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| PHOTOGRAPHY INTERNATIONAL | | 10 - 17 July 2019 | |
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| | | Room 1, 2019 © Kévin Bray | | | | | | | | 12 July - 13 October 2019 | | | | Opening Thursday 11 July from 17.30 hours onwards | | |  | | | | | | | | | | There is likely no other artist who mixes and matches more than Kévin Bray (France, 1989). Trained as a graphic designer at L’Ésaab (Nevers, France), then attached to the Design Department of the Sandberg Institute (Amsterdam, the Netherlands) and now a resident at the Rijksakademie van Beeldende Kunsten (Amsterdam, the Netherlands), he moves with ease across the boundaries of various disciplines. His work is a hybrid of techniques, motifs and formal languages in which he brings together painting, graphic design, sculpture, video, 3D-photography and sound design.
By investigating the particularities of a medium, and then stretching the visual codes, creative possibilities open up and give space to the unpredictable and otherworldly forms that are so characteristic of Bray. His work contains many art historical references but is equally apocalyptic, as if it were a backdrop for a science fiction story. | | |
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| | | CG visualisation, 2019 © Dominic Hawgood | | | | | | | | 12 July - 13 October 2019 | | | | Opening Thursday 11 July from 17.30 hours onwards | | | | | | | | | | | | | In this exhibition, titled Casting Out the Self, Hawgood visualises the effect of the drug dimethyltryptamine (DMT), which he personally experienced as a transfer into the digital realm. His work creates a hallucinatory effect: photographs seem to move, flat surfaces reveal hidden depths, and the perception of space turns out to be an illusion. Hawgood researches and appropriates elements of computational photography into his work, leading into intriguing site-specific installations and sculptural elements that refer to both spiritual ceremonies and the digital rituals of computer graphics. Through lighting design, Hawgood creates a unique atmosphere that transforms the exhibition space into a twilight zone between physical and digital reality. Hawgood not only pushes the boundaries of the medium of photography but also expresses a highly innovative approach to exhibition design.
In the ceremonial atmosphere of the exhibition, spirituality is endowed with digital features so that digital reality also appears to be idolised. In this way, Hawgood accurately captures the ambivalence of the digital world we live in: the magic of infinite possibilities contrasts sharply with our brief attention span, information overload, persistent distraction, loneliness and seclusion. | | |
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| | | Untitled, 2016, 76 x 102 cm, Archival Pigment Print, Ed. of 3 + 2 AP's | | | | | | | | 13 July – 31 August 2019 | | | Special summer opening hours:
August 1 to August 31: Thursday - Saturday 12-6pm | | | | | | | | | | | | | When Swiss Fotostiftung in Winterthur and the Musée de l’Elysée in Lausanne approached young American photographer Shane Lavalette to contribute work to a group show titled "Unfamiliar Familiarities. Outside Views on Switzerland" in 2016, Lavalette started to research in the Winterthur archives. He came across contact sheets of a reportage by Theo Frey.
Swiss photographer Theo Frey (1908-1997) was a photo journalist and a documentarist. For the 1939 Swiss National Exhibition he visited and systematically photographed in twelve Swiss villages, aiming to tell a story of Switzerland at that moment in time.
"Following the footsteps of Frey’s journey from nearly eighty years earlier, I now traveled to the same twelve villages in order to find new images that explore the fabric of Switzerland today", explains Shane Lavalette, "guided by chance encounters and my own meditations on the past, present, and future."
"Within the archive at the Fotostiftung Schweiz, I uncovered unexpected connections between my own images and Frey’s, and was at once confronted with the weight of history. I considered the ways in which Frey’s photographs have different implications now than the day that they were made, and how the meaning of my own images will undoubtedly transform with age as well. Photographs, I realized, are much like mountains. Though we think of images as fixed and still, what we see in them is always shifting, however slowly, with time."
