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| PHOTOGRAPHY INTERNATIONAL | | 11 - 18 September 2019 | |
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| | View through the pont Royal toward the pont Solferino, c 1933
© Estate Brassaï Succession, Paris | | | | | | | iconic images of 1930s Parisian life | | | | 13 September - 4 December 2019 | | | | Opening: Thursday 12 September 2019 from 17:30 on | | |  | | | | | | | | | | Foam is proud to announce the first retrospective of Brassaï in the Netherlands. This French photographer of Hungarian descent is considered as one of the key figures of 20th-century photography. Brassaï (1899- 1984) created countless iconic images of 1930s Parisian life. He was famous for capturing the grittier aspects of the city, but also documented high society, including the ballet, opera, and intellectuals - among them his friends and contemporaries like Pablo Picasso, Salvador Dalí and Henri Matisse. The exhibition at Foam traces his career with over 170 vintage prints, plus a selection of drawings, a sculpture and documentary material.
Gyula Halász, Brassaï's original name, was born in 1899 in Brassó, Transylvania (then part of the Austro-Hungarian empire, nowadays Brasov, Romania). He studied at the University of Arts in Berlin before finally settling in Paris in 1924, a city that was to become the main subject of his work. He started as a painter but soon discovered that his strongest and most original talent lay in photography. To keep his real name for his paintings, he signed journalistic work, caricatures and photographs with ‘Brassaï’ (‘from Brassó). His photos would make this pseudonym more famous than his real name. Brassaï’s work of the 1930s would become a cornerstone of a new tradition as photography was discovered as a medium with aesthetic potential. A generation earlier photographers had merely emulated the established arts. Now photography became an art in itself and the perfect medium to capture modern life. | | |
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| | | © Liselotte Strelow, 'Gottfried Benn', 1955 - Courtesy Johanna Breede | | | | | | | | 11 September – 31 October 2019 | | | | | | | | | | | | | "The most entertaining surface on earth is that of the human face." (Georg Christoph Lichtenberg)
On September 11, Liselotte Strelow would celebrate her 111th birthday - enough to commemorate her photographic work, the image of a photographer who is one of the most important and most accomplished representatives of German portraiture and theater photography of the 20th century. Her camera was the meeting point of many interesting faces and personalities. The result was an extensive picture gallery - today also a part of contemporary history of the 20th century. The protagonists of the fine arts, literature, theater or even greats of the political scene as well as representatives of industry and economy - all of them can be found in the portrait archive of Liselotte Strelow: Gottfried Benn, Jean Cocteau, Peggy Guggenheim, Theodor Heuss, Hildegard Knef , Oskar Kokoschka, Thomas Mann, Gerhard Marcks, Helen Weigel - just to name a few.
In all these portraits Liselotte Strelow transmits in all her subjectivity, an essential quality of author photography. Her portraits are governed by a human image that undermines all stereotypes and defies the customization of humans in the photographic image. The human face alone is the bearer of expression, it is a reflection of human experience, of human destiny. Lived life is reflected in her photographic images. Without any adornments, unfussy, unadorned and soberly photographed, it brings out the individual features without any beautification, profiled by simple objectivity. The viewer's gaze focuses directly on the landscape of the depicted face. It is the Bauhaus idea that consistently accompanies her time as a photographer: nothing distracts from the essential, as she herself writes in he… | | |
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| | | |  | | | Les Levines
Magic Media – Media Magic, Widmung vom 4.3.1994, in: Wulf Herzogenrath-Gästebuch Nr. 15
© VG Bild-Kunst, Bonn 2019, und Wulf Herzogenrath, Akademie der Künste, Berlin |
| | | | Videokunst seit den 1970er Jahren aus dem Archiv Wulf Herzogenrath | | | | | | | Wed 11 Sep 21:00
12 Sep – 13 Oct 2019 | | | | | |
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| | | |  | | | | © Boris Hars-Tschachotin |
| | | | | | | | | | | | Thu 12 Sep 19:00
12 Sep – 31 Oct 2019 | | | | | |
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| | Till Brönner, New York City Eagle, USA 2014
© Till Brönner, courtesy ALEXANDER OCHS PRIVATE | | | | | | | 14 September – 26 October 2019 | | | | | | | | | | | | | Till Brönner, born in 1971 in Viersen, is one of the most famous and versatile jazz trumpet players in Europe. The Villa Massimo scholarship holder and professor of jazz and pop at the Academy of Music Carl Maria von Weber in Dresden released his first album 'Generations of Jazz' at the age of 22, and was already able to win artists such as Ray Brown and Frank Chastenier for his production. Further collaborations with jazz stars such as Dave Brubeck or Klaus Doldinger as well as the legendary Hildegard Knef followed.
Influenced by a meeting with the great American jazz photographer William Claxton, Brönner began to take photographs and it was obvious to him that he brought musicians like the South African trumpeter and singer Hugh Masekela to the lens of his Leica 'M' camera. In 2009 in Paris this first ever published photograph was taken, a portrait of the anti-apartheid fighter, an open face in which pain and joy mix, and at the same time an approachable image that tells a great deal about Brönner.
