| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 3 — 10 July 2024 | |
|
| |
 |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | Claudia Balsters & Hannah Goldstein
"Dear Annedore (Haarnadel)", 2021
Pigmentdruck auf Archivpapier
100 x 70 cm
© Balsters & Goldstein |
| | | | | | | | | | | | Thu 4 Jul 19:00
5 Jul – 8 Sep 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
| |
|
| |
 |
| | | Love. Ka Zhan, China | | | | | | | | | | | 3 – 30 July 2024 | | | | Opening: Wednesday 10 July 18:00 | | |  | | | | | | | | | | Inspired by the 1911 Austrian Nobel Peace Prize winners Alfred Fried and Tobias Asser, the Global Peace Photo Award recognises and encourages photographers from around the world whose images capture the human quest for a peaceful world and the search for beauty and good in our lives. The prize goes to those photographs that best express the idea that our future lies in peaceful coexistence.
Inner peace, peaceful coexistence, peace within a community, peace between nations, international peace policy – what do we associate with these terms? Since many important photography awards focus on the conflicts and crises, the wars and catastrophes on our planet, they usually do not shed light on what else people are capable of. The Global Peace Photo Award, which was launched in 2013 as the Alfred Fried Photography Award, fills this gap: It shows the different facets of peacefulness and completes the image of human beings with their good sides. It honours the pictures that tell of successes instead of failures, of empathy instead of hate, of what is worth preserving instead of destroying, of encouragement instead of torment and of the human right to beauty.
Rybné námestie square has been chosen as the venue for the exhibition, which is scheduled to open on 3 July 2024 and close on 30 July 2024. | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
 |
| | Mónica Alcázar-Duarte
The Coming Storm! I, 2021
From the series Digital Clouds Don’t Carry Rain, 2021–2024
© Mónica Alcázar-Duarte, 2024 | | | | | | | 5th International Triennial of Photography | | | | | | | | ... until 1 September 2024 | | | | | | | | | | | | | For decades, the institutions and collections in Frankfurt and the Rhine-Main region have been home to a remarkable density and expertise in the field of photography and related media. After the last four successful editions of the RAY – Triennial of Photography, now eleven cooperating institutions are joining forces to make this focus internationally visible. With exhibitions, numerous events, including the beginning three-day festival on the triennial theme of "ECHOES", RAY offer a multifaceted exploration of photography for all from May 3rd to September 1st, 2024.
The artists of the triennial use photography and related media to explore and reflect on the challenges and tensions of self-perception and human interaction. Their works span the past, present, and future, from the intimate and personal to the collective. By capturing these diverse moments and phenomena, they create an echo that draws the public’s attention to their themes. Similar to a sound experience, they reverberate their messages that are perceived as an independent event beyond what is depicted. On this basis, "RAY ECHOES" concentrates on three focal points: identity, memory, and emotion.
With RAY ECHOES. IDENTITY Fotografie Forum Frankfurt (FFF) is showing one of three central exhibitions of the Triennial focussing on the relationship between photography and identity. The exhibited artists Mónica Alcázar-Duarte (MX), Joy Gregory (GB), Jürgen Klauke (DE), Dinu Li (HK) and Inuuteq Storch (DK) explore the making and breaking away from identities. Echoes are present in the form of reflections on personal experience, transcendence, and the currency of retrospection. Alongside recent contemporary photographs and a video installation, ear… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | | Axel Beyer: aus der Serie "Hamburg 1983-1987" |
| | | | | | | | Hamburg 1983-1987 | | | Wed 3 Jul 19:00
3 Jul – 31 Jul 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | Damu DAGON, Gushiegu, GHANA, 2013
© Ann-Christine Woehrl | Moon In Mauve, Grez FRANCE, 2022
© Ann-Christine Woehrl |
| | | | | | | | ... until 26 July 2024 | | | | | | | | | | | | | On the occasion of her exhibition at Museum Fünf Kontinente, LEPI ARTS in Munich will be showing a photographic dialogue by artist Ann-Christine Woehrl with "WITCHES IN EXILE" and "DARKLIGHT". The exhibition focuses on isolation. The fundamental recurring theme of Ann-Christine Woehrl's work.
