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| PHOTOGRAPHY INTERNATIONAL | | 23 Feb – 2 Mar 2022 | |
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| | | | ARCOmadrid, Spain’s international contemporary art fair, since 1982, has been one of the main art market platforms and an essential piece in the international art circuit. From 23 to 27 February 2022 more than 500 photographic artworks are exhibiting: arco-exhibitions.ifema.es » |
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| | WORN AND DISCARDED #2, #1, #4 (VRIJ NEDERLAND MAGAZINE), 2013
Edition of 8 plus 1 AP | | | | | | | | ... until 5 March, 2022 | | | | | | | | | | | | | | A Stain in a Rug was MacGuffin magazine’s commission, but Scheltens & Abbenes decided to approach the theme from another angle. From a local thrift shop the artists borrowed worn-out carpets and with large sweeping gestures they tried to remove the hideous stains they carried. The soap splashes not merely freshened up some colour patches, but also caused surprising new patterns. The fleeting moments were caught by the camera’s eye and the photos featured in MacGuffin’s Nº 9 issue. While being happy with the series of revived rugs, Maurice Scheltens and Liesbeth Abbenes felt the photos deserved yet another context. For their show at The Ravestijn Gallery, the photos gain a next life, this time by returning to the rugs’ three-dimensionality. The original photos, the size of which had been limited by the dimensions of the magazine, are now blown up to a considerable magnitude and encased in somewhat smaller Plexiglas boxes. As a result, the heavy prints lean against the back and slightly curl up at the bottom. A three-dimensional reality, a doubling of the illusion - Soap (MacGuffin magazine, 2021) has become Whiff. | | |
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| | | | © Ingar Krauss: untitled (Hannah) Zechin, 2003
Analogue gelatin silver print | Ingar Krauss: untitled (Die Solitären #01), 2018
Analogue gelatin silver print |
| | | | | | The Hard Core of Beauty* | | | | 1 March – 14 May 2022 | | | | Opening: Saturday, 26 February 2022, 1 – 6 p.m. | | | | | | | | | | | | | The exhibition shows photographs by Ingar Krauss that trace the development and recurrence of nature as a theme in his work – from early portraits to his latest serial works. His pictures reflect a realism that is magical in a natural way: as a perception of the poetic, the surreal and sometimes the uncanny in everyday life. An intensive experience of nature as well as animals and plants, their becoming and passing in a seasonal cycle, play an important role in this.
Krauss works solely with analogue equipment and preferably in black and white, i.e. in the darkroom. No computer is used in his image production and if he processes images he does by hand, with a paintbrush and varnish.
His genres are the classics of painting: portrait, still life and landscape. The photographer comes closest to painting with his still lifes and yet this series touches on fundamental questions of the photographic medium. Its depth, colour and consistency in the composition of the image reflect the first decade of the medium in the 19th century while at the same timing being of great clarity and rich in allusion. Krauss finds his motifs in the rural surroundings of his studio. He builds stage-like boxes of different sizes for them and allows the fruits, plants and also animals to appear in them in a natural, virtually metaphysical light. Measured in terms of their presence, the pictures could also be seen as portraits of these things of nature that, being freed and eliminating of time to the same extent, become symbols of transience. One sees in them the slow development process: Krauss is a master of materiality.
Ingar Krauss was born in East Berlin in 1965. He lives and works in Berlin and Oderbruch. He has been involved in numerous inte… | | |
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| | | | | | | | Petra Gerwers: aus der Serie "Time Travelers" |
| | | | | | | | | | | | Wed 23 Feb 19:00
24 Feb – 3 Mar 2022 | | | | | |
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| | | | © Ruth Ossai, London, 2017
from The New Black Vanguard (Aperture, 2019) | © Tyler Mitchell, Untitled (Hijab Couture), New York, 2019
from The New Black Vanguard (Aperture, 2019) |
| | | THE NEW BLACK VANGUARD | | | | Photography Between Art and Fashion | | | | | | | | | | | | | | | | | | | | | | | | ECAL - SMELLS LIKE QUEER SPIRIT | | | | l’ECAL/Ecole cantonale d’art de Lausanne dans le cadre du Bachelor Photographie. | | | | ... until 24 April 2022 | | | | | | | | | | | | | Through four exhibitions, the MBAL examines the themes of the fluidity of bodies, identities and nature. It brings together a range of outstanding artists from Switzerland, the United States, South Africa, Nigeria and Ethiopia.
