| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 6 — 13 March 2024 | |
|
| |
 |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
|
| |
| |
|
| |
 |
| | | Bereitschaft (GIF), 2024 © Jakob Ganslmeier & Ana Zibelnik. | | | | | | | 8 March – 26 May 2024 | | | | Opening: Thursday 7 March 2024 17:30 | | |  | | | | | | | | | | Foam is excited to announce the upcoming Foam 3h exhibition GIGA by Jakob Ganslmeier and Ana Zibelnik. The artistic duo delves into the intricate landscape of radicalization within the online realm and through social media channels. Their comprehensive research project sheds light on the covert use of seemingly innocuous forms of media such as music, videos, and images as coded language for extremist ideologies. Ganslmeier and Zibelnik's exploration reveals how memes and various media formats, initially perceived as harmless, can inadvertently serve as conduits for disseminating extremist messages.
In recent years the global surge in right-wing extremism has become increasingly pronounced. The repercussions of this trend are evident in recent elections in The Netherlands, reflecting a growing polarization within our society. Ganslmeier and Zibelnik assert that social media serves as a significant catalyst for this surge, playing a pivotal role in fostering and disseminating extremist ideologies. The exhibition GIGA compellingly exposes the shadows concealed behind the seemingly 'innocent' facade of communication on social media platforms. It elucidates how the sharing of seemingly harmless images, initially perceived as pure entertainment, inadvertently sows the seeds for the germination of extreme right-wing ideologies.
The exhibition displays the video projects Redpilled, Public Enlightenment and the artist duo’s latest project Bereitschaft (‘Readiness’), which will be premiering at Foam 3h. Each video work offers an in-depth exploration in… | | |
| |
|
|
| |
 |
| | | Opening Foam Talent 2024-2025, 2024 © Foam. Photo: Almicheal Fraay. | | | | | | | | | | | | | ... until 22 May 2024 | | | The 20 portfolios are also on view in the digital exhibition Foam Talent Digital. Discover the work in a truly multi-medial way, inviting you to look, listen and interact with the inspiring stories of Foam Talent 2024-2025.
www.foam.org/talent-2024 » | | | | | | | | | | | | | Foam is excited to present twenty exceptional artists in the Talent 2024 - 2025 group exhibition. The artists’ works signify a bold, new direction in photographic art. The talents were selected during the biennial Foam Talent Call, for which an astounding 2,500 photographers from over 106 countries submitted their work. The exhibition emphasizes the role of photography as a powerful medium for storytelling, cultural critique, and personal expression. In a time of increasing polarization, this year’s talents challenge the viewer to reflect on the viewpoints of others and invite empathy.
At the heart of the exhibition lies the exploration of urgent societal issues, where artists introspectively examine both themselves and the world. The topics of interest range from migration to the danger of internet algorithms, and from questioning gender roles to a reflection on the impact of colonialism. Looking to broaden the medium of photography, this year’s talents present us with innovative approaches, from embroideries on photos and the use of photogrammetry to the use of Artificial Intelligence. The selection celebrates photographers who dare to push the boundaries of creative expression.
In addition to the physical exhibition, Talent 2024-2025 is accompanied by a digital exhibition on the online platform Foam Explore, as well as Foam Magazine #65 TALENT which will be entirely devoted to this new generation of talents. In 2025, the exhibition will travel internationally. As part of the Talent program, the selected artists are invited to participate in various networking activities, mentoring, with the opportunity to have their work added to the prestigious collection of the Deutsche Börse Photography Foundation. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | Evgeniy Pavlov
Alternative, 1985
collage, gelatin silver print
30 × 45 cm
Collection of the Museum of the Kharkiv School of Photography, Kharkiv, Ukraine |
| | | | Charkiwer Schule der Fotografie | | | | | | | Tue 5 Mar 18:00
6 Mar – 2 Jun 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| | | |  | | | | © Josefine Rauch |
| | | | OKS Ostkreuzschule für Fotografie - Seminar von Tobias Kruse | | | | | | | Thu 7 Mar 19:00
8 Mar – 10 Mar 2024 | | | | | |
| | | | | | | |
|
| |
|
| | | |  | | | Laura Schawelka
Marlene Dietrich at Madame Tussauds Berlin, 2021
PVC, 400 x 270 cm
Photo Martin Plüddemann
Courtesy fiebach, minninger, Köln |
| | | | | | | | | | | | Sat 9 Mar 18:00
10 Mar – 27 Apr 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | | Gerry Johansson: Western Matsuyama, Japan, 1999 © Gerry Johansson | | | being human, being material | | | | | | | 10 March – 20 April 2024 | | | | Opening: Saturday, 9 March, 4 – 7pm | | | | | | | | | | | | | What is human, what is material? Materiality is a fundamental dimension of human existence. We, as living bodies, are worldly creatures interacting with our surroundings in profound ways that shape the whole of material reality. In turn, we are constantly constructed and shaped by everything to which we are connected. Being human, being material, featuring artworks from Gerry Johansson and Andreas Johnen, is a dialogue between the two artists within and across photography, works on paper and sculpture.
