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| PHOTOGRAPHY INTERNATIONAL | | 31 May - 7 June 2023 | |
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| | Over 150 of London’s leading contemporary galleries will come together for London Gallery Weekend, offering special events, late night openings & more.
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| | KYOUNG
FIGURE IN CHAIR, NO.2, 2019
Collage in hand stained wooden frame with museum glass
25 x 20 cm / framed 36,5 x 30 cm
Unique piece | KYOUNG
FIGURE WITH BAR STOOLS, 2022
Original collage
40,9 x 33 cm
Unique piece |
| | | | | | | | | | | | | ... until 10 June 2023 | | |  | | | | | | | | | | A woman in a formal white gown glances sideways, her gaze steady and her expression neutral. A set of hands – the body to whom they belong cropped from the frame – tends to the garment’s draped fabric, as if carefully fitting a wedding dress. To the rear, an older woman rests a weathered hand on the younger woman’s shoulder; the expression she wears is more sombre – a mother preparing to let go of her soon-to-be-married daughter, perhaps? Where a palette of black, white and textured greys frames each figure in murky shadow, small bursts of colour come from light leaks and the imperfections of analogue processing – conjuring a nostalgic sense of age, proffering honesty and authenticity.
But the origins of the image described here – a winner, briefly, of the 2023 Sony World Photography Awards by German artist Boris Eldagsen – are a far cry from those it implies; it was in fact produced by an AI image generator, employed by its creator to inspire debate. Where the World Photography Organisation claimed to have identified and accepted Eldagsen’s creative process of artificial co-creation, the artist himself declined the award. | | |
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| | Alice Springs
Helmut as a nun
Advertisement for Jean-Louis David, Paris 1970s
© Helmut Newton Foundation | Alice Springs
Princess Caroline of Monaco with her son Andrea and Karl Lagerfeld
La Vigie, Monaco 1986
© Helmut Newton Foundation |
| | | | | | | | 3 June – 19 November 2023 | | | | Opening: Friday, 2 June, 7 pm | | | | | | | | | | | | | The new exhibition "ALICE SPRINGS. RETROSPECTIVE" opens at the Helmut Newton Foundation in Berlin on 2 June 2023. In celebration of the 100th birthday of June Newton aka Alice Springs, over 200 photographs will be displayed throughout the entire exhibition space of the foundation.
While major Alice Springs exhibitions were already hosted at HNF in 2010 and 2016, many of the photographs in this new retrospective have never been seen by the public. Extensive research into the foundation’s archives, particularly the holdings recently transferred to Berlin from the Newtons’ apartment in Monaco, has provided new insight into the work of Alice Springs. Now, some of these spectacular results will be shown for the first time as vintage or exhibition prints.
June Newton started working in 1970 as a professional photographer under the name Alice Springs, focusing mainly on portraiture. It all started with a case of the flu: when Helmut Newton fell ill in 1970, his wife June came to the rescue. He explained to her how to use his camera and light meter, and she took his place in shooting the advertising image for the French cigarette brand Gitanes in Paris. This portrait of a model smoking launched the new career of the former Australian stage actor, who had little chance of acting in France due to the language barrier. In the wake of that initial success, José Alvarez, then running an ad agency in Paris, arranged commissions for her to shoot ads for pharmaceutical products. Later, as head of the publishing house Editions du Regard, Alvarez published the first book of portraits by Alice Springs in 1983.
Alice Springs shot many portraits from the mid-seventies onward. Her images are full of empathy, conveying her … | | |
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| | Thomas Brummett
Infinities #8 (For Whistler), 2013
100% rag paper (Hahnemühle Baryta Satin) printed with 100 year archival pigment
127 x 99 cm
© Thomas Brummett / Courtesy of Galerie Karsten Greve Köln Paris St. Moritz | | | | | | | | ... until 9 July 2023 | | | | | | | | | | | | | The work of American photographer Thomas Brummett (b.1955 in Colorado) is akin to a spiritual quest. Brummett uses photography to explore how natural science and physics in particular can shed light on the true nature of the world. He searches for visual manifestations that reveal the complexity of natural systems. The series Light Projections and Infinities shown at the Alfred Ehrhardt Stiftung are visual investigations of the multiplicity of infinite systems he has explored. All of Brummett’s work is drawn from his lifelong series Rethinking the Natural.
