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| PHOTOGRAPHY INTERNATIONAL | | 10 – 17 May 2017 | |
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| | | | | The 57th International Art Exhibition, titled VIVA ARTE VIVA and curated by Christine Macel, is organized by La Biennale di Venezia chaired by Paolo Baratta. The Exhibition will be open to the public from Saturday May 13th to Sunday November 26th 2017, at the Giardini and the Arsenale venues. The preview will take place on May 10th, 11th and 12th, the awards ceremony and inauguration will be held on Saturday May 13th 2017.
The Exhibition will also include 85 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the historic city centre of Venice.
Also for this edition, selected Collateral Events by non-profit national and international institutions, present exhibitions and initiatives.
Detailed information can be found on www.labiennale.org/en/art/ |
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| | | | | The Irish-born photographer Richard Mosse has won the Prix Pictet award, for his series of black-and-white images entitled Heat Maps (2016-17). Mosse used a military-grade thermal camera that detects body heat to depict sites on the journeys faced by migrants in Europe, the Middle East and North Africa. www.prixpictet.com/space/ Prix Pictet Exibition at V&A Victoria and Albert Museum London until 29 May.
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Richard Mosse, Helliniko Olympic Arena (2016), Athens, from the series Heat Maps (2016-17) © Richard Mosse, Prix Pictet 2017 | | | | | | | |
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| | | | | From the 12th till 28th of May The Lumiere Brothers Center for Photography will run PHOTOBOOKFEST, a large-scaled international event, dedicated to the photobook industry and photographic art in Russia. The festival's programme will consist of exhibition and education blocks, as well as a Photobook dummy contest.
Detailed information about the festival can be found on www.photobookfest.com. |
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© Koto Bolofo | 
© Koto Bolofo |
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| | | | | | | | | 13 May – 1 July 2017 | | | | Opening reception: Saturday 13 May 18:00 | | |  | | | | | | | | | | Koto Bolofo, the London-based fashion photographer, has reached the top of his craft despite a turbulent upbringing. A refugee, born in Lesotho, South Africa in 1959, Bolofo fled the country with his family after his father was wrongly accused of promoting anti-governmental propaganda in the school at which he was teaching. After briefly seeking refuge in Switzerland, Bolofo and his family nally settled in London to forge a new life for themselves.
An interest in the visual blossomed during Bolofo’s time in London and he quickly decided that a camera was the best medium to express himself. He has since gone from strength to strength and is now internationally renowned for his fashion images, appearing in high-end editorial and fashion magazines such as Vogue and GQ. Furthermore, Bolofo’s versatility as a photographer brought him to the commercial market and he has now shot campaigns for giant international brands such as Nike and Levi’s. Not only does Bolofo boast an impressive list of clients but he is also the rst photographer to have ever received a ‘carte blanche’ from the Hermes Maison workshops. | | |
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| | | |  | | | | Masayoshi Sukita: Risky Folio Inc. Courtesy of The David Bowie ArchiveTM |
| | | | | | | | | | | Thu 11 May 19:00
12 May – 12 Aug 2017 | | | | | |
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| | | |  | | | | Sebastião Salgado: Goldmine Serra Pelada, Federal State of Pará, Brasilien, 1986 © Sebastião Salgado |
| | | | | | | | | | | Thu 11 May 18:00
12 May – 8 Sep 2017 | | | | | |
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| | | |  | | | | Viviane Sassen: Axiom GB01, 2014 C-print, 45 x 30 cm © Viviane Sassen |
| | | | | | | | | | | Fri 12 May 19:00
13 May – 20 Aug 2017 | | | | | |
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| | | © Narciso Contreras for the Fondation Carmignac | | |
