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| PHOTOGRAPHY INTERNATIONAL | | 23 – 30 March 2022 | |
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| | | | SPARK Art Fair Vienna is returning for the second time, opening the European art season on 24 March 2022. Its unique exhibition architecture includes ninety solo presentations, three curated sections, one is "Women Photographers in Focus" in cooperation with the FOTO WIEN - Festival. A mix of eighty Austrian and international galleries. |
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| | Katharina Sieverding
Stauffenberg-Block, 1969
Digitaldruck, 252 x 356 cm
© Katharina Sieverding, VG Bild-Kunst
© Foto: Klaus Mettig, VG Bild-Kunst | | | | | | | | | | | | | ... until 18 September 2022 | | |  | | | | | | | | | | "EUROPEAN TRAILS" presents European woman photographers as well as woman artists working with photography. Essentially, the exhibition is concerned with questions of origin, memory and identity. The own personal history and its transfer and artistic transcending into current social and political situations become a mirror of a general discussion about conditions of living and the balance of power between individuals as well as in society as a whole. With strong photographic images and installations, the exhibition presents works of outstanding contemporary women artists, whose conceptions are significant contributions to a contemporary debate in and about Europe.
The conception of the exhibition, as well as the selection of the works, took place long before the outbreak of the Russian war against Ukraine on 24th February 2022, which caused new, dramatic developments and movements of escape in Europe. It was not predictable that we are now forced to experience the exhibition’s context against such a background. | | |
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| | Candida Höfer
Beinecke Rare Book and Manuscript Library New Haven CT I 2002
© Candida Höfer / VG Bild-Kunst, Bonn 2022 | | | | | | | Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek | | | | | | | | 25 March – 28 August 2022 | | | | | | | | | | | | | Candida Höfer explores built spaces in her photography. Her world-famous interiors focus on libraries, museums, restaurants, theaters, and other public spaces, allowing us to experience architecture in a new way. In comparison with photographic interiors from the Kunstbibliothek's Photography Collection, which is over 150 years old, a dialogue develops between applied photography and artistic work.
With approximately 90 works, the exhibition at Berlin's Museum für Fotografie opens up a broad cross-section of Candida Höfer's photographs from 1980 to the immediate present. The long tradition of her architectural photographs, however, also extends deep into the classical canon of this field of work. In dialogue with pendants and counter-images from the Kunstbibliothek's Photography Collection, Höfer's particular approach to her pictorial motifs is revealed in a particularly impressive way.
Spaces with communicative functions are paradoxically shown without the people frequenting them: Candida Höfer demonstrates the qualities or deficiencies of the spaces that enable human exchange in terms of the architecture itself, in terms of the atmosphere she specifically captures in each case, in terms of the perspective and the framing she chooses. She does not focus on the thematic groups serially; the respective locations determine the image format as well as the size of the prints. Yet the compilation of the groups offers a variety of possibilities for comparison that impressively confirm the photographer's longstanding and sustained interest in the specific locations.
Some thematic groups exemplify the visually stimulating dialogue of the images: Facades, windows and doors open and close the … | | |
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| | | |  | | | "Philomachus pugnax"
aus der Serie "A worm crossed the street"
Naturhistorisches Museum Wien
© Nadja Bournonville, 2020 |
| | | | | | | | | | | | Fri 25 Mar 11:00
25 Mar – 29 May 2022 | | | | | |
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| | | |  | | | Angela Bröhan
Aus der Serie "Liaison und Pathos", 2021
Fine Art Pigmentprint 40 x 60 cm
Auflage 5 + 1 AP |
| | | | | | | | Fotografien von Angela Bröhan | | | Fri 25 Mar 18:00
25 Mar – 23 Apr 2022 | | | | | |
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| | | |  | | | Richard Mosse
Madonna and Child, 2012 aus der Serie Infra
Digitaler C-Print, 88,9 x 71,1 cm
Art Collection Deutsche Börse. Leihgabe der Deutsche Börse Photography Foundation
Courtesy of the artist, Jack Shainman Gallery, New York and carlier | gebauer, Berlin/Madrid |
| | | | | | | | | | | | Fri 25 Mar 19:00
26 Mar – 31 Jul 2022 | | | | | |
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| | Albarrán Cabrera, The Mouth of Krishna 639, 2019
Cyanotype on aluminium
17,5 × 25 cm, edition of 15
© Albarrán Cabrera, courtesy Galerie Esther Woerdehoff | | | | | | | | 24 March – 21 May, 2022 | | | | Opening: Thursday, 24 March, 6pm - 9pm | | | | | | | | | | | | | "Life passes at the speed of a bird's cry.
And then there is this hypnotic slowness of the clouds.
This open chest in the blue
and this snowy heart that offers itself to our heart."
– Christian Bobin, Un bruit de balançoire, 2017
For the spring season, the exhibition "Things Come Slowly" invites you to enter the meditative work of the Spanish duo Albarrán Cabrera. It is their first exhibition in the Geneva gallery.
In a form of apology for slowness, Angel Albarrán and Anna Cabrera question the limits of the photographic medium, while seeking to overcome them. Their work is placed under the sign of permanent metamorphosis and of a back and forth movement among the photographic techniques that make up its structure.