GUIDED TOURS: Sundays 6 and 20 March*, and 10 and 24 April at 2.30 pm
LA GRANDE TABLE: Sunday 10 April at 11 am
Digital art, artists, galleries, institutions, art collectors, art historians, what are we talking about?
The MBAL invites several specialists for a discussion.
MEETING WITH THE ARTISTS: Sunday 10 April at 1pm:
Tour of the exhibitions with the artists and signing of the book by Namsa Leuba. | | |
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| | | | René Groebli
Landdienst, #1428, 1946
Vintage gelatin silver print, 30 x 40 cm | René Groebli
KNIE, #616, 1948
Vintage gelatin silver print, 30 x 40 cm |
| | | | | | | | 24 February – 23 April 2022 | | | | Vernissage: Wednesday, 30 March, in presence of the artist | | | | | | | | | | | | | René Groebli, born in 1927 in Zurich, belongs to a generation of Swiss photographers who, after the Second World War, left their mark on the history of 20th century photography. As a student of Hans Finsler in the famous photography class at the Zurich School of Art, which was also attended by Robert Franck, Werner Bischof and René Burri, he freed himself from the research of the new objectivity of the 1920s.
The young photographer made his mark by creating images rather than taking them, and by placing as much emphasis on emotion as on information. A photographer who dissociated himself from professional classifications, René Groebli left photojournalism at the age of 26 and distinguished himself by a personal style of writing in perpetual movement.
The photographer made his mark in 1949 with the series "La Magie du Rail", a black and white railway adventure. Placed in the locomotive, he records with masterly poetry the mechanical odyssey of the steam engine; what he creates at the age of 24 is a cinematographic narrative that imposes the rhythm of another era, the movement takes time, the landscape scrolls to the rhythm of the sleepers and the stone tunnels that mark out the course of the train.
In these images, the whistling and the noise, we feel the steam, the smoke, the heat, the whole soul of train travel. This accurate and poetic view was exalted by René Groebli in 1953 in "L'Œil de l'Amour". In his photographs he conveys the sensual and amorous feelings of the honeymoon in Paris with his wife Rita. It is probably one of the most beautiful declarations of love in the history of photography, created almost twenty years before Nobuyoshi Araki's "Sentimental Jour… | | |
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| | | | | | | Teresa Hubbard / Alexander Birchler
Gregor's Room III, 1999
Staatsgalerie Stuttgart, Graphische Sammlung
© Teresa Hubbard / Alexander Birchler
Courtesy: Tanya Bonakdar Gallery, New York /
Los Angeles and Lora Reynolds Gallery, Austin |
| | | | | | | | Photography - An Experience of Space | | | | | | | 25 Feb – 19 Jun 2022 | | | | | |
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| | Frida Orupabo, Omega, 2021
Installation photo Kunsthall Trondheim: Susann Jamtøy
© Frida Orupabo and Galerie Nordenhake Berlin, Stockholm, Mexico City | | | | | | I have seen a million pictures of my face and still I have no idea | | | | 26 February – 29 May 2022 | | | Opening: Friday, 25 February, 6pm
Artist Talk with Frida Orupabo: Saturday, 26 February 2022, 11–12pm | | | | | | | | | | | | | Norwegian Nigerian artist and sociologist Frida Orupabo (*1986) creates analogue and digital black-and-white collages and video installations from visual material circulating online. From photographs from the colonial era as well as from contemporary imagery, from ethnography, medicine and science to art and pop culture, Orupabo dissects representations of the Black, mostly female body as a means to negotiate themes of colonial violence, racism, sexuality, identity and belonging. In rearranging and newly reassembling the dissected fragments, Orupabo creates figures of resistance that challenge how and what we see in a present-day reality that remains permeated by colonialism.