7th Laureate of the Carmignac Photojournalism Award | | | | 16 May – 16 June 2017 | | | | | | | | | | | | | Fondation Carmignac is pleased to announce the exhibition of the 7th Laureate of the Carmignac Photojournalism Award, the Mexican photographer Narciso Contreras. Narciso Contreras has put together a unique testimony for the Carmignac Photojournalism Award, revealing that Libya is not simply a transit zone for migrants en route to Europe, but a human trafficking stronghold where refugees and asylum seekers are bought and sold on a daily basis. In 5 months of reportage, from February to June 2016, Narciso Contreras was able to uncover and demonstrate that detention centres, where migrants are submitted to inhumane living conditions, are in fact the strongholds of this lucrative commerce. With this report, Narciso Contreras provides us with a glimpse of the complex and horrifying context anonymous migrants face through the complex tribal society of post-Gaddafi Libya. | | |
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| | | © Irina Popova | | | | | | | PHOTOBOOKFEST Moscow 2017 | | | | | | | | | 12 May – 18 June 2017 | | | | | | | | | | | | | On May 12, The Lumiere Brothers Center for Photography opens the exhibition New Spread presenting works and books of modern Russian photographers within the PHOTOBOOKFEST 2017 festival. Exhibition curator Anastasia Bogomolova is a young artist, researcher and book collector from the Urals. Over the recent years, the format of the photobook, which enjoyed several waves of popularity abroad, has become for the Russian artists an advanced photographic practice, experimental site and instrument of promotion of their work among international audience. Russian photographers’ books are now regularly short-listed in major contests and awards, and spark steady interest of the experts in the field at the European fairs.
New Spread exhibition is an attempt to explore the modern Russian photobook landscape and its heterogeneous structure. From simple and small photo zines to experimental and conceptual statements about the nature of photography and time, from small-circulation projects released independently to major publishing house solutions, from book dummies with threads sticking out of the cover to graceful objets d'art, from direct chronicles of public events to personal diaries with nonlinear narrative — the exposition at The Lumiere Brothers Center for Photography is designed to be an overview of the field, and at the same time it is a search for methods to display photobook to a wider audience. | | |
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| | | |  | | | | Khalip Yakov. 7th November illumination at the Manezhnaya Square in Moscow 1934 |
| | | | Masterpieces of the Soviet photobooks of the 1930-ies | | | | | | 12 May – 18 Jun 2017 | | | | | |
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| | | |  | | | ZZYZX, Gregory Halpern - MACK
The PhotoBook of the Year |
| | | | PhotoBook Awards shortlist | | | | | | 12 May – 28 May 2017 | | | | | |
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| | | |  | | | | Peter Puklus. Handbook to the stars - installation shot |
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| | | |  | | | Samuel Henne
"untitled #04", aus "displacements"
Cut-Out und Fine Art Print
40 x 30 cm (*Ausschnitt), 2016 |
| | | | | | | | | | | Thu 11 May 19:00
12 May – 14 Jun 2017 | | | | | |
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from Youth Without Age, Life Without Death
© Laura PANNACK | 
from Marie-Claude, the doll lady
© Mélanie Wenger / Cosmos |
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| | | | | | | | | | | | | 13 May – 10 June 2017 | | | | | | | | | | | | | The Prix HSBC pour la Photographie, created in April 1995, is now in its 22nd year of accompanying young photographic creation and undertakes to support even more strongly the work of its Laureates with a fifth stage in the travelling exhibition and help in producing the works presented in this latest exhibition, thus providing a fresh An annual competition is open from September to November to any photographer who has never had their monograph published, with no age or nationality criteria. Each year, an artistic advisor is nominated to give a fresh outlook and to preselect around ten candidates. María García Yelo, Director of PHotoEspaña, artistic advisor 2017 proposed 10 photographers to the members of the Executive Committee and comments on its selection: « Beauty, surrealism, amazement and pain are all present in the selected projects of the 2017 edition of the Prix HSBC pour la Photographie. These photographers, with very rich visual imageries, force us to read several layers of meanings. We go from astonishment to overwhelm, from recognition to disconcert... When we finally understand, a deep melancholy invades us ». | | |
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| | | |  | | | Cuba On The Edge Of Change
A weathered barber shop in Old Havana, Cuba.