The artist duo first built their reputation with collectors around the world through the technique of pigment prints on Japanese gampi paper over gold leaf or the addition of mica and acrylics.
Alternative processes such as cyanotype and platinum-palladium or toned silver halide: this slow work has been progressively enriched by constant experimentation. It is in the intimacy of their studio that the photographic couple nourish their work with repeated gestures and that the magic works. The harmony at the heart of their creation extends into the images themselves. Turned towards contemplation, towards the vibration of the ephemeral, their photographs, of great aesthetic refinement, are encounters with the other side of the world.
This slowness of gaze, which is very much a part of Japanese culture, has an incantatory quality that creates the unusual atmosphere in which their images are bathed. In Japan, we are resigned because we know that time possessed us.
Text: Elisa Bernard | | |
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| | | |  | | | | © William Ropp |
| | | | | | | | | | | | Fri 25 Mar 19:00
25 Mar – 13 May 2022 | | | | | |
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| | | © Herbert W. Franke , Mondrian, 1979. | | | | | | | | 30 March – 12 June 2022 | | | | Opening reception: Tuesday 29 March 19:00 | | | | | | | | | | | | | On the occasion of the 95th birthday of the media art pioneer Herbert W. Franke, the Upper Austrian Landes-Kultur GmbH is honouring his life and extraordinary work with an exhibition. Herbert W. Franke is a pioneer in many worlds, a border crosser between art and science who made very early and decisive achievements in numerous disciplines. As a computer artist of the first hour, he first experimented with generative photography in 1952, but as early as 1954 he first used an analogue computer and then, from the 1960s onwards, the first mainframe computers for his abstract "algorithmic" art based on mathematical principles. In 1979 he was a co-founder of Ars Electronica and in the 2000s a mastermind of the metaverse, with his 3D world "Z-Galaxy", built and operated with Susanne Päch, an area of changing exhibitions on the internet platform Active Worlds.
Franke's writing career as well as his visual art work began at the end of the 1940s deep underground, in the caves of Europe. He explored numerous large caves in the Dachstein massif for the first time and remained internationally active into old age. As a theoretical physicist, he was not only concerned with the formation of dripstone caves, but also with questions of cybernetics and with processes of perception, which led to his rational theory of art. In addition to numerous technical and non-fiction books, he also wrote award-winning science fiction stories and novels.
His life and extensive oeuvre are based equally on the rationality of the researcher and the creativity of the artist. The exhibition Herbert W. Franke - Visionary is dedicated to this extraordinary bridge between art and science and the enormous power of imagination - from art to science fiction literature, from the beauty of mathematics to cave exploration. | | |
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| | | Gilles Peress, Whatever You Say, Say Nothing: from the chapter, The Last Night © Gilles Peress, Courtesy of artist | | | | | | | | | | | 25 March – 12 June 2022 | | | | | | | | | | | | | The four artists shortlisted for the Deutsche Börse Photography Foundation Prize 2022 are Deana Lawson, Gilles Peress, Jo Ractliffe and Anastasia Samoylova.
Originally established in 1996, the Deutsche Börse Photography Foundation has been awarding this long-standing and influential annual prize in partnership with The Photographers' Gallery in London since 2016. The prize identifies and rewards artists and projects considered to have made the most significant contribution to photography over the previous 12 months. Over its 26-year history, the prize has become renowned as one of the most important awards for photographers as well as a barometer of photographic development, foregrounding outstanding, innovative and thought-provoking work that pushes the boundaries of the medium and exemplifies its resonance and relevance as a cultural force.
This year's shortlist is no exception, with each artist offering very distinctive approaches to visual storytelling, while collectively tackling some of the most urgent issues facing us today. Despite the difference in perspectives (generational, geographical, racial, cultural) and artistic strategies, each of the shortlisted artists show an acute awareness of their present context, of the burden of history, the problematics of legacy and language (visual or otherwise) and a responsibility to address their own position in relation to their subject matter.
The exhibition of the shortlisted projects will be on show at The Photographers' Gallery, London from 25 March to 12 June 2022. The exhibition will then tr… | | |
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| | | Gabriela Gonzalez-Rubio: Absorbed, 2022 | | | | | | | | | | | | | 22 March – 30 July 2022 | | | | | | | | | | | | | From its inception, viewers have been fascinated by the seemingly tangible presence of the world as it is represented in the photographic image. Although we are very well aware of the many interventions photographers execute - framing, distance, lightening, focus, speed - to say nothing of intents to deceive via fraudulent manipulations, in our everyday life we are governed by the presumption that a photograph has a more privileged connection to what it represents than any drawing or painting could ever have. The mechanical origination process and the transparency of the medium bring about a phenomenological consciousness Roland Barthes has coined as "an illogical conjunction of the here-now and there-then". It is as if we could see through the photo and reach out to a slice of time and space that by definition lies in the past.