Shane Lavalette (*1987) is an American photographer, an independent publisher and editor, and the director of Light Work, a nonprofit photography organization based in Syracuse, New York. He holds a BFA from the School of the Museum… | | |
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| | Material study, glass-metal
preliminary course Fritz Schleifer
Landeskunstschule Hamburg 1930–33
photograph, 17 x 23 cm
Hamburgisches Architekturarchiv – Bestand Fritz Schleifer
© Jan Schleifer | Alfred Ehrhardt, student work,
preliminary course Alfred Ehrhardt
Landeskunstschule Hamburg 1930–33
glass negative, 9 x 6 cm
© Alfred Ehrhardt Stiftung |
| | | | 100 years of bauhaus III: | | | landeskunstschule hamburg preliminary course 1930–1933 | | | | | | | 13 July – 15 September, 2019 | | | Opening: Friday, 12 July, 7‒9pm
Curator: Hans Bunge | | | | | | | | | | | | | The Alfred Ehrhardt Foundation’s third Bauhaus exhibition honors Bauhaus artist and teacher Fritz Schleifer with previously unknown works.
The exhibition presents photos of student works from the preliminary classes taught by Fritz Schleifer at the Landeskunstschule Hamburg between 1930–33 that were preserved on glass negatives in the archive of his son Jan Schleifer. But during exhibition preparations, curator Hans Bunge, working together with Jan Schleifer, also made an extraordinary discovery for the exhibition: original student works Fritz Schleifer had hidden in the basement of his house that were saved from confiscation and destruction by the National Socialists.
Fritz Schleifer studied from 1922–1924 at the Bauhaus in Weimar under Oskar Schlemmer and Wassily Kandinsky and also knew other master instructors well including Lyonel Feininger. The Bauhaus poster of the first Bauhaus exhibition held in Weimar in 1923 can be traced back one of Schleifer’s designs. Following his architectural studies in Munich and professional activities at various architectural firms in Hamburg, he was hired, as was Alfred Ehrhardt, in 1930 as a "freelance artistic instructor" to teach the newly introduced classes at the Landeskunstschule Hamburg. At the time, its new director Max Sauerlandt expected the hiring of both former Bauhaus students to provide new impulses reflective of Bauhaus pedagogy.
In 1933, Sauerlandt, Schleifer, and Ehrhardt were immediately dismissed. What had not already been destroyed of the student work was sent to the Reichskammer der bildenden Künste [Reich Chamber of Fine Arts] in Berlin in 1937 "as evidence of cultural decline."
Upon his immediate rehiring by the Landeskunsts… | | |
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| | KATHRIN LINKERSDORFF
Floriszenzen 1
2019
Archival Pigment Print, 40 x 40 cm
Edition of 5 | MARIA JAUREGUI PONTE
Untitled from the series "Nachtgestalten" NG2230
2015-2016
C-print, framed without glas
91 x 61 cm, Edition of 5 |
| | | | | | | | | | | 13 July – 14 September, 2019 | | | | Opening: Friday, 12 July, 7pm | | | | | | | | | | | | | With the exhibition "LUMINESCENCES", Galerie Springer Berlin is introducing two artists who will be expanding the gallery’s programme from now on. The two photographers complement each other in the exhibition in an impressive way. Both have been working and experimenting with light and shadow, and colour and darkness for many years. The results of this process are to some extent very different, but they come together in a stunning combination in the exhibition.
In the group of works Überstrahlungen (Overexposures), Maria Jauregui Ponte has worked without a camera. The artist has exposed photographic paper in a specially built dark box with colourful light sources, producing unique photographs that are reduced to an interaction of colour tone, brightness and saturation, and in their colourful abstraction are reminiscent of the monochromatic colour surfaces in Mark Rothko’s paintings. (excerpt from a text by Barbara Esch Marowski)
The photographer Kathrin Linkersdorff essentially orders her works in open series: open inasmuch as the series are continually being processed further. They are repeatedly adjusted, supplemented, "tightened up" and renewed. Rather than altering the character and expression of the individual series, this process redefines them time and again. Each series consists of a high level of coherence and through this profile has a wholly different interaction with the other series, whose focus then becomes particularly evident in the boundaries between them. | | |
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| | | © Mary Frey | | | | | | | | 13 July – 25 November, 2019 | | | | | | | | | | | | | An important oeuvre in the history of US American photography is currently being rediscovered. After being shown for the first time in Europe at the Forum für Fotografie in Cologne, the work of the photographer Mary Frey is now displayed at the Centre national de l‘audiovisuel (CNA) in Dudelange. It carries us away to a small town in the west of Massachusetts, to the America of the 1970s and 80s. Even at first glance we can see how the pictures reflect Frey’s artistic debate with the trailblazers of American photography.