Gerry Johansson is known for capturing towns scattered across the globe, particularly in the United States, Sweden, and Germany. His primary objective is to showcase the influence individuals have on their surrounding environments and how cities evolve over time. His independent, layered visual language is the central thread that connects the places aesthetically with each other. At the same time, it allows the viewer to decode deep cultural differences down to the slightest material detail of what is shown, be it the outline of a hill or a roof’s construction line.
In his series "Ehime", he focuses his creative energy on unveiling the environment surrounding the Japanese people, as opposed to the people themselves. He works with three natural elements – rock, water, and foliage – to mirror the exceptional beauty of the region. He takes his camera to the rocks and mountain streams of Nametoko Valley, deep inside forests teeming with life, and to the waters of the Seto Inland Sea. Metropolitan scenes also captivate him. He turns his lens toward encapsulating urban harshness, ironically contrasting it with the unexpected relief brought by the green and foliage. | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | | Installation de l’exposition “The Family of Man” au Château de Clervaux © CNA/Romain Girtgen, 2021 | | | | | | | UNESCO Memory of the World | | | | | | | | Reopening: 1 March 2024 – 1 January 2025 | | | | open Wednesday to Sunday from 12 to 6 p.m. | | | | | | | | | | | | | Presented for the first time in 1955, the exhibition was meant as a manifesto for peace and the fundamental equality of mankind, expressed through the humanist photography of the post-war years. Images by artists such as Robert Capa, Henri Cartier-Bresson, Dorothea Lange, Robert Doisneau, August Sander and Ansel Adams were staged in a modernist and spectacular manner.
Having toured the globe and been displayed in over 150 museums worldwide, the last, complete version of the exhibition was permanently installed in Clervaux Castle in 1994. Since its creation, The Family of Man has attracted over 10 million visitors and entered the history of photography as a legendary exhibition. In 2003, the collection was inscribed in the UNESCO Memory of the World register.
Today, the restored collection is accessible to the public as a permanent exhibition at Clervaux Castle.
PRACTICAL INFORMATION
www.steichencollections-cna.lu
www.thefamilyofman.education/
Follow us
www.facebook.com/cna.luxembourg
www.twitter.com/cna_luxembourg | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | Beleza, Vogue Spain March, 1990
© Giovanni Gastel / Image Service srl |
| | | | | | | | | | | | Fri 8 Mar 19:00
8 Mar – 27 Apr 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | | Panoptical Sublime, 2019, 155 x 124 cm © Rut Blees Luxemburg |
| | | | | | | | | | | | Thu 7 Mar 19:00
7 Mar – 11 Apr 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | | Andreas Feininger, Professional People: The Photojournalist, 1951 / Andreas Feininger, World Trade Center, 1989 | | | | | | | | 9 March – 6 April 2024 | | | | Opening: Saturday 9 March 2024 11am - 4pm | | | | | | | | | | | | | Andreas Feininger, the Paris-born first of three sons of Bauhaus master Lyonel Feininger, set important milestones with his technical and artistic passion for photography, and it is thanks to his technical curiosity and precision that architecture photography enjoyed important new impulses. With his self-made cameras, Andreas Feininger achieved an unprecedented compression of space, capturing the skyscrapers of New York with the use of long focal lengths. Photography is more than the depiction of a view in his work; it generates a new perception of what is photographed.
Lempertz is dedicating an extensive exhibition to this discoverer of special views and insights in its headquarters on Cologne’s Neumarkt. Featuring 70 pictures from various work groups and creative phases, the Cologne exhibition offers an overview of Feininger’s oeuvre. His well-known visual homages to his city of New York from a distance and close up are complemented by many surprising views of how a shell, a bone or a feather can also be seen, illustrating Feininger’s particularly impressive mastery of light and perspective.
All works in the exhibition are for sale. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | | Elfie Semotan, Gerhard Friedl, Wien, 2009 © Elfie Semotan |
| | | | | | | | | | | | Wed 13 Mar 19:00
14 Mar – 28 Jul 2024 | | | | | |
| | | | | | | |
|
| |
| | | |  | | | | Adrian Sauer, 16.777.216 Farben in unterschiedlichen Anordnungen – Grüner Smiley, Farbton, 100 cm x 100 cm, Digitaler C-Print, 2023 |
| | | | | | | | | | | | Wed 13 Mar 19:00
14 Mar – 28 Jul 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | | Francesco Neri: from the series "Boncellino", 2023 | | | | | | | | ... 16 March 2024 | | | | | | | | | | | | | This exhibition marks Italian photographer Francesco Neri’s London debut and the first presentation of a body of work made over the last two years in the tiny hamlet of Boncellino near to his home town of Faenza in the northern region of Emilia-Romagna. Faenza is surrounded by an abundant, cultivated landscape, farmed since Roman times with fruits and vegetables, vines and cereals. Increasingly, though, its rural villages are experiencing the deadening effects of depopulation and ecological degradation.
