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| PHOTOGRAPHY INTERNATIONAL | | 15 — 22 March 2023 | |
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| | | | | | | Olaf Martens
Hotel Bogota, Berlin, 2009
© Olaf Martens |
| | | | 2006 bis 2013 | | | | | | | Thu 16 Mar 18:00
17 Mar – 21 May 2023 | | | | | |
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| | | | | | | | Das Paar (Volksfest), Rumänien, 1978 © Manfred Paul |
| | | | | | | | Fotografien aus Rumänien, Indien, Paris | | | Thu 16 Mar 19:30
17 Mar – 28 May 2023 | | | | | |
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| | Nan Goldin Bed, Paris/New York, 1992–2009, 2019
archive pigment print (114 x 167 cm)
Courtesy of the artist and Marian Goodman Gallery
© Nan Goldin | | | Nan Goldin » Käthe-Kollwitz-Preis 2022 | | | | Extended until 16 April 2023 | | | | | | | | | | | | | Die Akademie der Künste zeigt anlässlich der Verleihung des Käthe-Kollwitz-Preises 2022 an Nan Goldin Fotografien der Preisträgerin aus fünf Jahrzehnten.
Die Ausstellung bietet einen Überblick über das Werk der US-amerikanischen Fotografin und Filmemacherin. Zu sehen sind ca. 50 Schwarzweiß- und Farbfotografien, die in Boston, New York, Berlin und Asien entstanden, sowie aktuelle großformatige Arbeiten wie Landschaften und Grids.
Mit Nan Goldin würdigt die Akademie eine Künstlerin, die weltweit eine zentrale Position in der zeitgenössischen Fotografie einnimmt. Die Jury, bestehend aus den Akademie-Mitgliedern Hubertus von Amelunxen, Luc Tuymans und Corinne Wasmuht, hebt hervor, dass Nan Goldin mit ihren Fotografien aus ihrem persönlichen Lebensumfeld und der LGBTQ*-Community Tabus gebrochen, Grenzen überwunden und sich damit für Akzeptanz und zunehmende Anerkennung der LGBTQ*-Szene eingesetzt hat. Die Unmittelbarkeit in Nan Goldins Arbeiten entstammt ihrer physischen und emotionalen Zugehörigkeit und Distanzlosigkeit zu einer Lebenswelt, die vielen Menschen verschlossen ist und erst durch sie als Künstlerin geöffnet wurde.
Nan Goldin, geboren 1953 in Washington, D.C., lebt und arbeitet in New York. 1991 kam sie auf Einladung des DAAD nach Berlin und lebte dort vier Jahre lang. Nan Goldin ist mit ihren Arbeiten weltweit in vielen Sammlungen vertreten. Ihre Retrospektive "This Will Not End Well" im Moderna Museet, Stockholm, ist bis zum 26. Februar 2023 zu sehen und wird in der Folge u. a. von der Neuen Nationalgalerie, Berlin, übernommen (Oktober 2024 bis März 2025).
Zuletzt wurden ihre Werke u. a. gezeigt von: Tate Modern,… | | |
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| | Gohar Dashti, Today's Life and War #5, 2008
Archival Pigment Print
70 x 105 cm (27.5 x 41.3 in) | | | | | | | | | | | ... until 22 April 2023 | | | | | | | | | | | | | Robert Klein Galleryis pleased to present "Today’s Life & War", an exhibition of works by contemporary photographers Gohar Dashti, Shadi Ghadirian, and Tahmineh Monzavi.
Presenting a selection of important photographs over the last twenty years of their careers, these images illustrate the legacy and remnants of war as it continues to impact society and culture - regardless of religion, politics, or geography.
All born and educated in Iran, the three female photographers work transcends the lens and context of the Middle East. Their works are not merely an investigation of Iran or islamic culture and identity, but are a reflection of the physical and mental turmoil and destruction that war invariably sears upon its victims. Several of the works on view were first shown in the US in the groundbreaking exhibition "She Who Tells A Story" at the Museum of Fine Arts Boston.
As a testament to their artistic importance and impact, these works still speak to audiences today beyond borders. As the title of Tahmineh Monzavi’s series "Past Continues" implies, the devastation of war repeats itself, and so does the human tragedy and destruction. | | |
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| | I’m home late, don’t you care where I’ve been?
Extract from Honey Babe, 2020
© Nhu Xuan Hua, 2023 | | | | | | | | ... until 9 April 2023 | | | | | | | | | | | | | She creates photographic art of her very own kind and is considered as a remarkable new talent: Nhu Xuan Hua, born in Paris in 1989 to a family of Vietnamese origin, has made her name internationally as a fashion and portrait photographer. She works for magazines such as Vogue, The Wall Street Journal, Dazed Beauty and TIME Magazine as well as for major fashion brands such as Dior, Kenzo and Levi's. The exhibition "NHU XUAN HUA. HUG OF A SWAN" highlights the photographer's artistic work and underlines its fascinating versatility.