© Tomas Munita, for The New York Times |
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| | | Thomas Flechtner: GERMS (No. 10), 2007-2013, Analog C-Print, 175 x 140 cm, Edition 3 & 1 AP | | | | | | | | 11 May – 24 June 2017 | | | | Opening reception: Thursday 11 May 18:00 | | | | | | | | | | | | | "FOR EVERGREEN" is a rich tribute to the universe of plants using the means available with analogue photography. It is the first time artist Thomas Flechtner has exhibited works from different cycles. The contrasts between them provide us with a tension-filled insight into his examination of Nature. What connects the works? The fleeting nature of the moment. The mystery of the transient. The discovery of the insignificant. Thomas Flechtner‘s latest work, "LEAVES" (2017), is a series of large-scale, individual leaves that ask certain questions of us: Where does life, in all its fascinating fragility, begin? And where does it end? The work "GRASSES" (2016), on the other hand, focuses primarily on the foreground, the background and the underground of vegetable life. What is vital; what is lethal? On a superficial level, Flechtner‘s grasses appear burned and parched by heat, sun and drought. On closer examination, however, we notice signs of a hidden vitality. And below ground, of course, awaits the possibility of a renewed eruption. "BULBS" (2013), a preoccupation with the humble potato, plays – and irritates us – with the concepts of values and proportions. Why can a potato not be a planet? "BULBS" and "GERMS" (2010) are both invitations to the microcosm. They are an offer to direct our eyes to the wayside and to focus on the apparently trivial and familiar. – Because "FOR EVERGREEN" will outlive us. | | |
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 | The Venice Biennale 2017 |
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| The Main Exhibition |
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| | | | | | | | | | | | | 13 May – 26 November 2017 | | | | Previews: Wednesday 10 May - Friday 12 May 2017 | | | | | | | | | | | | | | |
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| National Participations |
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| | Hell from the series Passage 2017: type C photograph on gloss paper 105.5 x 156cm
© Tracey Moffatt; Courtesy of Artist and Roslyn Oxley9 Gallery, Sydney & Tyler Rollins Fine Art, New York | | | | | | | | Opening: Wednesday, 10 May | | | | | | | | | | | | | With just over six weeks until the official launch of the 57th International Art Exhibition of the Venice Biennale, the Australia Council for the Arts has revealed the photograph ‘Hell’ - one of the extraordinary works that will feature in Tracey Moffatt’s exhibition MY HORIZON at the Australian Pavilion in Venice. This exhibition of entirely new work will be officially launched in the second week of May 2017 in Venice. It features two major large-scale photographic series and two video works. The exhibition explores journeys – both legal and illegal – and alludes to issues of race and gender, sexuality, desire, identity, and human connection and estrangement. ‘Hell’, the work revealed by Moffatt at her Sydney studio today, is one of 12 large scale photographs from the series Passage which is set in a mysterious dockland. A mother, a motorcycle police officer and a sharply dressed character whom the artist calls ‘the middleman’ enact a drama that is, as Moffatt says, as “old as time itself. People throughout history and across cultures have always escaped across borders to seek new lives.” On MY HORIZON, Moffatt said: “I have taken my camera into unknown locations and created photodramas, using models, actors and people I find on the street. My stories meld fiction, fact and some aspects of my family history but I have wanted to extend my filmic narratives into imaginary realms. The horizon line encapsulated in the title MY HORIZON can represent a yearning for escape to another place.” | | |
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| | | |  | | | | Wendelien van Oldenborgh, Cinema Olanda (still), 2017. Film. Courtesy the artist and Wilfried Lentz Rotterdam. |
| | | | | | | | | | | Preview: 10 – 12 May 2017 | | |
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| | |  | | | | Venice Biennale - IT | IRAQ | |
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| | | H.M.-D.B.-17, 2017 / © Dirk Braeckman – Courtesy of Zeno X Gallery, Antwerp | | | | | | | | | | | | | | | | | | | Dirk Braeckman will represent Flanders at the 57th Venice Biennale and will bring a solo show in the Belgian Pavilion curated by Eva Wittocx.