In Brummett’s view, light, as the basis of all life and energy, represents "the essence of nature in its purest form." At the same time, light is also the essence of photography. Brummett’s images from his Light Projections series are literally images of light, which the artist regards as the "perfect visual symbol of the infinite." For this series—in a camera-less and film-less process—a lens is used to project so-called circles of diffusion (which a lens produces) onto light-sensitive photo paper, thereby creating a representational (physical) depiction of light.
As a skilled ceramist with a profound knowledge of chemical interactions, he then subjects the photographs to a special "entropic" darkroom process that breaks down and rearranges the configuration of silver atoms in the light-sensitive paper, and combines this with solarization (a technique invented by Man Ray and others in the 1920s). Brummett describes this darkroom process as a form of entropy—as constant a force as gravity—since the silver particles in the photographs are physically altered and slowly destroyed. The artist compares thi… | | |
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| | Anna-Maria Podlacha
o.T. (aus der Serie “Trace of memory”), 2023
Direktbelichtung auf Fotopapier, Courtesy Anna-Maria Podlacha | Victoria Martínez
Glitch, Uninterrupted II, 2023
Siebdruck, Courtesy Victoria Martínez |
| | | | | | | | | | | | | ... until 18 June 2023 | | | | | | | | | | | | | The exhibition explores the experimental philosophical concept of hyperstition and makes it the starting point for new artistic works by young artists on speculative themes in photography and video.
Hyperstition refers to ideas whose expression releases such vibrations that they ultimately realise themselves, similar to a self-fulfilling prophecy. The term was first coined in the 1990s by the interdisciplinary collective Cybernetic Culture Research Unit (CCRU) in the UK, whose members published their findings mainly on blogs on the internet. Hyperstition is a neologism made up of the English words 'hyper' and 'superstition'. Unlike superstition - a fiction that remains fictitious - hyperstition is a fiction that makes itself real. An example of hyperstition is virtual economic speculation, which has become a reality-constituting force in capitalism.
We live in a complex system of feedback cycles: power supply systems, logistics chains, financial markets, neo-extractivist expansion... Confronted with governance models that are unable to initiate the necessary systemic change, younger generations often find thinking about the future difficult and paralysing. This exhibition is inspired by the idea that imagining the future fictitiously offers a better decoding of one's present than looking at the past.
11 artists are showing 9 works, some of which were created for this exhibition project. Among other things, they deal with new and old thought games from science fiction and digitality, such as our relationship to artificial intelligence and computer simulations or, for example, the glitch as a feminist digital utopia. Online and offline, places are visited on different time level… | | |
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| | | |  | | | | Deckenlampe in der U Bahn, 2013 © Ono Ludwig |
| | | | | | | | Painting / Photography | Ink Drawings | | | 31 May – 27 Aug 2023 | | | | | |
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| | | © Michael Wesely: Abertura, Pinacoteca MASP (19.01 - 23.09 Uhr 10.12.2015) | | | | | | | | ... until 15 September 2023 | | | | | | | | | | | | | « Michael Wesely, brise nombre des certitudes que nous avons sur la photographie. La rapidité, la saisie d’un instant particulier, la documentation d’une situation exceptionnelle, voire unique – on ne trouve rien de tout cela dans son œuvre. Les clichés de Michael Wesely émergent très lentement, nécessitent plusieurs minutes, plusieurs heures, parfois des semaines ou même des mois de captures. Ce que nous observons dans ces photos, ce n’est finalement pas une seule image photographique, mais une somme d’images formées les unes après les autres qui, d’abord, nous échappent, et qui se réunissent finalement en une seule vue.
La photographie de Michael Wesely fonctionne donc plutôt comme un support de stockage, une archive, dans laquelle ce n’est pas un instant spontané, mais un laps de temps, un processus qui s’inscrit. La photographie saisie sur des temps longs montre bien les changements qui sont liés à la rotation de la Terre, au lever et au coucher du soleil, à la marche et à la fuite de la vie. Contrairement au film, par exemple, qui rend compte de chaque mouvement, la vie en mouvement, se dissout justement dans ce type de photographie. En effet, dans la superposition des nombreuses prises de vue, que Michael Wesely réalise d’abord avec des appareils argentiques (à l’aide d’appareils grands formats de sa fabrication et d’une optique adaptée), aujourd’hui capturées avec des appareils numériques, seules les choses et les êtres silencieux et immobiles restent visibles. Tout ce qui est rapide, furtif, momentané, d… | | |
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| | RODNEY SMITH
DON JUMPING OVER HAY STACK, MONKTON, MARYLAND, 1999
Signed recto of mount, stamped and inscribed verso vintage print
Gelatin silver print 28 x 32 in
Edition limited to 25 including all sizes | | | | | | | | ... until 30 June 2023 | | | | | | | | | | | | | Elegant, charming, and stunningly beautiful, Rodney Smith’s fashion photography is a delightful revelation.