Nhu Xuan Hua's family fled to Belgium and France after the Vietnam War (1955-1975), where Hua was born. After leaving her parental home, she felt increasingly cut off from her roots. So she interviewed family members about her past, hoping to fill the gap and learn something about herself. The artistic response to this research can be seen at Fotografie Forum Frankfurt (FFF): installations and objects specially designed for the exhibition, as well as digitally manipulated photographs inspired by family photos.
By combining commissioned and artistic works, the show demonstrates that Hua's entire body of work deals with questions of identity, family history and repressed memories – also in the hope of learning more about her own roots.
Nhu Xuan Hua graduated from the photography course at the Auguste Renoir Academy of Art in Paris in 2011. One of her most famous photo shoots was cover of TIME Magazine in 2018; for the cover theme "Leaders of the next generation", Hua had photographed the K-pop band BTS. Tropism, Nhu Xuan Hua's first monograph, was published in 2022 (by Area Books, Paris). The arti… | | |
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| | | | | | | Angelini, 2023
Archival Pigment Print, 170 x 130 cm
© Thorsten Brinkmann / VG-Bildkunst, Bonn 2023 |
| | | | | | | | | | | | Wed 15 Mar 19:00
16 Mar – 3 May 2023 | | | | | |
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| | Ragnar Axelsson
Mads Ole Hunter, Thule, Greenland, 2019
© Ragnar Axelsson | | | | | | | | 17 March – 18 June 2023 | | | | Opening: Thursday, 16 March, 7pm | | | | | | | | | | | | | Icelander Ragnar Axelsson, one of the North’s most in-demand photographers, has long been observing climate change with the greatest concern. For more than 40 years, he has been documenting the dramatic changes to landscapes and habitats on the margins of the inhabitable world, travelling to the most remote and isolated regions of the Arctic, to Inuit hunters in Northern Canada and Greenland, to farmers and fishermen on Iceland and the Faroe Islands, and to the Indigenous population in Northern Scandinavia and Siberia.
His information comes first-hand from the people on the ground. Axelsson will go to great lengths to be able to visit them over and over and spend time with them. For this reason, and because he shares their often arduous everyday life, he enjoys their trust. That, in turn, allows him to freeze moments in photographs of their lives and write up their narratives — thus, he becomes the ambassador to their existence and their changing living conditions. The other major topic that thrills Axelsson is the force of the elements and the grandeur of Nordic nature. His impressive photographic landscape portraits are testimony to this. With the gaze of the researcher and artist, he analyses even the smallest natural structures, which are reminiscent of modern drawings by the likes of Paul Klee or Per Kirkeby. As he does so, he holds consistently to his aesthetic decision in favour of black and white.
However, Axelsson’s commitment extends far beyond exclusively working as a photographer and journalist. A number of photographers, including Magnum photographer Paolo Pellegrin, have asked him to support them during their projects on climate change. Axelsson, who is an experienced pilot, also flew over the glaciers in Iceland with &… | | |
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| | | | | | | Charles Fréger: Wilder Mann, 2010-11
Caretos de Varge, Portugal, 101x77 cm
© Charles Fréger |
| | | | | | | | | | | | Fri 17 Mar 19:00
18 Mar – 6 Jun 2023 | | | | | |
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| | (Hargesheimer, Karl-Heinz) Chargesheimer
Louis Armstrong, 1961
33.9 x 29.8 cm
Gelatin silver print | (Hargesheimer, Karl-Heinz) Chargesheimer
Marzellen Straße, 1970
40 x 26 cm
Gelatin silver print |
| | | | | | | | ... until 6 April, 2023 | | | | | | | | | | | | | Born in Cologne in 1924 under the name of Karl Heinz Hargesheimer, Chargesheimer studied graphic arts and photography at the "Kölner Werkschulen" (1943-46). From the beginning of his career, Chargesheimer pursued different artistic interests, ranging from opera, theatre, costume design and painting to photography.
While developing an extensive documentation of Cologne’s ruins in the early post-war years, the artist also worked as set designer and devoted himself to creating metal sculptures. In 1950, Chargesheimer started to experiment with abstract light graphics on photographic paper and surrealistic photomontages: pictures created by light and chemicals applied directly onto negatives or photographic paper. In the 60's, he created kinetic light sculptures constructed from moving Plexiglas and steel elements he described as "Meditationsmühlen".
In addition to his abstract experiments, Chargesheimer explored the potential of documentary photography, which he approached in an empathetic way. He became also widely recognized for his efforts as a freelance photographer as well as his dynamic and aggressive portraits of public figures (e.g. Konrad Adenauer) and common citizens of post-war Germany.