Dirk Braeckman’s work brings stillness to today’s influx of images and information. Working with analogue photography, he developed a visual language that reflects on the act of viewing and the status of the image. In the Belgian Pavilion he presents a series of new monumental photographic prints on baryta paper. | | |
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| | | |  | | | | Jordi Colomer, 2017/ ¡Únete! Join Us!, video still |
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| | | Sharon Lockhart, Agnieszka, “MANIFESTO OF THE MILKY NIGHT,” Little Review no. 131 (4568), May 10, 1935, National Library of Poland, Warsaw, February 2, 2017, 2017. Image: Courtesy of the artist, Gladstone Gallery, New York and Brussels, neugerriemschneider | | | | | | | | | | | | | | | | | | | On 23 September 2016, the Jury of the competition for the curatorial project of the exhibition in the Polish Pavilion at the 57th International Art Exhibition in Venice 2017, having reviewed 43 qualified entries, selected the winning project: Little Review by Sharon Lockhart, curated by Barbara Piwowarska. The project was inspired by the history of Mały Przegląd [Little Review] (1926–1939), a supplement, written by and aimed at children and young people, of the Nasz Przegląd [Our Review] daily newspaper. The original idea of Little Review came from Janusz Korczak. Sharon Lockhart’s project deals with adolescence and the end of childhood, giving a voice to young women, teenagers entering adulthood. It provides for making a film featuring past and present female students of Young Sociotherapy Centres in Poland and a photographic series presenting the history of Little Review, as well as translating selected issues of the periodical. Sharon Lockhart has been active on the Polish art scene for nearly 10 years now, realising her projects here and participating in exhibitions. | | |
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| | Candice Breitz, Extra #8, 2011, Chromogenic Print, 56 x 84cm
Courtesy: Goodman Gallery, Kaufmann Repetto + KOW Berlin | | | | | | | | | | | | | | | | | | It is a pleasure to announce that Candice Breitz and Mohau Modisakeng will represent South Africa at the world’s most prestigious contemporary art event. Breitz and Modisakeng will present a major, two-person exhibition in the South African Pavilion, running from 13 May to 26 November 2017 in Venice, Italy.
Candice Breitz (Johannesburg, 1972) is a Cape Town and Berlin-based artist whose moving image installations have been shown internationally. Throughout her career, she has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community, be that community the immediate community that one encounters in family, or the real and imagined communities that are shaped not only by questions of national belonging, race, gender and religion, but also by the increasingly undeniable influence of mainstream media such as television, cinema and popular culture. Most recently, Breitz’s work has focused on the conditions under which empathy is produced, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real world adversity...
Mohau Modisakeng (Johannesburg 1986) was born and grew up in Soweto, Johannesburg. He currently lives and works between Johannesburg and Cape Town. Modisakeng completed his undergraduate degree at the Michaelis School of Fine Art, Cape Town, in 2009. The personal is political in Modisakeng’s work. Informed by his experience as a young boy in Soweto, at the crossroads of a violent political transition, Modisakeng uses memory as a portal between past and present to explore themes of history, body and place within the post-apartheid context. His photography, films, performance and installation grapple with the conflicting politics of leadership and nationhood, whilst also attempting to unpack the legacy of inequality, capital, labour and extraction of mineral wealth in contemporary South Africa... | | |
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| | | Boris Mikhailov. Detail from Parliament series, 2014-2017. Courtesy of the artist | | | | | | | | Artist book directed by Juergen Teller | | | | | | | | | | | | | | | The Ministry of Culture of Ukraine has selected Dallas Contemporary to organize the Ukrainian Pavilion at the 57th Venice Biennale. DC Executive Director Peter Doroshenko and Assistant Curator Lilia Kudelia will present an exhibition of work by Boris Mikhailov at Studio Cannaregio in Venice, Italy.