Mystery and manners, romance and fun—the sophisticated compositions and stylish characters in the extraordinary pictures of fashion photographer Rodney Smith (1947–2016) exist in a timeless world of his imagination. Born in New York City, Smith started out as a photo-essayist, turned to portrait photography, and found his niche, and greatest success, in fashion photography. Inspired by W. Eugene Smith, taught by Walker Evans, and devoted to the techniques of Ansel Adams, Smith was driven by the dual ideals of technical mastery and pure beauty. | | |
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| | | |  | | | Jamel Shabazz (born Brooklyn, New York, 1960)
The Art of Love, Prospect Park, Brooklyn, 1988.
© Jamel Shabazz |
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| | | Jacquie Maria Wessels, Fringe Nature #07/2022 Agia Triade, Greece, Analogue C-print | | | | | | | | 3 June - 24 September, 2023 | | | | Opening: Saturday 3 June 18.30 - 20.30h | | | | | | | | | | | | | The exhibition features work from Jacquie Maria Wessels' analogue photo series Garage Stills and Fringe Nature. The raw painterly images with a challenging color palette and surprising lighting show a (male) world that is slowly disappearing, but also nature’s drive to reclaim its own space. All new cars feature on-board computers and high-tech gadgets. This means that the very existence of old-fashioned garages is under threat. In light of this fact, photographer Jacquie Maria Wessels travelled the world to take a look inside traditional repair garages in Turkey, Cambodia, Russia, Poland, Morocco, Italy, Cuba, Sri Lanka, South Africa, Tokyo and the Netherlands. When setting up her photographs, she tried 'to combine', she says, 'the beauty and tension of the unknown and to rediscover the objects that make a garage what it is through an intriguing and pictorial still life'.
For Fringe Nature, Wessels captures the meagre bits of natural world that endures in the harsh, industrial landscapes on the outskirts of the cities. During her Garage Stills project, Wessels gradually began to feel the need for contact with nature while photographing the wondrous universe of traditional garages. Although the viewer’s sensation is one of being immersed in a wild and natural place, small details within these images – a crane, a chimney or an abandoned rusty car – betray the presence of a factory or auto repair garage. Her precisely composed photographs are as rough as they are poetic. | | |
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| | Ernest Cole
South Africa, 1960s
© Ernest Cole / Magnum Photos | | | | | | | | 2 June – 17 September 2023 | | | | The exhibition can be visited on the Open Saturday, 16 September 2023 from 11 a.m. to 4 p.m without prior registration or as part of a guided tour with prior registration at www.deutscheboersephotographyfoundation.org | | | | | | | | | | | | | The Deutsche Börse Photography Foundation will be showing South African photographer Ernest Cole’s oeuvre. An important chronicler of apartheid politics, it is the first major exhibition of his works in Germany. In around 130 photographs, it covers all 15 thematic chapters of his eponymous book, "House of Bondage", and also includes works from the chapter "Black Ingenuity", which was not published in the original edition. The presentation is complemented by early original prints, personal documents of the artist, original editions of published series of images in magazines and a filmed interview with Cole from 1969.
Ernest Cole (1940-1990) chronicled the Black majority’s experience during apartheid in South Africa as forcefully and comprehensively as few of his contemporaries. In his photobook "House of Bondage", published in 1967, he captured countless forms of violence and repression, which, as a Black photographer, he was also subject to. He started working as a photographer at the age of 18, aiming to draw global attention to the grievances of his home country. Being classified as "Coloured" allowed Cole freedom of movement and access to various places which the authoritarian regime would not have granted him as a "Black" person. Cole photographed the precarious living conditions of mine labourers and domestic workers in white households, as well as the miserable state of the transport and health sectors. He paid particularly close attention to the children and young people, who, denied proper education, lived in poverty and despair. As a person directly affected, his insights into the life of Black South Africans in the 1960s are harrowing – marked by oppression, arbitrary police ac… | | |
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| | | |  | | | Carsten Höller
Mushroom, 2004 (Detail)
© VG Bild-Kunst, Bonn 2023 |
| | | | | | | | | | | | Thu 1 Jun 19:00
2 Jun – 7 Oct 2023 | | | | | |
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| | Ursula Schulz-Dornburg
'Memoryscapes, St Petersburg, Russia', 2000
Photograph; Diasecâ
148 x 208 cm
© Ursula Schulz-Dornburg | | | | | | | | ... until 1 July 2023 | | | | | | | | | | | | | Memoryscapes is a solo exhibition by the German artist Ursula Schulz-Dornburg, realised in collaboration with Lucy Rogers.