Boncellino is the latest iteration of what has become a prolonged study of the agrarian communities of Neri’s native region. The study was catalysed in 2009 by an encounter with a local farmer Livio Papi. With their meeting, Neri found the key to unlock his own deep sense of connection to place. Through the portraiture of the region’s people, and more specifically, his photographic interaction with them, he saw the route "to understand where I am from". Like many photographers who focus on what is closest to them, the project is in one sense also an evolving self-portrait. Neri returns to photograph people - and the buildings they have made - again and again, "to retrace my steps and see how things and people have changed. I too have changed in turn." As the work grows, the photographer and his subjects age together, and the photographic project itself becomes a record of the passage of time.
Excerpt from the introduction written by Kate Bush. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | Gordon Parks - Eldridge Cleaver and His Wife, Kathleen, Algiers, Algeria, 1970.
Courtesy and Copyright The Gordon Parks Foundation |
| | | | | | | | | | | | Thu 7 Mar 18:00
7 Mar – 20 Apr 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | © Dawn Kim. Between debates, Cambridge, Massachusetts, 2023.
Courtesy of the artist. |
| | | | | | | | | | | | Sat 9 Mar 16:00
9 Mar – 28 Apr 2024 | | | | | | | | | | | Sat 9 Mar 16:00
9 Mar – 3 May 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | Jefferson HAYMAN
The American Spring
Ed 4 of 12
25,5cm | | | | | | | | ... 6 April 2024 | | | | | | | | | | | | | David Guiraud Gallery first showcased Jefferson Hayman in France in 2016 and has since organized three solo shows in the Marais district, while regularly featuring his work at the Art Elysées fair in Paris. The connection between the gallery and the contemporary artist is longstanding and reflects a commitment for the long term.
Jefferson Hayman stands out as an original artist in the landscape of contemporary photography. His work is characterized by simple and delicate images of characters, objects, or landscapes, printed using a variety of both modern and ancient techniques (silver gelatin, platinum, cyanotype, pigment), revealing his admiration and knowledge of the Pictorialist movement of the early 20th century.
Hayman pays homage to the entire early 20th-century American photography movement, drawing inspiration from it in the treatment of light and the composition of his images. His views of New York are captivating, transporting us to 1920 in Alfred Stieglitz and Edward Steichen's Gallery 291, surrounded by masterpieces of modern photography. Jefferson Hayman's gaze upon the clouds is another connection to A. Stieglitz and his series "Equivalents."
Despite this, Jefferson Hayman is indeed a contemporary artist, born in 1969 in the United States. While his contemporaneity may not be evident in the approach to his shooting or darkroom printing, it resides in the subjects and themes he addresses. Presenting the mask of Darth Vador or a skateboard in a classic treatment creates a sense of anachronism. This likely contributes to the notion of nostalgia and a chosen suspended time in Hayman's work. The sensitivity of an era, his era, is composed within the prints of this artist. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | | Iranerin in Lahidschan, 2009 © Katharina Eglau |
| | | | | | | | | | | | Sat 9 Mar 19:00
9 Mar – 16 Jun 2024 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
 |
| | Family Trilogy, 2020
© Christopher Anderson | | | | | | | | | | | | | | | | ... until 14 April 2024 | | | | | | | | | | | | | | Christopher Anderson naturally began photographing his family after his son Atlas came into the world in 2008. When his daughter Pia was born, he continued the fatherly attempt to stop time and not let a single moment of this new life slip away. Marion features throughout these albums, as a woman, mother, and partner. As a documentary photographer, Christopher Anderson had never considered these personal photos as a ‘series’, but his opinion changed when war photographer Tim Hetherington pointed out that “They’re all about the passage of time.” Christopher Anderson began seeing his family pictures in a new light and realised that they may well be his best work. Pia, Son and Marion were published as three separate books, forming a unique and moving intimate family trilogy. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 | Fairs |
|
| |
|
|
| |
|
| |
|
| |
|
|
| |
| |
|
| |
| Festivals |
|
| |
| Upcoming |
|
| |
|
| | | | | | Critical Geography | | | | | | | 9 Mar – 21 Apr 2024 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | Ten Thousand Suns | | | | | | | 9 Mar – 10 Jun 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | | | | | Das Leipzig Photobook Festival | | | 9 – 10 Mar 2024 | | | | | |
| | | | | | | |
|
| |
| |
| Current |
|
| |
|
|
| |
|
| | | | | | international festival of photography | | | | | | | – 24 Mar 2024 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | Memory is an Editing Station | | | | | | | – 28 Apr 2024 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | Cosmos Cinema | | | | | | | – 31 Mar 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | |  | | | Noga Shadmi's series of the kidnapped penetrates the heart.
Keep sharing your images, together we will raise the global awareness and bring them back home. |
| | | | | | | | International Photography Festival | | | postponed >> 27 March 2024 | | | | | |
| | | | | | | |
|
| |
| |
| |
|
| |
| |
|
| |
© 28 Februar 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 |
| |