In 1991, Peter Galassi curated an exhibition entitled "Pleasures and terrors of domestic comfort" at MoMA in New York. Today, the catalogue for the MoMA exhibition reads like a compendium of the New American Photography. All the photographers who took part are leading names of very high artistic standing. Philip-Lorca diCorcia, William Eggleston, Gregory Crewdson, Cindy Sherman, Nan Goldin, Tina Barney, Joel Sternfeld, Nicholas Nixon, Lee Friedlander, Stephen Shore, Larry Sultan, Robert Adams, Larry Fink, Sally Man and … Mary Frey.
As a university teacher, Mary Frey inspired several generations of students between 1979 and 2015 at the Hartford Art School. While she did take part in several individual and group exhibitions in the USA after the exhibition at MoMA, following the birth of her child she cut down her public presence on the art market in favour of her family and her teaching work.
Only when she stopped teaching three years ago did she become interested again in putting her work up for public debate. At a workshop run by the Hartford Art School Connecticut in Berlin, she met the publisher Hannes Wanderer, of Peperoni Books. It was thanks to Hannes Wanderer that the Forum für… | | |
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| | | Untitled, from the series “Red-Eye Trompe l’oeil” (1998–2005), © Michel Campeau | | | Michel Campeau »
The Donkey that Became a Zebra: Darkroom Stories | | | | 13 July – 22 September, 2019 | | | | Opening: Friday, 12 July, 7 pm | | | | | | | | | | | | | Michel Campeau has been obsessed with photography for more than 40 years. Throughout his career, the Canadian artist and collector (*1948, Montreal) has explored the medium of photography, examining the subjective and narrative aspects of the work in front of and with the camera. Campeau revolves around photography with great passion and always new questions: How and why do we photograph? How has photography influenced our view of ourselves? What is still relevant and effective about the analogue in the digital age?
With the exhibition "THE DONKEY THAT BECAME A ZEBRA: DARKROOM STORIES" the Fotografie Forum Frankfurt presents different bodies of work by Michel Campeau that demonstrate his passion and lively play with photography. The exhibition, curated by Celina Lunsford, focuses on Campeau's often tongue-in-cheek approach: he re-constructs photographic history and stories behind photographs, with his own images and with those of others.
An example of this is the series RUDOLPH EDSE. AN UNINTENTIONAL AUTOBIOGRAPHY. During one of his online searches for amateur photographs, Michel Campeau was able to acquire the entire photographic estate of the rocket scientist Rudolph Edse, who was born in Germany and emigrated to the USA in 1945. Edse captured his private family life with a camera in the American suburbs, in skillfully composed pictures suggesting the perfect idyllic life. Campeau reassembled 70 of these photographs into a book– quasi to an alternative family biography, as it could have been, shaped by his own imagination.
With heart and soul for analogue photography Michel Campeau deals with the darkroom in his own works on the subject. Since 2003, the artist has been photographing these last "transition… | | |
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| | | |  | | | | aus der Serie: Scooter Kids © Benito Barajas |
| | | | | | | | | | | | Thu 11 Jul 18:30
11 Jul – 28 Sep 2019 | | | | | |
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| | | Anna Tiessen - Kommando Korn www.guteaussichten.org © Anna Tiessen | | | gute aussichten 2018/2019 & Grant II | | | | NEW GERMAN PHOTOGRAPHY | | | | | | | 12 July - 3 October, 2019 | | | | Opening: Friday, 12 July, 7pm | | | | | | | | | | | | | For the 15th year in a row, gute aussichten 2018/2019 at the House of Photography will present a range of concepts, aesthetics, and media that exemplify the work of young photographers in Germany.