In 2012, Ursula Schulz-Dornburg travelled to north-eastern Kazakhstan to photograph the remains of the Soviet Union's largest nuclear weapons programme. Located in a vast area south-west of the city of Kurchatov, Opytnoe Pole was once a top-secret open-air laboratory, used to measure and record the devastating effects of nuclear weapons. Taken almost twenty years after the closure of the facility, Schulz-Dornburg's photographs portray a desolate landscape, devoid of life and still suffering the effects of radiation. The area was looted after its closure in 1991 – an act which inadvertently dispersed radioactive material across the continent – and later subject to an intensive clean-up operation by the Kazakh, Russian and US authorities. It is a landscape still laden with the artefacts of an architecture built to be destroyed.
Born in Berlin in 1938, Schulz-Dornburg grew up in the aftermath of the Second World War – in a divided Germany and an era defined by new borders in Europe and elsewhere. Since the 1970s, she has sought out places of transit and borderlands, locations geographically and politically caught up in a state of in-between, where multiple layers of history intersect, coexist and collide. Reflecting the lands in which she has travelled, her archive reveals a constellation which extends beyond the scope of individual images – an entanglement of narratives which overlap in time and space. Exhibitions and publications become a method for thinking through the archive, bringing together new and familiar works into new combinations and sequences. | | |
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| | | |  | | | Rehab Eldalil
The Longing of the Stranger whose Path has been Broken, 2018
© Rehab Eldalil |
| | | | | | | | Arenas movedizas | | | PHotoESPAÑA 2023 | | | | | | | 2 Jun – 24 Sep 2023 | | | | | |
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| | Ruby Rumié
AYELE AGYARE, 2022
C-print
58.27 x 58.27 in. (148 x 148 cm) | | | | | | | | ... until 16 July 2023 | | | | | | | | | | | | | "As an artist, my work always involves people, with them and for them,I create unusual narratives around daily situations to reveal new insights to what we have become overly accustomed to seeing."
Ruby Rumié’s fourth solo exhibition at the Nohra Haime Gallery, "Nosotros 172 años después," consists of a series of 100 photographs referencing the Colombian Caribbean: its people, their diversity and its food.
"Colombia is considered a country of many regions each with its own identity and characteristics. The Colombian Caribbean is no stranger to this. I started this project from the perspective of a Colombian woman, with a desire to question, as we are now living through a very tangible social fragmentation of our identity. During this questioning process of our history. I found and researched the collection of images of The Chorographic Commission and a series of academic texts from the 19th century. This allowed me to transfer this inquisitiveness to the nearest context that I am also familiar with, which is the Caribbean."
From this encounter and confrontation with these documents, "Nosotros 172 años después," Rumié invites us to reflect through these photographic portraitures on the lack of visual representations of the historical discourses that have defined the identity of the Colombian Caribbean from the New Granada to the present. "I chose food as a vehicle to create new narratives that celebrate the cultural diversity of this territory.
"The project puts together one hundred people from the Caribbean region whose unique characteristics share the passion and commitment for their trade, and express in a special way their taste and … | | |
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| | | © Roland Biermann, Rheingold 1 at St. Mary's Times Square, New York, installation view, 2023 | | | | | | | | ... until 30 July 2023 | | | | | | | | | | | | | St. Mary's Times Square is proud to present two new single works by internationally acclaimed artist Roland Biermann in the form of a site-specific solo exhibition.
Fusing contemporary issues with religion and mythology, the Rheingold photographs show a black and gold plastic carrier bag, floating in used engine oil. In the first image, a plastic bag is floating on the surface, in the second one, a plastic bag is half submerged in the oil. Shot outdoors in stormy weather, the surface of the oil reflects grey skies and dark clouds.
Merging photography and non-permanent sculpture, the work can be seen as an allegory for greed and the hunger for power, leading to crime and destruction. Created with the waste of the consumer society, negative side-effects of capitalism - past and present - come to mind as well as the cardinal sins and in a wider context, the darker side of human nature.