The perspective and approach to the two photo series could hardly be more different and thus illuminates the photographer's artistic spectrum.
Ann-Christine Woehrl mostly shows the isolation of others. She visualises women who are marginalised and threatened by society, like in the case of "WITCHES IN EXILE". The impressive portraits of women in Ghana who are stigmatised as witches draw attention to the cruel witch-hunt that still takes place today - in Ghana and other parts of the world.
"DARKLIGHT" on the other hand shows her artistic exploration of her own isolation, of pausing in times of pandemic. An ongoing project that she started during the pandemic. Poetic abstractions of nature seem more like painting than photography in the duality of light and shadow. They reflect Ann-Christine Woehrl's inner dialogue with places in silence where she encounters her feelings. These places give her peace and strength, sharpen her senses and her gaze. In resonance with nature, she processes her projects and develops new approaches.
In this way, she creates a visual language that touches. Despite the plight of the women, who are isolated and experience violence, the portraits radiate dignity and pride. They attract attention and draw attention to unbelievable grievances and hardship. "WITCHES IN EXILE" was the beginning of Ann-Christine Woehrl's commitment to women suffering f… | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
 |
| | Mara, Almeria, Spain, 2022
from the series "Agony in the Garden"
© Lua Ribeira/Magnum Photos | | | | | | | New Perspectives from 13 Women Photographers of Magnum. | | | | | | | | ... until 21 July 2024 | | | | | | | | | | | | | "If your pictures aren’t good enough, you’re not close enough." Robert Capa
Close Enough explores the practices of thirteen emerging and established women photographers and the relationality they create within global situations, local communities, and interactions with individual subjects. Each contributing photographer openly narrates their creative journey, ranging from reflections upon long-term personal projects to work in progress and new pivots in their image-making practices. They give highly personal accounts of their visual vantage points and create a constellation of photographic relativity in this exhibition.
Set in the context of the seventy-fifth anniversary of the founding of the Magnum agency (1947), Close Enough focuses on women photographers whose distinct visions are currently shaping photographic perspectives within Magnum.
Together, they move and challenge the photography collective’s boundaries, deepening Magnum’s anchoring of the photographic quest to take account of human experience and survival. In uniquely personal ways, the contributing photographers negotiate gaining access, holding their bearings, and moving deeper in relation to human subjects and experiences—the challenge to photographers to get "close enough" called forth by the cofounder of Magnum, Robert Capa. With determination, urgency, and resourcefulness, each photographer takes account of their practice, inviting us to get close enough.
Charlotte Cotton, Curator of the inaugural Close Enough exhibition, International Center of Photography, New York, 2022 | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
 |
| | Jean-Claude Gautrand
Le Galet (#1), 1968-1969
Gelatin silver print, vintage. Printed by the artist.
© Estate Jean-Claude Gautrand
Courtesy Les Douches la Galerie, Paris | Jean-Claude Gautrand
Recherches, Cosmonaute, 1961
Gelatin silver print, vintage. Printed by the artist.
© Estate Jean-Claude Gautrand
Courtesy Les Douches la Galerie, Paris |
| | | | | | | | ... until 13 July 2024 | | | | | | | | | | | | | Ahead of the retrospective Libres expressions, dedicated to Jean-Claude Gautrand by the Musée Réattu in Arles this summer (June 29-October 6), Les Douches la Galerie is pleased to present, for the first time, a solo show dedicated to French photographer Jean-Claude Gautrand (1932-2019). You are invited to discover his early experiments from the 1960s, with a selection of vintages from his iconic series. The book Recompositions by Jean-Claude Gautrand, published last April by Contrejour editions, accompanies these two exhibitions.