All of Chargesheimer's photographs have one thing in common: a dissecting, close-up view with which he photographed his subjects, whether it was a Romanesque church or a miner underground, a portrait of a wellknown personality or a Cologne backyard.
The exhibition shows a cross-section of Chargesheimer's entire oeuvre, and at the same time depicts the diversity and development of his artistic work. | | |
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| | Zora J Murff
White Girl, 2022 (Detail)
Pigment print
28 x 35 inches
© Zora J Murff / Webber Gallery | | | Zora J Murff » We Here For Some Jive Conspiracy | | | | ... until 31 March 2023 | | | | | | | | | | | | | "We Here For Some Jive Conspiracy" is the title of Webber's inaugural LA exhibition by American artist Zora J Murff. Murff's practice is consistent in its fierce and open questioning of racial and cultural constructs – this specific iteration of works being geared toward the histories and social climate of Los Angeles. This is not the first time the artist has chosen to focus on one place in order to detail a more expansive case-study of America's complex and deep racial history - photographed in Omaha, Nebraska, At No Point In Between (2021) exists as a photographic study of a Black community which has been shaped by a legacy of injustice and oppression.
Here in this LA installation, Murff continues to utilise photography's objective power alongside our faith in the image to probe our existing relationships with racial indifferences, whilst weaving in an array of historical documents alongside a growing archive of memes, online social phenomena, and pop culture references.
This amalgamation of materials, time and information comes together through a collaging of the gallery walls and floor in homage to fly-postering as a means of direct, provocative communication. The piece White Girl is comprised of a long repeating series of the famous image of OJ Simpson's white Bronco being driven down Interstate 405 in 1994, both the scene and the individual now serving as an emblem of LA's racial and fanatical character.
An arguably intrinsic link exists between the televised courtroom trial and the Rodney King riots that took place just a few years prior, with Murff reproducing the images of Reginald Denny being pulled from his truck and assaulted at a large and unavoidable scale in the gallery. … | | |
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| | | | | | | Man in front of Andy Warhols "Gold Marilyn", New York 2005
© Thomas Hoepker / Magnum Photos |
| | | | | | | | | | | | Sun 19 Mar
19 Mar – 11 Jun 2023 | | | | | |
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| | MEXICO. Durango. Actress Audrey Hepburn with her dog Mr. Famous, on set of ‘The Unforgiven’. 1959.
© Inge Morath / Magnum Photos / courtesy CLAIRbyKahn | | | | | | | | ... until 1 May 2023 | | | | | | | | | | | | | Versicherungskammer Kulturstiftung's Kunstfoyer is showing "INGE MORATH HOMAGE" to mark the 100th birthday of the famous Magnum photographer in collaboration with the Inge Morath Estate, curated by Anna-Patricia Kahn and Isabel Siben.
Inge Morath (1923–2002) was born in Graz, Austria. Her parents were scientists whose work took them to different laboratories and universities in Europe during her childhood. Educated in French-speaking schools, Morath and her family relocated to Darmstadt in the 1930s, and then to Berlin.
Morath’s first encounter with avant-garde art was at the Entartete Kunst ("Degenerate Art") exhibition organized by the Nazi party in 1937, which sought to inflame public opinion against modern art. "I found a number of these paintings exciting and fell in love with Franz Marc’s Blue Horse," Morath later wrote. "Only negative comments were allowed, and thus began a long period of keeping silent and concealing thoughts."
After the Second World War, Morath worked as a translator and journalist. In 1948, she was hired by Warren Trabant for Heute, an illustrated magazine published by the US Information Agency in Munich. Morath had encountered photographer Ernst Haas in Vienna and brought his work to Trabant’s attention. Working together for Heute, Morath wrote articles to accompany Haas’ pictures. In 1949, Morath and Haas were invited by Robert Capa to join the newly-founded Magnum Photos in Paris, where she would work as an editor. Working with contact sheets by founding member Henri Cartier-Bresson fascinated Morath. She wrote, "I think that in studying his way of photographing I learned how to photograph myself before I ever took a camera into my hand." | | |
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| | | Just Me, Tanzania 2022 © Joachim Schmeisser | | | | | | | | ... until 25 March, 2023 | | | | | | | | | | | | | His very special view of the world, together with his deep interest in the things that move him, are what underlie the profound impact of the artistic work of Joachim Schmeisser. His photographs always possess a certain facet that is difficult to describe, transcending the familiar to make that which was once hidden visible and tangible for us as viewers.
Joachim Schmeisser became world famous for his iconic portraits of Africa’s endangered wildlife and received the prestigious Hasselblad Master Award for his work in 2012. Today his photographs are among the most sought-after works in this genre worldwide.