Printed in a new combination of digital techniques and analog screen printing on special-grade tinplate panels, courtesy of thyssenkrupp Rasselstein, the work combines a silvery, reflective surface with a strong physical presence. The golden walls of St. Mary's present a poignant stage for the dystopian beauty of the work.
Roland Biermann (born in Bonn, Germany) is a London-based conceptual artist working with photography, film, sculpture and installation. Notable solo exhibitions include De Hoftuin/Hermitage Museum, Amsterdam (2019), Trinity Wall Street, New York (2018), Galerie du Monde, Hong Kong (2016), maestroarts, London (2016), Goethe-Institut, Paris (2011) and German Embassy, London (2013 and 2010/11). His participation in international group shows has included 'Monuments to the Future', Henry Luce Center, Wa… | | |
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| | LAURA STEVENS
Threshold (2023)
Archival pigment print, 70 x 100 cm | | | | | | | | ... until 30 June 2023 | | | | | | | | | | | | | Galerie Miranda is delighted to present the second solo exhibition by artist Laura Stevens, entitled Tu oublieras aussi (You will also forget).
One of France’s most solicited portrait photographers, in her personal projects Stevens explores a resolutely feminine and contemporary point of view of the private sphere, questioning notions of desire, the passing of time, solitude and loss, the connection between the artist and her subject. For her first exhibition at Galerie Miranda, Corps d'hommes (2020), Stevens presented her perspective on the male nude, photographed in the private space of her Paris apartment bedroom. For this second exhibition, she pursues her questioning of the intimate sphere but this time considers two bodies, lovers, and what binds them, asking herself the question of the memory of desire and how to represent it.
Until now, the history of erotic photography has largely been written by and for men (Araki, Newton, Molinier, Mapplethorpe…), for the most part with explicit and performative images within a dominant-dominated framework. Several women photographers have made a mark in this territory but in general with a transgressive or militant posture (Krull, Natalia L, Ionesco, Cahun) that doesn’t fundamentally offer an alternative to the status quo. Fortunately, the list is longer of landmark women artists in other fields of photography - documentary, conceptual and experimental.
Confronted by the weight of these historical signatures, Laura Stevens quietly follows her own path, one that is feminine, free and egalitarian. In the tradition of Anglo-Saxon women photographers of the private sphere, such as Jo Ann Callis, Nan Goldin, Lise Sarfati and Mona Kuhn, Laura Stevens proposes a… | | |
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| | | By the pond in Reykjavík, 10 April 1956. - © Adolf Karlsson | | | | | | | Colour photography in Iceland 1950-1970 | | | | | | | | 3 June – 10 September 2023 | | | | Opening: Saturday 3 June 15:00 | | | | | | | | | | | | | Although the first colour photographs taken in Iceland, as far as we know, were taken in 1901, it wasn't until the mid-20th century that colour photography caught on. The black-and-white world that can be seen in pictures until that time is an illusion. Life was undoubtedly in colour, the clothes colourful, the cars turquoise, burgundy, even yellow, red or green roofs – the sky all kinds of blue! The colour palette of the time is ever-changing, shaped by fashion, technology, memories and zeitgeist, even by the medium itself.
The exhibition includes new enlargements from original colour films and colour slides. The photos belong to the museum's collection and are taken by Icelandic and foreign photographers. Among them are: Hermann Schlenker, Ingibjörg Ólafsdóttir, Helga Fietz, Sigurður Demetz Franzson, Hannes Pálsson, Adolf Karlsson and Böðvar Pétursson. | | |
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| | Wang Qingsong
Follow Me 2003
C-print, 60 x 150 cm
Collection: Mori Art Museum, Tokyo | | | | | | | Contemporary Art through School Subjects | | | | | | | | ... until 24 September 2023 | | | | | | | | | | | | | Since the 1990s, when the development of contemporary art began to be considered from multiple perspectives in different parts of the world, we have been seeing that contemporary art today goes far beyond the framework of arts and crafts and fine art in the school classroom. It is a composite field with connections to all subjects, including language and literature, mathematics, science, and social studies. In each of these disciplines, researchers are exploring the “unknowns” of the world, delving into history, and making new discoveries and inventions from the past to the future in order to enrich our perception of the world. The stance adopted by contemporary artists that seeks to go beyond our preconceptions in a creative way is also connected to this exploration of these unknowns. In this sense, the contemporary art museum is something akin to a “classroom of the world” where we can encounter and learn about these unknown worlds.
