremi C. Onabanjo examine the "retinal age", in which images fundamentally shape acts of seeing and being seen. The exhibition Currency: Photography Beyond Capture weaves experimental modes of portrayal, documentary and multisensory evocation, as entry points into reimagining how knowledge is sought and constructed through the photographic medium.
Two of the triennial’s exhibitions are devoted to photographer Herbert List » The Magic Eye at the Bucerius Kunst Forum presents the first international survey exhibition of his work in more than two decades. The retrospective spans his career from surrealist works to his visions of life in antiquity and extensive pictorial reports of non-European cultures, all the way to the male nudes with which List avowed his own homosexuality. | | |
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| | | | | | | | | | annual event showcasing Nordic and international photography in the Greater Helsinki area | | | – 2 Oct 2022 | | | | | |
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| | | © Nick Hannes | | | | | | | | | | | | | 9 – 25 September 2022 | | | | | | | | | | | | | | The annual Jakarta International Photo Festival (JIPFest) is Indonesia’s first international photography festival and is organized by the PannaFoto Institute. During JIPFest 2022 the photographers and artists interpret the festival theme Revival with a critical conscience on environmental, migration, identity issues, as well as the urgency we face globally. | | |
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| | | | | | open air festival - VISIONS OF THE EAST | | | | | | | – 30 Sep 2022 | | | | | |
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| | | | | | THE HIGHLIGHT OF PHOTOGRAPHY IN SCANDINAVIA | | | | | | | – 18 Sep 2022 | | | | | |
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| | | © Ngadi Smart, Port Loko District (Tombotima Community) | | | | | | | re:sources 2.0 | | | | | | | | 27 August - 2 October 2022 | | | | | | | | | | | | | The Fotofestival 2022 will once again bring the world of photography to Lenzburg and Aarau for an entire month and expand its horizons with new exhibition venues, international partnerships and world-famous authors.
The past three years have presented us with enormous challenges and clearly demonstrated how our resources are distributed. Some of us have been deprived of our livelihood, others have been on the verge of losing it, and some have realized how privileged they are. However, we all have one thing in common - we are thankful that the situation has recovered, and we are no longer so limited. We have the opportunity to meet with people again, to be out and explore the world - perhaps more consciously and using our resources more sparingly and considerately.
As already in 2021, the photo festival will explore the theme of resources and develop an artistic approach that seeks to capture moments of world events. The twelve exhibitions and the planned events of the 5th Fotofestival Lenzburg have been chosen in such a way that a constructive dialogue can develop between the exhibitions themselves, but also between image producers and users, i.e. bringing together contemporary positions of Swiss and international authors with their audience on the topic of resources.
For the 2022 edition, the focus is on the relationship between humans and nature, and their interplay in relation to our health, quality of life and sustainability, as well as the major climatic and societal changes we are currently experiencing.
Thanks to contributions from sponsors and partners who support the festival, each year we manage to offer a stage to international but also lesser-known photographers. We aim to engage a wider a… | | |
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| | | | | | Rencontres Photographiques de Toulouse | | | | | | | – 1 Oct 2022 | | | | | |
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| | Yuki Kihara
Fonofono o le nuanua: Patches of the rainbow (After Gauguin), 2020
Image courtesy of Yuki Kihara and Milford Galleries,
Aotearoa New Zealand. | | | | | | | The Milk of Dreams | | | | | | | | ... until 27 November 2022 | | | | | | | | | | | | | The 59th International Art Exhibition of La Biennale di Venezia, titled The Milk of Dreams, will open to the public from Saturday April 23 to Sunday November 27, 2022, at the Giardini and the Arsenale; it will be curated by Cecilia Alemani and organised by La Biennale di Venezia chaired by Roberto Cicutto. The Pre-opening will take place on April 20, 21 and 22; the Awards Ceremony and Inauguration will be held on 23 April 2022
Read the statement by Cecilia Alemani »
Read the statement by Roberto Cicutto »
THE INTERNATIONAL EXHIBITION
The Exhibition will take place in the Central Pavilion (Giardini) and in the Arsenale, including 213 artists from 58 countries; 180 of these are participating for the first time in the International Exhibition. 1433 the works and objects on display, 80 new projects are conceived specifically for the Biennale Arte.
The artists »
NATIONAL PARTICIPATIONS
The Exhibition will also include 80 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the city centre of Venice. 5 countries will be participating for the first time at the Biennale Arte: Republic of Cameroon, Namibia, Nepal, Sultanate of Oman, andUganda. Republic of Kazakhstan, Kyrgyz Republic and Republic of Uzbekistan participate for the first time with their own Pavilion.
The National Participations » | | |
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| | | from the series existential boner © Mahalia Taje Giotto | | | The Images Vevey biennal | | | | TOGETHER. LA VIE ENSEBLE | | | | | | | | | | | | | | | | | Programm 2022
It takes all sorts to make a world! By bringing together over 45 artists from some twenty countries, the Images Vevey biennial aims to create links. Despite the current uncertain international context, this is a time for reunion and togetherness.
Our connection with others and with our environment, the importance and fragility of social and family ties, the joys and sorrows when the collective and the individual coexist: These are just some of the topics the 2022 Festival is looking forward to exploring via:
‘Together. La vie ensemble.’
+ 45 ARTISTS + 22 COUNTRIES + 4 WEEKENDS + 3 WEEKS + 1 THEME
THE CONCEPT OF THE EXHIBITIONS
Images Vevey is renowned for the creation of unique scenography and the impressive dimensions of its installations in various parts of the town of Vevey, thus inviting its audience to experience images differently. To arouse festivalgoers’ curiosity, striking new indoor venues nestled in Vevey’s town centre will welcome seasoned Festival regulars and newcomers alike!
L’APPARTEMENT – ESPACE IMAGES VEVEY: A NEW GATEWAY TO THE FESTIVAL
Images Vevey invites visitors to explore its new permanent art space in the heart of Vevey’s train station, formerly serving as railway workers’ housing. L’Appartement – Espace Images Vevey is showcasing projects by four internationally renowned artists: Bertien van Manen, Alec Soth, Gillian Wearing and Carmen Winant.
As is the custom every two years, there is great suspense as to which colossal photograph Images Vevey has selected to entirely cover the frontage of a building, opposite the train station. This edition, let's be teleported to the legendary Milan Cathedral, a photograph taken by Thomas Struth in 1998, printed on a 500 m2 canvas. This famous German photographer invites the festivalgoers to embark on a novel itinerary to discover four of his masterpieces displayed on distinctive buildings around the town of Vevey.
IMAGES VEVEY NOW PUBLISHES ITS OWN BOOKS
Since 2020, Images Vevey has been pursuing its role as a publisher of photographic books and, during the second weekend of the Festival, on Saturday 10 September 2022, it will present its publishing house. The latest Editions Images Vevey publication is Lux in Tenebris by Vincent Jendly, a Swiss artist whose work was exhibited at the 2020 Biennial.
Publication available on our online shop
Presenting the artists and the myriad of topics addressed – love, family, urbanism, technology, science, tourism, politics, life, death, religion, culture, food, sport, hobbies, and much more – our press kit details the entire programme. | | |
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© 14 September 2022 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 |
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