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| PHOTOGRAPHY INTERNATIONAL | | 25 Jan - 1 Feb 2023 | |
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| | The Centre for British Photography will open in London on Thursday 26 January 2023 with two lead exhibitions and five 'in focus' displays across three floors. The new Centre will champion work by contemporary photographic artists living and working in the UK, as well as show photographs from the world-renowned Hyman Collection.
Entry to the Centre is FREE and there will be a programme of talks and events running alongside the exhibitions, which run until 30 April.
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| | | South Africa, 1960s © Ernest Cole / Magnum Photos | | | | | | | | 27 January – 14 June 2023 | | | | Opening on Thursday 26 January 2023 from 17.30 - 21.00 hrs. | | |  | | | | | | | | | | Foam proudly presents the first overview of the work of South African photographer Ernest Cole. The exhibition includes parts of his archive, which had long been considered lost. The overview was assembled in collaboration with the Ernest Cole Family Trust, which in 2017 secured control of Cole’s archive. Cole is celebrated for his tireless documentation of Black lives in South Africa under apartheid: a regime of institutionalised racial segregation that was in effect from 1948 to the early 1990s.
As one of the first Black freelance photographers, Cole offered with his work an unprecedented view from the inside. Born in a township, Cole experienced the strains of apartheid first-hand. By having himself reclassified from ‘black’ to ‘coloured’, he managed to access places where most South Africans were banned. He risked his life exposing the grim reality of racial segregation, by documenting miners inside the mines, police controls and the demolition of townships, among others.
Cole lived a nomadic life, exiled from his native South Africa for his photographic publication House of Bondage (1967). The chapters from this book form the narrative for this exhibition. The book openly denounced the apartheid regime and was promptly banned in South Africa. In risk of arrest, Cole had gone into exile in 1966. He would never return to South Africa again. | | |
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| | | |  | | | | Jewish cemeterie Lwiw 2019 © Marcel-Th. Jacobs |
| | | | | | | | Jewish cemeteries in the Central European cultural area | | | Thu 26 Jan 19:00
27 Jan – 26 Feb 2023 | | | | | |
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| | | Felix Ansmann & Kani Lent, Lament, Detail, 2022, Video-Still © Felix Ansmann & Kani Lent | | | SEEN BY #18: Let’s See What We Find | | | | | | | ... until 29 January 2023 | | | | | | | | | | | | | The exhibition series "Seen by" is a co-curatorial lab project set up in the Museum für Fotografie as a way of devising innovative curatorial and artistic strategies in art photography.
The project will work with two strategies: either UdK staff select works for the exhibition, or curators prepare the exhibition with workshops, in which students develop a common concept. This not only establishes a new form of teaching, but also results in the productive intermeshing of the artistic work processes, which can subsequently take expression in very different forms of 'publications': ranging from exhibitions and performances to readings and lectures. | | |
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| | | Antje Damm, Sendlinger-Tor-Platz in München aus der Vogelschau mit Ameise, 2014 (Detail) © Klaus Leidorf / Antje Damm |
| | | | | | | Photography for Children | | | | | | | | ... until 19 February 2023 | | | | | | | | | | | | | For the first time, the Museum für Fotografie in Berlin is opening its doors primarily to children. The show focuses on the concrete-sensual materiality of original photographs and complements them with a selection of prints, drawings, sculptures, and films. The colorful mix of around 240 works illustrates the uses, forms of design, and expressions of photography from its beginnings to the present.
Ten associatively grouped chapters offer a wealth of images and photographic stories. They include episodes about finding, collecting and photographic storytelling; about reading numbers, letters or clouds as well as about discoveries in everyday life, at school and on trips. Photographs of animals and nature can be found in them, memories of families and friendship, but also automaton portraits and photographic games of color, light, mirror and material. The exhibition spans the spectrum from the snapshot to the classic advertising shot from the professional studio and the socially committed photo reportage to artistic forms of design and concepts. These include Pictorialism around 1900, the New Vision of the 1920s, or photographic art, mail art, and positions of staged photography. | | |
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| | | | | | | | | | | | | archipel_0 Photo Brussels Festival | | 27 Jan – 19 Mar 2023 | | | | | | | |
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| | Pink Mattress, From the series The Tourist, 2019-2020
© Kourtney Roy, courtesy Project 2.0/Gallery, The Hague | | | | | | | PhotoBrussels Festival 07 | | | | | | | | 27 January – 25 March 2023 | | | | Opening: Thursday 26 January 17:00 | | | | | | | | | | | | | After 'In the Shadow of trees' in 2021, 'Mirror of self' is the 7th thematic exhibition created by Hangar within the framework of PhotoBrussels Festival.