WORLD CLASSROOM: Contemporary Art through School Subjects, commemorating the 20th anniversary of the Mori Art Museum, is an attempt for us to encounter a world we have never seen or known from a wide variety of perspectives, using the subjects we learn at school as a gateway to contemporary art. Even though this exhibition is divided into such sections as “Language and Literature,” “Social Studies,” “Philosophy,” “Mathematics,” “Science,” “Music,” “Phys. Ed.,” and “Transdisciplinary,” each work, in fact, crosses over multiple subjects and domains. While over half the exhibited works will be drawn from the Mori Art Museum Collection for the first time ever, there will also be newly-commissioned artworks for this exhibition - altogether creating a “classroom of the world,” place o… | | |
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| | | |  | | | | Adam Broomberg & Oliver Chanarin: © The Late Estate Broomberg & Chanarin, Divine Violence (detail), 2013, courtesy of The Goodman Gallery MACK |
| | | | | | | | FOTO WIEN 2023 | | | | | | | Thu 1 Jun 20:00
2 Jun – 20 Aug 2023 | | | | | |
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 | Fairs |
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| | | | | | | | | | | | | | Tue, Wed 13,14 Jun
15 Jun – 18 Jun 2023 | | | | | |
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| Auctions |
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| | Richard Mosse (B. 1980)
Men of Good Fortune, 2011
c-print
40 x 50 in.
© Richard Mosse. Courtesy of the artist and Jack Shainman Gallery, New York | | | PHOTOGRAPHIES | | | | | | | Online Auction: 23 May to 6 June 2023 | | | Viewing Paris: from 1-6 June
Online catalogue: here | | | Specialist, Head of Sale:
Fannie Bourgeois
fbourgeois@christies.com
+33 (0)1 40 76 84 41
Head of Photographs, Europe:
Elodie Morel-Bazin
emorel-bazin@christies.com
+33 (0)1 40 76 84 16 | | | | | | | | | | | | | Christie’s Photographs Department in Paris is pleased to announce their Spring Photographies sale, an online auction open for bidding from 23 May to 6 June 2023.
The sale will feature property by significant photographers of 20th & 21st Centuries including Helmut Newton, Richard Mosse, Candida Höfer, Shirin Neshat, Peter Beard, Irving Penn, Nan Goldin, Cindy Sherman or Hiroshi Sugimoto. The selection offered for sale covers a vast panorama of different photographic genres including fashion photography, documentary photography and conceptual photography.
The highlights of the auction are a beautiful large ferrotyped gelatin silver print by Helmut Newton Roselyne at Arcangues and a magnificent Self-portrait by Robert Mapplethorpe taken in 1985.
All photographs will be exhibited at Christie’s Paris from 22-26 May and from 1-6 June. | | |
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| | William Eggleston
Untitled, [Memphis], from the series "Los Alamos", 1965–1974. Um 1965/68
Dye Transfer-Abzug von Guy Stricherz unter Aufsicht von William Eggleston, 2002. 30,3 × 45,3 cm
Estimate EUR 15.000–20.000
© Grisebach GmbH | | | Photography Auction "Online Only" | | | | | | | 26 May – 4 June 2023 | | | | | | | | | | | | | Photography "online only" has a lot of surprises in store for you. We invite you on a journey through 100 years of photographic history, starting with the pioneer of the medium Eadweard Muybridge and his iconic horse in motion. We continue with August Sander and Herbert List, from Arno Fischer to Lee Friedlander and William Eggleston.
The selection also features a myriad of fascinating portraits. We are delighted to be able to offer a beautiful portrait of Marlene Dietrich, photographed by Irving Penn, as well as works by the famous American photorealist Chuck Close.
Last but not least, our selection wouldn't be complete without fashion photography: George Hoyningen-Huene's masterful "Divers" is on offer and Louis Faurer's elegance meets a tantalizing Gisele Bündchen photographed by Michel Comte! | | |
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| | Auction 1222/lot 712
Anton Corbijn
Michael Stipe (Trevi), Rome, 1995
Gelatin silver print (lith-print)
45.5 x 45.4 cm (mat opening), 69 x 68 cm (frame)
From an edition of 20
Estimate € 6,000 – 8,000 | | | Lempertz – Photography | | | | | | | Further information:
Dr. Christine Nielsen
Tel: +49-(0)221-92 57 29-56
photo@lempertz.com | | | | | | | | | | | | | Auctions 1222 Classical Photography
This year’s season highlight in the field of photography is a small photo book from 1934 which will go under the hammer in the Evening Sale: ‘Die Puppe. Erinnerungen zum Thema Puppe’ by Hans Bellmer is from a small edition which Bellmer published himself and in which he revealed his work on the scandalous subject of the doll for the first time. This launched his entry onto the Parisian Surrealist scene where his photographs caused a sensation (lot 85, € 30/40,000). Well preserved examples of the book, which includes a text and ten gelatin silver prints from the photographer, are exceptionally seldom.