Born in 1938 in Kharkiv, Boris Mikhailov became a major figure in Ukrainian art by providing a poignant and haunting perspective on the role of the individual in Soviet and post-Soviet conditions. He began experimenting with photography while working as an engineer in the early 60s. Since then, Mikhailov has produced more than 30 photographic series and published over 20 photobooks. Mikhailov was the recipient of the 2012 Spectrum International Prize for photography, the Citibank Photography Prize (later renamed Deutsche Börse Photography Prize), the 2000 Hasselblad Foundation International Award and the 1999 Krazna-Krausz Photography Book Award. Past solo exhibitions include MoMA, ICA Boston, Tate Modern, Fotomuseum Antwerpen, Berlinische Galerie, Haus der Kulturen der Welt, Kunsthalle Wien, and Centro Italiano per la Fotografía, among others. | | |
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| | Lisa Reihana, detail in Pursuit of Venus [infected], 2015–17, Ultra HD video, colour, sound, 64 min.
Image courtesy of the artist and New Zealand at Venice. | | | | | | | | | | | | | | | | | | | In Lisa Reihana: Emissaries, imperialism’s gaze is returned with a speculative twist that disrupts notions of beauty, authenticity, history and myth. The exhibition unravels Enlightenment ideals, cartographic and scientific endeavour, and the raw, ever-present impulses of expansionism, power and desire. Lisa Reihana: Emissaries features the artist’s vast panoramic video in Pursuit of Venus [infected], 2015—17, alongside interrelated photo-based and sculptural works. in Pursuit of Venus [infected] is a cinematic re-imagining of the French scenic wallpaper Les Sauvages De La Mer Pacifique, 1804—1805, also known as ‘Captain Cook’s voyages’. Two hundred years later – and almost 250 years after the original voyages that inspired them – Reihana employs twenty-first century digital technologies to recast and reconsider the wallpaper from a Pacific perspective. Enlivened with the sights and sounds of performance, cultural ceremonies and encounters, the expansive video panorama is populated by known and invented narratives of encounter amongst the British navigators and astronomers and people drawn from across Aotearoa New Zealand and the Pacific. Expanding and contracting scale, Reihana presents portraits of two key figures from in Pursuit of Venus [infected] as emissaries: the Chief Mourner from the Society Islands who moves between worlds, and Joseph Banks, the ambitious naturalist/astronomer who documented the Transit of Venus on Cook’s first voyage. Meanwhile, a constellation of sculptural works literally telescope in on moments of encounter and wonder. | | |
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| | | |  | | | | Doamna Oliver in costum de cãlãtorie [Lady Oliver in Traveling Costume], 1980–2012 B/w photograph, 38.9 × 39.5 cm © Geta Brãtescu |
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| | | |  | | | | Gyula Várnai: E-wars, 2017, C-print on paper (detail) |
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| | | |  | | | | Tehching Hsieh, One Year Performance 1980-1981. Performance, New York. Still images from 16mm film. © Tehching Hsieh. Courtesy of the artist and Sean Kelly Gallery. |
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| | | |  | | | | The Mountain, 2017. Video Still. Photo. Courtesy Moataz Nasr |
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| | | |  | | | | Teresa Hubbard / Alexander Birchler, Flora, 2017, production still. Alberto Giacometti and Flora Mayo with the bust she made of him c. 1927. Photographer Anonymous. Source: Sammlung Fotostiftung Schweiz, Winterthur. |
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| | | |  | | | | George Drivas, Laboratory of Dilemmas, 2017. |
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| Collateral Events |
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| | | |  | | | | Shirin Neshat, “Anna”, from “The Home of My Eyes” series, 2015 Silver Gelatin Print and Ink, 152.4 x 101.6cm (40 x 60 in), Courtesy Written Art Foundation, Frankfurt am Main, Germany |
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| | | |  | | | | Thomas Demand, Kontrollraum / Control Room, 2011. © Thomas Demand, VG Bild-Kunst, Bonn / SIAE, RomeCourtesy of Sprueth Magers / Matthew Marks Gallery / Esther Schipper |