This dualistic tension between the simultaneous presence and absence of the object in its photographic representation has been scrutinised in a month-long workshop of the photography master class of "Raffles - Istituto Moda e Design" under the supervision of Matthias Harder and Eric Aichinger. The seven students Alessandro De Benedetti, Isolda Fabregat, Gabriela Gonzalez- Rubio, Giulia Lippens, Yulia Potatueva, Stefanos Stefanou, Elisa Turri have now produced an exhibition in the lobby of the private design college. The many-faceted results range from multimedia installations to "pure" photography, from quiet tableaus to autobiographical collages which all speak of a dualism that is occasionally blurred or even cancelled. | | |
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| | | |  | | | | © David Wojnarowicz. |
| | | | | | | | The David Wojnarowicz Correspondence with Jean Pierre Delage, 1979-1982 | | | 25 Mar – 23 Apr 2022 | | | | | |
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| | | © Merry Alpern © Harry Gruyaert | | | | | | | | | | | ... until 30 April 2022 | | | | | | | | | | | | | The spring 2022 exhibition at Galerie Miranda brings together two cult and pioneering photographic series, Dirty Windows by Merry Alpern and TV Shots by Harry Gruyaert, in a reflection on the convergence since the 1960s of real life with screen life and on the commoditisation of the human experience.
In the winter of 1993, photographer Merry Alpern visited a friend’s New York loft, situated in the Wall Street district. He led her to a back room and from his window, one floor below, she could see a tiny bathroom window from which pounded the heavy bass of nightclub music. She realized that she was looking into the bathroom of an illegal lap-dance club, where "stock-brokers and other well-to-do businessmen handed over hundreds of dollars and drugs to women in G-strings and black lace." Transfixed by the spectacle, the artist started taking pictures of what she saw, using a fast black and white film that gave the photos a peep-show quality. In 1994 she submitted the series to the NEA (National Endowment for the Arts) only to find her work, along with that of co-candidates Andres Serrano, and Barbara DeGenevieve, rejected and vilified by conservatives who sought to undermine the NEA, creating a huge debate that paradoxically served to promote the series.
Acquired by major museums worldwide, the series has since become a reference point for exhibitions on female exploitation, surveillance, censorship and the female gaze. In 1999, following the Dirty Windows series, Merry Alpern produced the series Shopping whereby, equipped with a tiny surveillance camera and a video camcorder hidden in her discreetly perforated purse, Alpern wandered through department stores, malls, and fitting rooms, capturin… | | |
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| | | |  | | | | © Hitomi Watanabe |
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| | | |  | | | | © Jana Shostak |
| | | | 2ND PHOTOGRAPHY SALON | | | | | | | 23 Mar – 30 Apr 2022 | | | | | |
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| | Nan Goldin, Suzanne on her bed, The Bowery NY, 1983
Cibachrome Print 65 x 96 cm
AP 4, Edition of 25 + AP
Signed, dated and captioned by photographer verso | | | | | | | Bedtime Stories in Photography | | | | | | | | ... until 9 April 2022 | | | | | | | | | | | | | A place of retreat and sleep, a place of love, intimacy and lust, a land of dreams, a scene of birth, but also of illness and death - the bed has a multifaceted role in our lives and is thus one of the most frequently portrayed objects in art. It is an intimate place; a place where we feel at ease; a place where many things are experienced. The exhibition at Fabian & Claude Walter Galerie explores this place as a central motif in photography. However, the exhibition goes beyond the mere pictorial presentation of the bed and addresses the stories behind the individual works and photographed beds. The works represented in the exhibition range from photographs that observe the object of the bed in a distant manner through their documentary character to works that reveal an almost uncomfortable closeness to the beds of the protagonists. Equally diverse are the associated bed stories that reflect the background of the individual photographs.
The bed as a central theme was taken up by Henry Peach Robinson in his photographic work Fading Away as early as 1858. The historical photograph, which portrays a dying girl and her family, shocked viewers at the time with its directness. Although it is known that the photograph was posed, we are still struck by the discomfort of observing the situation at close range. We are in the immediate vicinity of the events, and while looking at the photographs, we cannot shake off the feeling that we are disturbing these familiar moments with our presence. Whether it is a sickbed, a birthing bed, a marriage bed or even an empty bed rarely matters, because the bed of a person unknown to us always possesses an unusual intimacy. Since then, a variety of beds have shaped the history of photography. Douglas Kirkland's photographs… | | |
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 | Fairs |
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| | | | | | Sektion FOTOGRAFIE | | | | | | | Thu 24 Mar
25 – 27 Mar 2022 | | | | | |
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| Festivals |
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| Upcoming |
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| | | | | | Denmark, Estonia, Finland, Iceland, Norway, Sweden | | | | | | | 24 Mar – 19 Jun 2022 | | | | | |
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| Current |
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| | | | | | Butterflies Frolicking on the Mud: Engendering Sensible Capital | | | | | | | – 31 Mar 2022 | | | | | |
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| | | |  | | | | House of Summer, 2009 © Kim Jungman |
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| | | | | | First edition of Jeu de Paume festival: exhibition, performance, film | | | | | | | – 22 May 2022 | | | | | |
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| | | |  | | | | Pixy Liao, Red Nails, aus der Serie / from the series: For Your Eyes Only, seit 2012 © Pixy Liao |
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© 23 March 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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