A self-portrait by Willi Ruge as a press print from his reportage "I Photograph Myself During a Parachute Jump" shows the decisive moment in which the parachute opens up over the photographer’s head (lot 529, € 6/8,000). The photographs of the daring photographer’s daredevil self-experiments, for which he also composed the accompanying humorous texts, went around the world as picture reports in numerous illustrated magazines in the 1930s.
Standing out amongst the classical photography is a large-format vintage print of the well-known second variation from "Die Bäume vor meinem Fenster" [The Trees in Front of My Window] by Otto Steinert, a masterpiece of subjective photography from the co-founder of the fotoform group (lot 610, € 10/15,000). In the 1950s and 60s, Steinert influenced a string of German photographers and photo journalists as a teacher initially in Saarbrücken and later at the Folkwang School of Design in Essen. Amongst them were Detlef Orlopp, Peter Thomann, Adolf Clemens and Günter Hildenhagen, from whom seve… | | |
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| | 48.
Jean Moral (1906-1999)
Juliette riant (solarisation et négatif), 1930. | | | | | | | | | | Auction: Thursday, June 8th 2023 – 2:00 p.m.
Public exhibition:
At Ader auction house, 3, rue Favart; 75002 Paris
Tuesday, June 6th from 11 am to 6 pm
Wednesday, June 7th from 11 am to 6 pm
Thursday, June 8th from 11 am to 12 pm
Specialist: Antoine Romand
www.antoineromand.fr
Online catalogue: www.ader-paris.fr
Live bids: www.drouotonline.com | |  |
| | | | | | | | | | | | | 19th century photographs by :
Lai Afong | Appert | Eugène Atget | Arturo W. Boote | Maison Adolphe Braun | Albert Chevojon | Chute & Brooks | Edgar Degas | Robert Demachy | Eugène Disdéri | Louis-Émile Durandelle, | Louis de Clercq | Giuseppe Enrie | Marc Ferrez | Alfredo Hamelle | Obder W. Heffer | Kusakabe Kimbei | Ernest Rouart | Charles Thomas Scowen
- Album of Mont-Saint-Michel and album of the Gare Saint-Lazare by Durandelle and Chevojon.
- Travel photographs (Brazil, Chile, Argentina, Vietnam, China, Japan).
- Holy Shroud of Turin by Giuseppe Enrie: exceptional large 1930’s real-size prints and unique lightbox
Modern and contemporary photographs by :
Michael Ackerman | Antoine d'Agata | Rogi André | Nobuyoshi Araki | Diane Arbus | Jane Evelyn Atwood | David Bailey | Lewis Baltz | Gabriele Basilico | John Batho | Erwin Blumenfeld | Édouard Boubat | Pierre Boucher | Brassaï | Théodore Brauner | Denis Brihat | Francis Bruguière | Camille Bryen | Balthasar Burkhard | Richard Caldicott | Nicholas Callaway | Robert Capa | Henri Cartier-Bresson | Lucien Clergue | Pierre Cordier | Thibaut Cuisset | Denis Dailleux | Dawn NG | Geraldo De Barros | Raymond Depardon | Bernard Descamps | Jean Dieuzaide | Robert Doisneau | Frantisek Drtikol | Gilbert Fastenaekens | Franco Fontana | Joan Fontcuberta | Samuel Fosso | Leonard Freed | Gisèle Freund | Cyprien Gaillard | Hector Garcia Cobo | Gilbert Garcin | Luigi Ghirri | Mario Giacomelli | Ralph Gibson | Bruce Gilden | Paolo Gioli ... | | |
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| | 217
ALEX WEBB (*1952)
MEMORIAL FOR VICTIMS OF ARMY VIOLENCE, PORT-AU-PRINCE, HAITI, JULY 1987
Image Size 44,9 x 68,3 cm
Estimate: €3,500 - €4,500 | | | OstLicht Photo Auction | | | | Friday, 2 June, 5 pm CEST | | | | | | Preview:
Friday 26 May - Thursday 1 June, 2- 7 pm,
Friday 2 June, 10 am - 5 pm or
by appointment
Expert Guided Tour with Simone Klein
Wednesday 31 May 2023 7 pm, Galerie OstLicht
Contact: Peter Coeln
coeln@ostlicht.org
Online Catalog: here |  |
| | | | | | | | | | | | | The OstLicht Photo Auction is known for always providing a surprise with unexpected offers. But this is especially true for the spring auction taking place on Friday, 2 June. "We are pleased and proud to be able to offer works from one of the most important photo exhibitions of all times," says Peter Coeln, who founded the WestLicht Photo Auction in 2009 and has continued it as the OstLicht Photo Auction since 2020.