Orupabo’s exploration of personal and cultural belonging is the starting point for her delicate, sculptural collages and video works. In order to write herself into the (hi)stories that leave Black women invisible or twist the images she cannot recognise herself in, Orupabo dismembers images of Black bodies before reassembling them layer by layer. Processes of objectification, fixation and ‘othering’ are deconstructed, exposing, in a discomforting and disturbing way, how photography significantly contributes to the formation and perpetuation of colonial power relations and violence.
'I am interested in what we see and how we see. I engage with images from colonial archives and with collage as a medium to explore what they can do in terms of breaking things up, recreating and questioning.'
Frida Orupabo
Orupabo started posting on the social media platform Instagram, on which the nine-part video installation shown in the exhibition is based, nearly a decade ago. Using it as an ordering system, a form of expression and a personal archive, she also ventured… | | |
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| | Mickalene Thomas, Untitled #2 (Orlando Series), 2019
© Mickalene Thomas and Yancey Richardson Gallery, New York | | | ORLANDO | | | | BASED ON A NOVEL BY VIRGINIA WOOLF | | | | | | | 26 February – 29 May 2022 | | | | Opening: Friday, 25 February, 6pm | | | | | | | | | | | | | The 1928 novel Orlando tells the story of a young nobleman in the age of Queen Elizabeth I who lives for centuries without ageing and has the mysterious ability to switch gender. In 1992, film-maker Sally Potter devised what has become a classic adaptation of the book with actress Tilda Swinton in the title role. ‘I see Orlando as a story about the life and development of a human striving to become liberated entirely from the constructs of prescriptive gender or social norms of any kind,’ Tilda Swinton says of Woolf’s story.
In the dual role of guest editor and curator, Swinton took up the central concerns of the novel in a special issue she devised for the magazine Aperture and in an accompanying exhibition: gender fluidity, the idea of boundless consciousness and the prospect of eternal life. Her concept brings together the work of eleven artists – a combination of established contemporary positions and images by photographers who have yet to be discovered. The exhibition also includes an introduction developed by Fotomuseum Winterthur introducing the writer Virginia Woolf and film-maker Sally Potter.
The works – some of them conceived especially for the exhibition – challenge dominant power relations and structures as well as heteronormative ideas and the white male gaze. They examine the construction of identity and the representation of marginalised communities and alternative life plans. The works do not confine themselves to questions of gender; they are a celebration of creativity, openness, curiosity and the diversity of human existence. The exhibition thus plugs into current sociopolitical debates, while providing insight into a wide range of artistic approaches.
The exhibition … | | |
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| | rising seas (2021)
132 x 202 cm, edition of 6
© Michael Najjar
Galería Juan Silió, Booth: 9A22 | | | | | | | | | | | | | 23 – 27 February 2022 | | | | | | | | | | | | | ARCOmadrid is Spain’s international contemporary art fair which, since 1982, has been one of the main art market platforms and an essential piece in the international circuit dedicated to the promotion and diffusion of artistic creation.
Galería Juan Silió proudly presents work from Michael Najjar's latest series "cool earth". The series deals with our planetary future in times of climate change. It addresses the far-reaching ecological, economic and cultural impact of human-induced climate change which is leading to a redefinition of the relationship between humans and nature. The crisis in the human-nature relationship is existential and influences all areas of human life on our planet. Accelerating climate change is not only a political issue but also an economic, cultural and technological one. | | |
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| | Lot 434
Michael WOLF, Tokyo Compression.
Reunion of the 3 volumes in original edition, with 5 original prints in all.
Estimate €1,500 -2,000 | | | BOOKS & MANUSCRIPTS | | | | Including the Monsieur X Collection | | | | | | | Auction: Tuesday, 8 March 2022, 10am and 2pm | | | Online catalogue : here
Public exhibition in Paris : 3rd - 5th March, 11am-6pm; 7th March, 11am-1pm
Contact : Frédéric Harnisch, +33 1 42 99 16 49, fharnisch@artcurial.com | | | | | | | | | | | | | | | Artcurial's Book auction on March 8th will offer the public a significant collection of photographers' books, in original or luxury editions, with original signed prints.