"To photograph is to engage in a race against erasure, disappearance, nothingness. It is a fight against time, a challenge to oblivion. The camera, a magical instrument capable of immortalizing the fleeting, but also the irremediable."1
It is certainly this "irremediable" quality that demands the most attention in the work of Jean-Claude Gautrand, who photographs the disappearance of things, constructions, or places to inscribe them into eternity. Photography witnesses a battle where destructive forces ally with time to erase what was thought to be eternal. The various post-war photographic clubs he frequented hardly inspired him. "Apart from the world of reporting, the photographic field was then reduced to either illustrative or documentary photography of distressing conformity".2 He discovers in volumes I and II (catalogs of the exhibitions Subjektive Fotographie I and II, from 1952 and 1955) organized by German photographer Dr. Otto Steinert, a different photography that struck him as "an atomic bomb in the mire of photography." | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
|
| | | |  | | | Catherine Opie, Idexa, 1993
Courtesy of the artist and Regen Projects, Los Angeles;
Lehmann Maupin, New York, Hong Kong, London and Seoul;
Thomas Dane Gallery, London and Naples |
| | | | | | | | | | | | Fri 5 Jul 10:00
5 Jul – 27 Oct 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | Griet Van Malderen
"VERY CLOSE", TANZANIA 2022 | | | | | | | | 5 July – 31 December, 2024 | | | | | | | | | | | | | Griet van Malderen, the daughter of Belgian industrialists, was not initially destined to become a wildlife photographer. She had never studied the subject before beginning her photography career. It is her determination and passion over the years that have brought her to where she is today. Griet is one of the few female wildlife photographers and also an active defender of wildlife. She strives to keep her photos natural while working alongside other talented professionals, both in the field and in the studio.
Griet developed a deep love for nature and the animals around her at an early age. Over the years, she has perfected her art, developing technical mastery and artistic sensitivity that are reflected in each of her photographs. Her unique approach consists of creating an emotional bond between the viewer and the animal by capturing images that convey the grace, power, and fragility of wildlife.Her photographs are characterized by a judicious use of natural light, highlighting the most subtle details of the animals and their environment. She captures fleeting moments, striking expressions, and graceful gestures that reveal the personality of each animal she photographs. Through her lens, Griet creates images that tell stories and inspire admiration and wonder.
After numerous attempts and hard work, we set out to explore different sizes in the collodion process. We started with plates measuring 25 cm x 25 cm, then moved on to plates measuring 50 cm x 50 cm. Finally, we took on the challenge of creating a 1 m x 1 m plate. Despite the many obstacles we encountered, our dedication and perseverance were rewarded. The prints we created on 1 m x 1 m plates offer an astonishing and immersive visual experience, highlighting the aesthetics and distincti… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | | Hans-Christian Schink: aus der Serie "Unter Wasser" |
| | | | | | | | | | | | Sun 7 Jul 11:30
7 Jul – 22 Sep 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 | Fairs |
|
| |
|
|
| |
|
|
| |
|
| | | | | | | | | | | | | | Thu 4 Jul 17:00
5 – 7 Jul 2024 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
| Festivals |
|
| |
| Upcoming |
|
| |
| |
|
| |
 |
| | | | | | | | | | | | 1 – 7 July 2024 | | | | | | | | | | | | | | Throughout the city, day and night, photographers and curators of the program meet the public at evening screenings, exhibition tours, debates, lectures… | | |
| |
|
|
| |
| |
|
|
| |
|
| | | | | | | | | | | | | | Thu 11 Jul 18:00
11 – 28 Jul 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
| |
| Current |
|
| |
|
|
| |
| |
|
| |
 |
| | An Obstacle in the Way [Una Piedra en el Camino],
Journey to the center series, 2021.
Courtesy of the artist/Magnum Photos © Cristina De Middel | | | | | | | | | | | 1 July – 29 September 2024 | | | | | | | | | | | | | | Every summer since 1970, over the course of more than forty exhibitions at various of the city's exceptional heritage sites, the Rencontres d'Arles has been a major influence in dissiminating the best of world photography and playing the role of a springboard for photographic and contemporary creative talents. | | |
| |
|
|
| |
| |
| |
|
| |
 |
| | | GHOSTS OF MEMORY © NAZLI ABBASPOUR | | | Festival La Gacilly-Baden Photo 2024 | | | | WORLD.NATURE.HERITAGE | | | | | | Baden near Vienna:
The largest outdoor photography festival in Europe will take place
from 13 June until 13 October 2024.
festival-lagacilly-baden.photo |  |
| | | | | | | | | | | | | WORLD.NATURE.HERITAGE – "Humanity has opened the gates to hell", warned Secretary- General António Guterres in an impassioned speech on the margins of the UN General Assembly in September 2023. UN General Assembly in September 2023 to politicians, entrepreneurs and activists, he warned of the terrible consequences of increasingly extreme weather events. "Our concern is that all climate action will be dwarfed by the scale of the challenge”, as humanity is heading for a temperature rise of 2.8°C.