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| | | |  | | | | Douglas Gordon, Gente di Palermo (Citizens of Palermo) 2017, Installation |
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| Fairs |
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| Workshop |
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| | | © Cédric Gerbehaye | | | Cedric Gerbehaye » Declination of a Photographic Narrative | | | | June 30, 2017, 6pm – 8pm | July 1, 10am – 6pm | July 2, 10am – 5pm | | | | Registration deadline: May 31, 2017 | | | | | | | | | | | | | This workshop will scrutinize and analyse in depth the several steps that need to be taken when photographing in documentary-style. From the very first location spotting to a true understanding of what is at stake in the field; from the writing of the synopsis to the elaborating of a personal and emotional working method; from the shooting to the choice of the medium of diffusion (press, exhibition, book, web) – each of these stages are fundamental to find the heart of one’s own true photography. In addition to a theoretical approach, and based on several portfolio reviews and a presentation of his own photographic work and some multimedia productions, Cédric Gerbehaye will suggest a few practical exercises. While he was studying, Belgian photojournalist Cédric Gerbehaye already knew that photography was his form of expression. In 2002 Gerbehaye (born 1977) travelled to Israel and Palestine for the first time to document the conflict there. From 2007 to 2010 he worked regularly in the Democratic Republic of Congo. His Congo in Limbo essay earned him numerous awards, including the World Press Photo Award and the Amnesty International Award. Language: English Number of participants: Min. 8 / Max. 12 people Fee: Normal, 450 euros | Students, 380 euros Registration and further information: www.lfi-online.de | workshops@lfi-online.de | | |
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| Auctions |
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| | William Klein
„Macy's + Christmas Shopping, NY“. 1954
Gelatin silver print, 1989. 22,3 × 35,5 cm (30,4 × 40,4 cm) (8 ¾ × 14 in. (12 × 15 ⅞ in.)) | | | Modern and Contemporary Photographs | | | | | | | Photography Auction: 31 May, 2017 in Berlin | | | | | | | | | | | | | | | | |
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| | Henri Cartier-Bresson (1908-2004)
West Point Cadets and Their Admirers Attend the Army Vs Notre-Dame Football Game, NYC, 1947
Gelatin silver print, printed 1960s | | | | | | | | | | Auction: Thursday 18 May 14:00 | | | | Preview: 14 – 17 May 2017 | | | | | | | | | | | | | | |
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| Festivals |
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| Upcoming |
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| | | Eric Baudelaire (b. 1973), still from Also Known As Jihadi, 2017. High-definition video, color, sound; 99 min. Courtesy Poulet-Malassis Films, Paris | | | Whitney Biennial 2017 | | | | | | | – 11 June 2017 | | | | | | | | | | | | | The 2017 Whitney Biennial, the seventy-eighth installment of the longest-running survey of American art, arrives at a time rife with racial tensions, economic inequities, and polarizing politics. Throughout the exhibition, artists challenge us to consider how these realities affect our senses of self and community. The Biennial features sixty-three individuals and collectives whose work takes a wide variety of forms, from painting and installation to activism and video-game design. In a suite of photographs from her new project, The Silent General, An-My Lê examines allusions to the past in modern-day Louisiana. In one image, a monument to a Confederate Army general quietly interrupts a quotidian urban landscape; another captures a moment on the set of a recent film about a Confederate Army deserter. As in so many of Lê’s works, in these images the imagined past and the actual present coexist in the same frame, begging the question: when does history end and the present begin? Taken as a group, the photographs propose that perhaps history never ends, that the raw materials of America’s bloodiest war—issues of race, class, labor, and wealth—are still deeply enmeshed in the landscape of the United States and the fabric of its society. | | |
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