For him, animals are individuals and our equals. And that is how we feel when we see his images: we feel a strong, empathic connection with the animals. Their perspective merges with ours, and in them, we recognize ourselves.
Timelessness and intimacy are embedded in these photographs, recalling painter masterpieces of the past. The concept of the sublime becomes palpable here, as we are overcome by the realization that we are witnessing something magnificent, even sacred, unattainable, or infinite. We sense the sublime, for example, in the paintings of Caspar David Friedrich, in his Monk by the Sea – just as we do in Schmeisser’s photograph of a cheetah in a vast savannah landscape, watching the sunset. These works of art, and their phenomenal atmospheres of light and shadow, open up levels of sentiment that are hard to put into words, creating an element of the indescribable. | | |
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| | DAVE HEATH (1931-2016)
NY MoMA, 1966
© Dave Heath / courtesy Stephen Bulger Gallery & Howard Greenberg Gallery | | | | | | | | ... until 6 May 2023 | | | | | | | | | | | | | For its spring 2023 programme, Galerie Miranda is delighted to present an exhibition of vintage photographs by Dave Heath (1931-2016, US/Canada), the first European gallery exhibition of Dave Heath's work. Entitled Alone, together, the exhibition at Galerie Miranda presents emblematic works that express Heath's central themes of loneliness and alienation in modern society.
Influenced by W. Eugene Smith, in whose workshops he participated, as well as the photographers of the Chicago School including Aaron Siskind and Harry Callahan, Dave Heath worked mainly on the streets while living in Philadelphia, Chicago and New York, seeking to capture the fractures and growing unease in booming American post-war society, prior to the rise of the civil rights movement and opposition to the Vietnam War.
His seminal publication A Dialogue with Solitude was conceived in 1961 and finally published in 1965 after difficulty in finding a publisher, then reprinted in 2000 with a preface by Robert Frank. The book stunned with its emotional potency, thanks to Heath's sensitive translation of an intimate experience of the world, something lived and felt: tension in the city streets, between the constrained proximity of bodies and the isolation of individuals in the crowd, who fill his frame with their 'absent presence'. Heath photographed strangers of all class and generation; riding the train, watching other passers by or just staring pensively into the distance, lost in thought.
In his own words, Heath endeavoured to convey not a sense of futility and despair, but an acceptance of life's tragic aspects. He also captured glimmers of joy and tenderness that intersect the series like brilliant rays of sunshine.
The selection at Galerie M… | | |
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| | | | | | | Peter Moore, Solo for Dancer, 1963
Staatsgalerie Stuttgart, Graphische Sammlung, Archiv Sohm
© Staatsgalerie Stuttgart |
| | | | | | | | | | | | Thu 16 Mar 18:00
17 Mar – 9 Jul 2023 | | | | | |
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| | | | | | | | Kim Insook, from "Between Breads and Noodles" 2014 |
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| | | | | | | | Art Basel in Hong Kong 2018 © Art Basel |
| | | | | | | | | | | | Tue-Wed 21-22 Mar
23 – 25 Mar 2023 | | | | | |
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| | Jacquie Maria Wessels, Fringe Nature #10.1/2019 Amsterdam, the Netherlands, 2019
C-print, 120 x 120 cm, Edition of 7
Courtesy Galerie Baudelaire | | | | | | | | | | | | | 23 – 26 March 2023 | | | | 22 March 2023: PREVIEW ON INVITATION | | | | | | | | | | | | | MIA Fair – Milan Image Art Fair, the most important and renowned Italian exhibition entirely dedicated to the photographic image, conceived by Fabio Castelli and now in its 12th edition, is back from 23 to 26 March 2023.
For the third consecutive year, SUPERSTUDIO MAXI will host in Milan (via Moncucco 35) the stands of Italian and foreign exhibitors and the various initiatives offered by the exhibition.
For the first time after joining the group, MIA Fair is collaborating at the organizational level with Fiere di Parma and will be able to attract even more the interest and curiosity of collectors and international buyers, as well as involve galleries and partners in new areas, by presenting exclusive shows and events while strengthening the relationship with the city of Milan and with the international community of artists, curators, gallery owners, press and visitors.
100 exhibitors: more than 80 galleries, 30% of which from abroad, 16 special projects. | | |
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| | | | | | | | | | | | | | Thu 16 Mar
17 Mar – 9 Apr 2023 | | | | | |
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| | | | | | #2 collection Bruno Decharme | | | | | | | – 19 Mar 2023 | | | | | |
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| | | | | | IN OUR VEINS FLOW INK AND FIRE | | | | | | | – 10 Apr 2023 | | | | | |
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| | | | | | Thinking Historically in the Present | | | | | | | – 11 Jun 2023 | | | | | |
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© 15 Mar 2023 photography now UG (haftungsbeschränkt) i.G.
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photography-now.com . T +49.30.24 34 27 80 |
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