The exhibition consists of both selected artists (17 of them) and winners of a call for projects (6 of them).
23 artists are exhibited at Hangar on the theme of self-portrait. Among them, 8 are under 30 years old.
What is the current standing of the self-portrait in the world of contemporary photography? In the realm of selfies, what does the artistic practice of self-portrait still hold? Through various projects and artistic approaches, ‘Mirror of Self’ questions the representation of the self, whether in a quest for identity, a relationship with one's environment, with others or with oneself. | | |
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| | | Dublin Bus 1989 © Tony O’Shea | | | | | | | | ... until 18 February 2023 | | | | | | | | | | | | | Photo Museum Ireland is delighted to present The Light of Day - the first retrospective exhibition of acclaimed Irish artist Tony O’Shea. A legendary figure in the context of Irish photography, O’Shea’s work occupies a pivotal role in the history of documentary practice in Ireland. Curated and produced by Photo Museum Ireland, this retrospective exhibition brings together for the first time his seminal bodies of work - The Hill, Dubliners , Bird Men, Turkey Markets, Drag Hunts, Border Roads, Ways of the Cross, Italia 90 and Never Forget series together with his more personal images of his late father.
O’Shea combines the approach of a poetic European documentary tradition – an empathetic, if at times almost Beckettian sense of the absurd – with an anthropologist’s eye for social realities. In these hard-hitting, eloquent pictures he has captured the many complexities of a country undergoing profound change, at the same time, securing for himself a key place in the canon of Irish photography.
"A retrospective book of his life’s work to date, The Light of Day, is full of natural wonders and human struggles that surface from the borderlands during the Troubles and in the rituals and recreation of his city. Each image wants to be a short story."- The Irish Times, 2020
Born in 1947, Tony O’Shea was born in County Kerry. He studied English and Philosophy at University College Dublin and towards the end of the 1970s became increasingly interested in photography. By 1981 he had begun working full-time as a photographer with In Dublin magazine and later for the Sunday Business Post. His first book Dubliners, including a text by Colm Tóibín was published by Macdonald Illustrated in 1996. Tony has worked as an independent photographer for more than 40 years and has documented many key events in Ireland’s social and political history. Beginning in 2017 Photo Museum Ireland undertook the work of digitising O’Shea’s extensive archive. As a result of this, a major retrospective titled The Light of Day was co-published by RRB Books and Photo Museum Ireland in 2020. | | |
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| | | Griet Van Malderen, The Ambo Crossing, Kenya 2022 | | | | | | | | January 29 - March 31, 2023 | | | | Opening on January 28, 5 - 9pm | | | | | | | | | | | | | This exhibition will feature a selection of recent photographs by belgian wildlife Griet Van Malderen on themes such as wild Africa and the iconic Churchill polar bears. In addition, part of the exhibition will be devoted to photographs of young animals. Photography enthusiasts will be able to discover large prints, panoramic formats and a selection of collodion prints. Griet Van Malderen also creates spectacular series using the wet collodion process. This gives the photographs a timeless and nostalgic quality and, depending on the exposure and the light, the subject appears to be alive.
A field principally dominated by men, it is rare to find a female photographer equipped with her cameras and lenses in the African bush! Consequently, Griet Van Malderen is the exception to the rule. This Belgian from Flanders did not follow any theoretical courses in photography. Her talent was born the day she first set foot in South Africa those many years ago. Since then, her work has exponentially improved as she consistently strives to surpass herself whilst at the same time respecting her subjects. Alongside her work, she has been a strong advocate for wildlife conservation and the environment at a moment when the devastating consequences of climate change are most apparent. | | |
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| | Paul Mpagi Sepuya: Model Study (0X5A6854), 2022 // Daylight Studio (0X5A4577), 2022
Courtesy the artist and Galerie Peter Kilchmann, Zurich / Paris © Paul Mpagi Sepuya | | | | | | | | ... until 26 Februar 2023 | | | | | | | | | | | | | For his upcoming exhibition, Paul Mpagi Sepuya will present new works from his ongoing series "Daylight Studio, Dark Room Studio" for the first time at PHOXXI, the temporary House of Photography at Deichtorhallen Hamburg.