An appeal to the world that has long been inscribed at the heart of our festival. It is our duty to preserve the poetry of creation for our children. On the fundamental issues of urbanisation, biodiversity, natural resources, environmental pollution and global warming, we will try to use images to provide, if not solutions, then at least food for thought. Therefore, in our seventh festival year, we will be showing the work of the great masters of environmental photography: Nazli Abbaspour, Evgenia Arbugaeva, Yasuhoshi Chiba, Joana Choumali, David Doubilet and Jennifer Hayes, Nadia Ferroukhi, Sacha Goldberger, Richard Ladkani, Lucas Lenci, Luca Locatelli, Pascal Maitre, Beth Moon, Maxime Riché, Sebastião Salgado, Alain Schroeder, Vee Speers, Brent Stirton, Lorraine Turci, David Turnley, Peter Turnley and Cássio Vasconcellos.
"We all need Eden as a horizon," writes Cyril Drouhet in his essay in the festival catalogue. "There was a time when we had a rainbow in our heads: We believed in the future, in progress, our dreams were full of utopias. In the third millennium, this colour has turned grey. But life needs radiant colours like in photography to enchant the world again. That is the cha… | | |
| |
|
|
| |
| |
|
|
| |
|
| | | |  | | | | Arko Datto |
| | | | | | | | | |
|
| |
| |
|
| |
 |
| | | | düsseldorf photo+ | | | | Biennale for Visual and Sonic Media: On Reality | | | | | | | ... until 14 July 2024 | | | | 50 participating institutions, galleries and off-spaces | | | | | | | | | | | | | | | The third edition of the Biennial for Visual and Sonic Media düsseldorf photo+ from 17 May to 14 July 2024 is themed "On Reality". In exhibitions and concerts, talks, panels and other events, current and updated photography as well as media-based art in its most diverse facets can be experienced throughout Düsseldorf. The artists will reflect in a wide variety of ways on how media significantly shapes our understanding of reality today and in the past. Computer-generated worlds of images and sounds surround us everywhere, and the Biennale integrates these into the art trail and links analogue-generated audiovisual realities. In total, the Biennale offers over 50 exhibitions and events in museums, collections, galleries, independent exhibition spaces and universities. This year's düsseldorf photo+ is being organised under the artistic direction of Pola Sieverding and Rupert Pfab. Ljiljana Radlovic oversees the project management.
Highlights from our varied exhibition programme:
In photographs, now seen as historic, Allan Sekula critically illuminates social structures operating within the industrial workforce of the USA at Galerie Konrad Fischer. The group exhibition at the gallery boa basedonart, another retrospective show, focuses on social stereotypes in relation to self-portraits. Sumi Anjuman offers a contemporary insight into gender inequality at the private Philara Collection.
Toby Binder also takes a sociological standpoint with a look at crisis-ridden milieux at the gallery Clara Maria Sels. The exhibition at Julia Ritterskamp further investigates this stance in a show of t… | | |
| |
|
|
| |
| |
| |
|
| |
 |
| | | | RAY 2024 ECHOES | | | | 5th International Triennial of Photography | | | | | | | ... until 1 September 2024 | | | | | | | | | | | | | The international Triennial of Photography RAY is celebrating the diversity of photography in Frankfurt and the Rhine-Main region for the fifth time with a focus on "ECHOES". Eleven institutions and exhibition venues in Frankfurt and the Rhine-Main region will be showing works on the theme of "ECHOES" by contemporary photographers and artists. With exhibitions, numerous events, and a three-day festival on the triennial theme of "ECHOES", RAY offers a multifaceted exploration of photography.