At the end of the 1980s, the Magnum photo agency had assembled the most impressive works from the first 40 years of its existence into a ground-breaking show of works entitled In Our Time. In addition to Henri Cartier-Bresson, Ernst Haas, Inge Morath, Erich Lessing, René Burri, Bruce Davidson and Sebastião Salgado, 50 other photographers are represented who have influenced the collective pictorial memory of this world with their iconic images.
"The exhibition is one of the most important milestones in the history of photography and comparable to Edward Steichen's masterpiece Family of Man”, says the former director of the photography department at Sotheby's Europe, Simone Klein, who joins the OstLicht team as an independent expert. "The fact that these historic exhibits are now being offered at an auction for the first time is truly a sensation".
Of particular interest to collectors: the set to be auctioned in the upcoming - and the two following - is the only one of the three produced at the time in which all works are signed by the photographers themselves, stamped by their estates or Magnum. In the first part, 97 large-format b/w or colour dye transfer prints will be offered: - Henri Cartier-Bresson's world-famous portrait of Alberto Giacometti (starting price: €5,000) and his snapshot of two men peering through a …
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| | | | | | resistance [ātete] | | | | | | | 31 May – 11 Jun 2023 | | | | | |
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| | | | | | The Verge | | | | | | | 1 – 30 Jun 2023 | | | | | |
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| | | | | | open air festival - NATURAL HERITAGE | | | | | | | 1 Jun – 1 Oct 2023 | | | | | |
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| | | | | | DIALOGUE BETWEEN YOUNG PEOPLE AND VISUAL ARTISTS | | | | | | | 30 May – 4 Jun 2023 | | | | | |
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| | | |  | | | | © The Late Estate Broomberg Chanarin 2015 The Goodman Gallery |
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1 – 30 Jun 2023 | | | | | |
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| | | © Alice Martins | | | | | | | 70 ARTISTS / 16 EXHIBITIONS | | | | | | | | ... until 2 July 2023 | | | | | | | | | | | | | The third edition of Porto’s photography biennial, entitled ‘Acts of Empathy’, focuses on assessing today’s social, ecological, and economic resources, and re-imagining a regenerative future. Bienal’23 co-artistic directors Jayne Dyer and Virgílio Ferreira invited 70 artists and 14 guest curators in 14 locations in Porto, transforming them into dynamic creative spaces where visitors are invited to participate in artistic ‘Acts of Empathy’.
Bienal’23 explores our ability to feel, collaborate and drive change through artistic acts of connectivity, reparation, and healing via CONECTAR, EXPANDIR, SUSTENTAR, VIVIFICAR (Connect, Expand, Sustain, Vivify), four sections that intersect local and global perspectives.
While SUSTENTAR features creative laboratories in Portuguese urban centers that look into urban and regional sustainability issues, VIVIFICAR, through artistic residencies with communities, addresses one of the most pressing issues in low-density territories: the settlement of populations. Because these two sections demand concrete solutions and actions, EXPANDIR brings an experimental dimension by presenting academic and professional socio-ecological initiatives for emerging artists. CONECTAR fosters diverse cultural and artistic ecosystems through the interchange of exhibition projects, ideas, and transdisciplinary practices on a national and worldwide scale.
Bienal'23 features projects that are supported by deliberate artist engagement in community and environmental activities in order to foster reparative acts and empathy for the future. | | |
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| | | | | | Soft and weak like water | | | | | | | – 9 Jul 2023 | | | | | |
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| | | | | | Europe Matters | | | | | | | – 11 Jun 2023 | | | | | |
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| | | | | | Thinking Historically in the Present | | | | | | | – 11 Jun 2023 | | | | | |
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| | | | | | Turning Point. Turning World | | | | |
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