Sepuya (*1982 in San Bernardino, California, USA) is a photographic artist whose projects weave together histories and spaces of possibility of the portrait, queer and homoerotic networks of production and collaboration, and the material and conceptual potential of "blackness" at the heart of the medium. Using collage techniques, layering, fragmentation and mirroring, SEPUYA explores the complexity of photographic production. In doing so, the relationship between artist and sitter is renegotiated and placed at the centre of the art-making process.
From the early photographs taken in his bedroom to the most recent series produced in the photographer's studio, Sepuya questions the essence of the studio space and expands the definition of what that space has been and what it could be. Conceptual and aesthetic devices of 19th century studio photography are reinvented to illuminate contemporary issues of portraiture.
Paul Mpagi Sepuya graduated with a BFA from New York University's Tisch School of the Arts in 2004, and with an MFA from UCLA in 2016. He is Associate Professor of Visual Arts at the University of California, San Diego. | | |
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| | Alix Marie: Styx - The Goddess, 2021
© Alix Marie | | | | | | | | ... until 26 Februar 2023 | | | | | | | | | | | | | French artist Alix Marie's latest work "Styx" will be presented at PHOXXI, the temporary House of Photography at Deichtorhallen Hamburg, from 25 November. The artist Alix Marie (*1989 in Paris, France) works in the media of photography, sculpture and installation. In London, she studied at Central Saint Martins College and the Royal College of Art and was a resident at the Victoria and Albert Museum. She is interested in photography as an object and in its potential of materiality and three-dimensionality. In the gallery of PHOXXI, Marie will present the immersive installation "Styx". In her latest work, the French artist uses the myth of Styx to explore the intersection between the body and its representation and experiments with the expanded possibilities of photography.
In Greek mythology, Styx is an oceanid, a deity and a river that forms the boundary between the earth and the afterlife. She is the daughter of darkness and night and the mother of strength and victory. In this exhibition, the deity appears in two forms: First, as an immersive labyrinth installation that explores the hollow spaces of the body and the ambiguous duality of inner and outer space and protective environments. | | |
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| | | Kurt Buchwald: "End of History," aus der Serie "Bilder+Blenden", Berlin 1994 | | | | | | | | 1 February – 30 April 2023 | | | | Opening: Tuesday 31 January 19:00 | | | | | | | | | | | | | Before the fall of the Berlin Wall, there was no artist in East Germany who used photography to conduct a more provocative and extensive media, political, and ego exploration. From the very beginning, media and cultural self-doubt is palpable in Kurt Buchwald's work. He did not consider either photography itself or the GDR as a state entity to be enlightened marvels - but neither did he consider Western capitalism, as he tried to make clear immediately after the fall of the Wall. Interpreting life as a civilizational misfortune and defending himself against it with the camera is what drives him to this day.
The documentary and the intervention, two approaches with which he catapults himself into the picture, belong together in this artist's work, indeed they condition each other. Without the authenticated certainty of the factual, his art would lack the challenge; without the formalistic and serial that is inherent in Buchwald's world of images and thoughts, the poetological and stylistic link would be missing.