How do images contribute to the understanding of our identity, our memories, our emotions, and the ability to grasp and process current social, communal, and political challenges? RAY Echoes offers no answers to these questions, but rather – like a laboratory – it offers many perspectives and opportunities for individual exploration.
The artists of the RAY 2024 – Triennial of Photography use photography and related media to explore and reflect on the challenges and tensions of self-perception and human interaction. Their works span the past, present, and future, from the intimate and personal to the collective. By capturing these diverse moments and phenomena, they generate an echo that draws the public’s attention to their themes. Similar to a sound experience, they create reverberation that is perceived as an independent event beyond what is depicted. On this basis, RAY Echoes concentrates on three focal points: identity, memory, and emotion.
In the exhibition RAY Echoes Identity at the Fotografie Forum Frankfurt (3 May – 1 September, 2024, opening on 2 May), the artists explore the making and breaking away from identities. Echoes are present in the form of reflections on personal experience… | | |
| |
|
|
| |
| |
|
| | | | | | Outdoor-Fotografie-Festival | | | | | | | – 28 Jul 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | open air festival - Australie & Autres Regards | | | | | | | – 3 Nov 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | Festival de photographie international et gratuit | | | | | | | – 14 Jul 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| |
|
| |
|
|
| |
|
| | | | | | Triennial Exhibition | | | | | | | – 28 Jul 2024 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
 |
| | From the series Keepers of the Ocean (2019) © Inuuteq Storch
The Danish Pavilion: Rise of the Sunken Sun by the artist Inuuteq Storch | | | | | | | Stranieri Ovunque - Foreigners Everywhere | | | | | | | | 20 April – 24 November 2024 | | | | | | | | | | | | | The 60th International Art Exhibition , titled Stranieri Ovunque – Foreigners Everywhere , will open to the public from Saturday April 20 to Sunday November 24, 2024 , at the Giardini and the Arsenale; it will be curated by Adriano Pedrosa and organised by La Biennale di Venezia . The pre-opening will take place on April 17, 18 and 19 ; the awards ceremony and inauguration will be held on 20 April 2024 .
Since 2021, La Biennale di Venezia launched a plan to reconsider all of its activities in light of recognized and consolidated principles of environmental sustainability. For the year 2024, the goal is to extend the achievement of “carbon neutrality” certification , which was obtained in 2023 for La Biennale’s scheduled activities: the 80th Venice International Film Festival, the Theatre, Music and Dance Festivals and, in particular, the 18th International Architecture Exhibition which was the first major Exhibition in this discipline to test in the field a tangible process for achieving carbon neutrality – while furthermore itself reflecting upon the themes of decolonisation and decarbonisation.
The Exhibition will take place in the Central Pavilion (Giardini) and in the Arsenale, and it will present two sections: the Nucleo Contemporaneo and the Nucleo Storico.
As a guiding principle, the Biennale Arte 2024 has favored artists who have never participated in the International Exhibition—though a number of them may have been featured in a National Pavilion, a Collateral Event, or in a past edition of the International Exhibition. Special attention is being given to outdoor projects, both in the Arsenale and in the Giardini, where a performance program is being planned with events during the pre-opening and closing weekend of the 60th Exhibition.
Stranieri Ovunque - Foreigners Everywhere, the title of the 60th International Art Exhibition of La Biennale di Venezia, is drawn from a series of works started in 2004 by the Paris-born and Palermo-based Claire Fontaine collective. The works consist of neon sculptures in different colours that render in a growing number of languages the words “Foreigners Everywhere”. The phrase comes, in turn, from the name of a Turin collective who fought racism and xenophobia in Italy in the early 2000s.
«The expression Stranieri Ovunque - explains Adriano Pedrosa - has several meanings. First of all, that wherever you go and wherever you are you will always encounter foreigners— they/we are everywhere. Secondly, that no matter where you find yourself, you are always truly, and deep down inside, a foreigner.» | | |
| |
|
|
| |
| |
|
|
| |
| |
| |
|
| |
| |
|
| |
© 3 July 2024 photography now UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editors: Claudia Stein & Michael Steinke
contact@photography-now.com . T +49.30.24 34 27 80 |
| |