Alongside the great names of 20th century photography, such as Willy Ronis (no. 417), Brassaï (no. 346) and Lucien Clergue (no. 360), a panorama of contemporary photography from around the world will be on display, with artists such as Sophie Calle (no. 348 to 357), Georges Rousse (nos. 418-421), as well as Elliott Erwitt (no. 369), Max Pam (nos. 403-406), Michael Wolf (no. 434), Liu Bolin (no. 340), Martin Parr (nos. 408-409) and Lin Zhipeng (nos. 437-438).
In addition to these books coming from the collection of Mr X., the sale also features Helmut Newton's Sumo in its original edition. | | |
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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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| | | | African Photobook of the Year | | | | Call for Entries: until 1 March, 2022 | | | The prize will apply to a book published between January 1, 2019 and January 1, 2022.
www.eigerfoundation.org | | | | | | | | | | | | | Initiated by the EIGER FOUNDATION in September 2021, the EIGER FOUNDATION African Photobook of the Year Awards celebrates the photobook’s contribution to the evolving narrative of photography, with a focus on the African continent.
1. Conditions for Entry
* The EIGER FOUNDATION African Photobook of the Year Award distingues a book in which the dominant content is photography, featuring the work of one or more photographer(s). The book must be produced in physical form.
* Books must be produced or published between January 1, 2019, and January 1, 2022.
* Entries for either award may only be submitted by the photographer, the publisher, or a third party acting with the consent of the photographer.
* Books must be by an African photographer or a publisher established on the African continent.
* Books on an African theme by non-African photographers or non-African publishers are also admitted.
* Exhibition catalogues or museum publications, as well as text-only publications, are not eligible.
* The book may be comprised of photographs of any genre or topic.
2. How to Enter
You can generate your submission here before March, 1, 2022.
Please note that you will need to provide the following information on the submittable entry form:
* Book title, year of publication, and publisher information
* Book blurb, a short description/summary of the book
* The photographer or author’s name
* Book dimensions, number of pages
* Distribution information
* An image or render of the book cover (JPG file)
* A digital copy of your book in PDF format
There is no fee for the entry for the Eiger Foundation Book Awards.
By submitting your work to the EIGER Foundation African Photobook of the Year Awards, you are found to be in agreement of the terms and conditions. | | |
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| | August Sander: Zirkusartisten, 1926–1932
© Die Photographische Sammlung/SK Stiftung Kultur August Sander Archiv, Köln
VG Bild-Kunst, Bonn, 2021 | | | August Sander Award - Prize for Portrait Photography 2022 | | | | Open for artists up to 40 years old | | | | Deadline: 25 February 2022 | | | | Application: here | | | | | | | | | | | | | The August Sander Prize for portrait photography, donated by Ulla Bartenbach and Prof. Dr. Kurt Bartenbach, will be awarded for the third time in 2022 in cooperation with Die Photographische Sammlung/SK Stiftung Kultur, Cologne.
The idea behind the award is to promote young contemporary artistic approaches in the sense of objective and conceptual photography. Against the background of August Sander's important portrait photographs, the photographic works of the applicants should primarily relate to the theme of the human portrait. The prize is awarded every two years. Eligible are national and international artists up to and including the age of 40 with a focus on photography. The prize is endowed with 5,000 €. In addition, the Photographische Sammlung/SK Stiftung Kultur will organize an exhibition of the award winner's work, if possible and by individual agreement.
A series of no more than 20 photographs that has already been largely developed is suitable for submission. Only works that follow a thematically bound image group or sequence will be evaluated; individual images will not be considered. The works submitted should not have won a prize in other competitions.
The jury is composed of five members Albrecht Fuchs, artist, Cologne; Dr. Roland Augustin, Saarlandmuseum/Moderne Galerie, Saarbrücken; Prof. Dr. Ursula Frohne, art historian, Westfälische Wilhelms-Universität, Münster; Dr. Anja Bartenbach, donor family, Cologne; Gabriele Conrath-Scholl, director, Die Photographische Sammlung/SK Stiftung Kultur, Cologne.
A shortlist will be published at the end of March 2022. The winner, resulting from the shortlist, will be announced at the end of April 2022.
The award ceremony will take place in September 2022 at Die Photographische Sammlung/SK Stiftung Kultur in a festive setting in Cologne.
The deadline for entries is February 25, 2022.
The detailed call for entries can be downloaded here | | |
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© 23 February 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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