Kurt Buchwald is a disputatious image and action artist, a specialist in perception and an experimental image disruptor. | | |
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| | | | | | | | | | | | | Fragments of Epic Memory more than 100 photographs from the Art Gallery of Toronto’s Montgomery Collection of Caribbean Photographs | | 28 Jan – 9 Jul 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 23 April 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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| | Jean-François Bouchard, Tree of Life (2022),
Archival Pigment Ink, 54 x 36 in. | | | | | | | | 26 January – 11 March 2023 | | | | | | | | | | | | | | For this new body of work, the Canadian artist documented a squatters' camp in California. Driven by homelessness, drug addiction or libertarianism, some Americans choose to reject modern society - Babylon as they call it - to form unlikely communities of squatters and wanderers seeking collective refuge. On a decommissioned military base in the desert, the community photographed by Bouchard lives without any form of local government and without any basic services such as running water, electricity, or garbage removal. On inhospitable grounds, they established themselves in shanties, makeshift tents, shipping containers, crumbling recreational vehicles, and even dens dug into the ground. | | |
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| | TANYA MARCUSE
(left) Elements from a Garniture, 1582, German Metropolitan Museum of Art, New York, USA
(right) Chastity Belt, Higgins Armory Museum, Worcester, Massachusetts, USA
Archival pigment print
14x11 inch / 35x28 cm | | | | | | | | ... until 18 February 2023 | | | | | | | | | | | | | | The artist anchors the project in typological foundations, formally expressed with highly precise yet sensual black & white pigment prints. The complete series of Undergarments & Armor was first exhibited in Northern Ireland at Belfast Exposed gallery. The series has also featured at the triennial of photography and video called Dress Codes at the International Center for Photography (New York) and in Love and War at the Museum of the Fashion Institute of Technology (New York). A lavish 3-volume slipcased monograph of the series was published by Nazraeli Press in 2005 with an essay by Valerie Steele, chief curator and acting director of The Museum at the Fashion Institute of Technology. | | |
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| | Sarah Charlesworth
Levitating Woman, 1992-93
Cibachrome print with lacquered wood frame, edition of 6 +2 APs
43 1/2 × 53 1/4 x 1 1/8 inches
Courtesy of Paula Cooper Gallery, New York
© The Estate of Sarah Charlesworth | | | | | | | Photography’s Moment | | | | | | | | ... until 5 March 2023 | | | | | | | | | | | | | In a major survey exhibition, Nassau County Museum of Art presents masterpieces from 100 years of photography history. It spans the medium’s historical roots (Ansel Adams and his generation) to the large-scale color works of major contemporary artists. From the documentary to the painterly, the assembled images bear witness to the times and multiple genres through portraiture, landscape, science and photojournalism.
The rise of photography in the art world is an international phenomenon. The many facets of photography as a medium are brought together in this museum presentation of considerable range and diversity. Drawing on major private and public collections as well as gallery holdings, the exhibition covers the medium's historic breakthroughs, from its beginnings in black and white to its explosion onto the contemporary art scene with large-scale color works.
Photography is accessible: anyone with a smartphone has access to its creative and documentary possibilities. "The Big Picture: Photography’s Moment" shows it at its peak, bringing together the iconic works of master photographers from the 20th and 21st centuries , and tracing the technological innovations that have pushed the boundaries of its medium.
The generations of artists from America, Asia, Europe, North Africa, represented in the exhibition are as diverse as their subjects: beginning with a tribute to canonical greats such as Ansel Adams, Alfred Stieglitz, Berenice Abbott and Man Ray, the intimate small-format prints (mostly made by the artists themselves) reveal the technical and compositional skill that puts photography's success on par with painting. | | |
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| | | |  | | | | © Michael Wolf/laif |
| | | | 40 Positions of Documentary Photography | | | | | | | Sun 29 Jan 11:00
29 Jan – 1 May 2023 | | | | | |
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| | | |  | | | | Sirkka-Liisa Konttinen, Young Couple in a Backyard on a Summer’s Day, 1975, printed 2012, gelatin silver print, Alfred H. Moses and Fern M. Schad Fund, 2018.108.2 |
| | | | Photographs from the 1970s and 1980s | | | | | | | 29 Jan – 11 Jun 2023 | | | | | |
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 | Fairs |
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| | | | | | | | | | | | | | Wed 25 Jan 14:00
26 – 29 Jan 2023 | | | | | |
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| Festivals |
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| Upcoming |
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| | | | | | Or So It Seems | | | | | | | Wed 1 Feb 19:00
1 – 5 Feb 2023 | | | | | |
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| | | | | | | | Bamako Encounters— On Multiplicity, Difference, Becoming, and Heritage | | | | | | | | ... until 8 February 2023 | | | | | | | | | | | | | Founded in 1994, the Bamako Encounters – African Biennial of Photography is organized by the Ministry of Culture of Mali with the support of the Institut Français. The Biennale is the first and principal event dedicated to contemporary photography and new imagery in Africa. Internationally renowned, the Bamako Encounters is a platform for discoveries, exchanges, and visibility. It is an essential venue for the revelation of African photographers and those of the Diaspora, a time of exchange with the Malian public and the professionals from around the world.
New dates
Exhibition 08.12.2022 – 08.02.2023
Professional days 08.12.2022 – 16.12.2022 | | |
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| | | | | | Bangkok Art Biennale 2022 | | | | | | | – 23 Feb 2023 | | | | | |
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| | | | | | Aliments Terre | | | | | | | – 25 Feb 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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© 25 Jan 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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