The exhibition features a surprising range of diverse ideas, photographic strategies, as well as formal and media implementations that reflect the status quo of recent photography. The nine-member jury, which included the renowned photographer Elger Esser and the well-known publisher Gerhard Steidl, chose nine award winners out of 98 submissions from 40 institutions. Despite the diversity of themes and forms, the works share the connecting element of the turning point, which often brings things to a close at the beginning and begins something new at the end.
Once something becomes established, it is difficult to get rid of it – and the same applies to any structure, whether mental or physical. This makes it extremely inspiring that the nine award winners of gute aussichten 2018/2019 all bring a breath of fresh air into a photographic field whose creative potential has clearly not been exhausted by far, despite all the Cassandras who would claim otherwise. | | |
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| | | |  | | | | © Sarah Strassmann |
| | | | | | | | | | | | Fri 12 Jul 19:00
13 Jul – 15 Sep 2019
Artist Talk: Sun 14 Jul 11:30
(with Marco Hompes/ Museum Villa Rot a.o.) | | | | | |
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| | | |  | | | Hellen van Meene
No. 497
2017
C-print mounted on dibond, framed - edition of 10
39cm x 39cm |
| | | | | | | | | | | | Thu 11 Jul 18:30
11 Jul – 3 Aug 2019 | | | | | |
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| | | |  | | | John Edmonds, The Villain, 2018.
Inkjet print, 30 × 24 in. (76.2 × 61 cm).
Image courtesy the artist and Company, New York. |
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| | | |  | | | | © ERIC |
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| | | © Miriam Tölke, Horizon, 2019, Collage, Unikat | | | | | | | Summer Show | | | | | | | | 11 July – 17 August, 2019 | | | Opening reception with summer party: Thursday, 11 July, 5-10pm With ice cream trolley from the Gelateria di Berna and drinks from Mikks
Summer opening hours (12 July – August 17)
Thursdays and Fridays 12-6:30pm, Saturdays 11-4pm
Monday through Wednesday by appointment only. | | | | | | | | | | | | | | |
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| Auctions |
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| Festivals |
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| Upcoming |
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| | | | | | | | | | | | | | Fri 12 Jul
5 Jul – 29 Sep 2019 | | | | | |
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| | | |  | | | Tom Wood
Great Homer Street Market, Liverpool, 1991.
Courtesy of the artist and Galerie Sit Down |
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| | | |  | | | Jana Bissdorf, untitled
from the series "Wege zum Glück", 2018 © Jana Bissdorf
Mur(s) / Mauer(n) | FOTOHAUS ParisBerlin | Deutsche Börse Photography Foundation |
| | | | Emerging Photographies | | | | | | | – 22 Sep 2019 | | | | | |
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| | | |  | | | | © Marwan Bassiouni, New Dutch Views |
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| | | Olaf Otto Becker © Festival La Gacilly–Baden Photo | | | Festival La Gacilly-Baden Photo | | | | HYMN TO THE EARTH | | | | | | Baden near Vienna:
... until 30 September 2019
Festival programm - 46 Events:
In addition to the impressive pictures in the parks, gardens and alleyways of Baden near Vienna, the photo festival also offers an exciting side program with guided tours, workshops and lectures.
festival-lagacilly-baden.photo |  |
| | | | | | | | | | | | | | Europe’s largest photographic festival is coming to Baden near Vienna for the second time. Under the motto HYMN TO THE EARTH, esteemed international photographers will exhibit fascinating visual worlds in a gigantic open-air gallery: 39 exhibitions with 2,000 large-format images—each up to 280 square meters in size—will transform the gardens, lanes and squares of Baden for four months and across 7-kilometres, into a "picture-city". | | |
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| | | | | | Eyes East Bound | | | | | | | – 10 Aug 2019 | | | | | |
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| | | BARBARA HAMMER, DYKETACTICS, 1974, 16 MM FILM ON VIDEO, 4’, COURTESY ELECTRONIC ARTS INTERMIX (EAI), NEW YORK | | | | | | | 50JPG - 50 Days for Photography in Geneva | | | | | | | | ... until 25 August 2019 | | | | | | | | | | | | | | | | The exhibition OSMOSCOSMOS attempts to bring together two universes that are too rarely associated in our monotheistic cultures where sexuality is marked by guilt: Eros and cosmos. We can describe them as dynamic, as not static, not stable, not fixed. Jean-Pierre Vernant (1), specialist in ancient Greece and its myths, describes the meeting of the two: Eros - always in motion, between men and gods - witnessed the birth of the universe, allowing Uranus and Gaia to procreate. Gaia, who is emancipating herself from Chaos, needs the energy of Eros to unite with Uranus. Lying on his back and mating with Gaia, Uranus refuses to withdraw, despite the Titans they have just spawned and who are waiting to be born. Gaia encourages her future children to revolt and places a sickle handle in young Cronus' fist. He grabs the object to use it as a weapon and cuts off his father's sexual parts. This immense pain forces Uranus to pull away from Gaia with vehemence and upwards, forming the vault of the sky, the starry firmament, the Cosmos – forever. | | |
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| | | |  | | | | © R.J. Kern |
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| | | |  | | | | © Maia Flore / Agence VU pour Atout France, « Imagine France by the Sea » |
| | | | open air festival | | | | | | | – 30 Sep 2019 | | | | | |
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| | | |  | | | | © Maria Gawryluc - 30 Under 30 Women Photographers |
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| | | |  | | | | © Johanna Heldebro, Night Watch II, from To Come Within Reach of You (Gunnar Heldebro, Hässelby Strandväg 55, 165 65 Hässelby, Sweden), 2009 |
| | | | | | | | | | | | Chapter One: 06 JUN - 25 SEP
Chapter Two: 17 OCT - 21 DEC | | | | | |
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| | | |  | | | | Leila Alaoui. Esauira, 2012 © Leila Alaoui |
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| | | |  | | | | film 40-15 © ANNIKA LARSSON |
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| | | |  | | | Right Color, France 2019
© Hélène Bellenger |
| | | | European young photography festival | | | | | | | extended through 21 July 2019 | | | | | |
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| | | | | | The sound of screens imploding
Centre d'Art Contemporain, Genève | | | | | | | – 29 Sep 2019 | | | | | |
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| | | Bárbara Wagner & Benjamin de Burca, Swinguerra, 2019. Film still. | | | | | | | May You Live in Interesting Times | | | | | | | | ...until 24 Nov 2019 | | | | | | | | | | | | | | | The 58th International Art Exhibition, titled May You Live In Interesting Times, will take place from 11 May to 24 November 2019 (Pre-opening on 8, 9, 10 May). The title is a phrase of English invention that has long been mistakenly cited as an ancient Chinese curse that invokes periods of uncertainty, crisis and turmoil; "interesting times", exactly as the ones we live in today. The 58th Exhibition is curated by Ralph Rugoff, currently the director of the Hayward Gallery in London. Between 1985 and 2002 he wrote art and cultural criticism for numerous periodicals, publishing widely in art magazines as well as newspapers, and published a collection of essays, Circus Americanus (1995). During the same period he began working as an independent curator. The Exhibition will also include 90 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the historic city centre of Venice. Four countries will be participating for the first time at the Biennale Arte: Ghana, Madagascar, Malaysia and Pakistan. The Dominican Republic exhibits for the first time at the Biennale Arte with its own national pavilion. | | |
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| | | |  | | | | Series Mukono. Courtesy Kahman Gallery, Amsterdam and Jackson Fine Art © Bastiaan Woudt |
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| | | |  | | | | © Navid Haghighi - Iran |
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| | | |  | | | | © Johnny Miller |
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© 10 July 2019 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photo-index.art . T +49.30.24 34 27 80 |
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