As in his music, he always remains a face-to-face 'counterpart', the camera seems to give up the distance to the photographed subject and at the same time never violates its boundaries. This is also true, and even more so, for the 185 paintings the artist currently exhibits in his solo exhibition 'Melting Pott' in the Duisburg Museum Küppersmühle. For about a year Brönner changed the trumpet with the camera and traveled the Ruhr area. In an interview with Jens Hinrichsen in the monopoly-magazin Brönner talks about his work there and quotes the 'bullshit filter': "There is a check whether you are real and do good... in the tunnel an asshole can tear a hundred peopl… | | |
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| | Marianne Strobl
Kinderball 1905
© Photoinstitut Bonartes, Wien | | | | | | | Industrial photographer in Vienna | | | | 19 September 2019 – 8 March 2020 | | | | Opening: Wednesday, 18 September, 7pm | | | | | | | | | | | | | The legacy left behind by the Viennese photographer Marianne Strobl (1865-1917) proved to be a windfall for historians of photography. Strobl did not want to earn her money in a portrait studio like most of her female colleagues. Instead, between 1894 and 1917, she took her camera out to major construction sites and industrial facilities, and today she ranks as the first woman to pursue industrial photography in the Austro-Hungarian Empire. Specializing in this field was Marianne Strobl’s personal strategy for competing in Vienna’s tough photography market around 1900.
The Austrian photographer Marianne Strobl was rediscovered in 2017 for the Photoinstitut Bonartes in Vienna, and an initial exhibition was curated by Dr. Ulrike Matzer. The life and work of this photographer are a sensational find for the history of early industrial photography. With some 60 black-and-white photographs from Austrian collections, together with albums and showcased documents, the exhibition at Das Verborgene Museum in Berlin will introduce this trailblazer from the period around 1900 to an audience outside Vienna.
An exhibition in cooperation with the Photoinstitut Bonartes in Vienna. | | |
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| | | |  | | | | LATOYA RUBY FRAZIER, DAN ADAMS, LOCAL 1112 TRUSTEE, WITH HIS FATHER AND BROTHERS, EUGENE (RED) ADAMS, EUGENE JR. (ANDY) ADAMS, AND BILL ADAMS (24.7 YEARS IN AT GM LORDSTOWN PLANT COMPLEX) INSIDE UAW LOCAL 1112 REUTHER, SCANDY, ALLI UNION HALL, LORDSTOWN OH, FROM THE LAST CRUZE, 2019. |
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| | | |  | | | | Uwe Ommer: Storm and Rain, 2019 |
| | | | Aktfotografie aus sechs Jahrzehnten | | | | | | | Fri 13 Sep 19:00
13 Sep – 16 Nov 2019 | | | | | |
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| | | |  | | | | Alfons Eggert: Kombinatorische Fotografie Nr. 261, 1972 |
| | | | | | | | Apparative Kunst, Algorithmen und Abstraktion | | | Fri 13 Sep 19:30
13 Sep – 3 Nov 2019 | | | | | |
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| | | |  | | | | Ray Charles, 1985 © Norman Seeff |
| | | | | | | | | | | | Thu 12 Sep 19:00
13 Sep 2019 – 8 Mar 2020 | | | | | |
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| | | |  | | | Michelle Williams Gamaker
The Eternal Return, 2019
Still from The Eternal Return |
| | | | | | | | | | | | Wed 11 Sep 18:30
12 Sep – 19 Oct 2019 | | | | | |
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| | | |  | | | | Shana Moulton (with Nick Hallett), Whispering Pines 10, 2018 (still). Courtesy the artist and Galerie Gregor Staiger, Zurich |
| | | | | | | | | | | | Thu 12 Sep 18:00
12 Sep – 15 Dec 2019 | | | | | |
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| | | Cowboy Kate Cover 1964 © Sam Haskins | | | Sam Haskins » Cowboy Kate & Other Stories | | | | 19 September – 16 November 2019 | | | | Opening reception: Wednesday 18 September 18:30 | | | | | | | | | | | | | Atlas Gallery is pleased to present a selection of cinematic black and white prints from the historic photobook ‘Cowboy Kate & Other Stories’ (1964) shot by South African-British photographer Sam Haskins.
Cowboy Kate is a benchmark in the history of photography. Executing his photographs with technical and directorial mastery, Haskins combined a conscious use of exaggerated grain with a cinematic approach and sensitivity to his subject matter. It was the first photobook ever to offer a purely visual fictional narrative, and in doing so turned an unknown model into a fashion industry icon.
The light-hearted and lyrical storytelling of Cowboy Kate illustrates Kate’s youthful adventures fighting for justice in the Old West. The athletic cheekiness of Cowboy Kate, with her tousled hair and tilted hat, captivated its original 1960s audience; this liberated aesthetic spoke to the emerging zeitgeist of the period. Haskins’ sensitive reinvention of the nude created a book that celebrated the innocence of youth and wholesome beauty with timeless appeal. | | |
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| | | Hiroyuki Masuyama "Zwei Männer in Betrachtung des Mondes" | | | | | | | A photographic journey through space and time | | | | | | | 14 September ‐ 26 October, 2019 | | | | Opening: Friday, 13 September, 6-8pm | | | | | | | | | | | | | 50 years ago, the first man stepped onto the moon and since this historic moment, it stimulates our imagination: it’s unbelievable beauty enchants us every time we look at it. photomeetings luxembourg 2019 will celebrate this occasion with an exhibition by Hiroyuki Masuyama, Robert Pufleb and Nadine Schlieper.
The exhibition will be opened on 13 September, while simultaneously the annual moon festival called "Tsukimi" takes place in Japan. This ancient Japanese tradition, which translates into "moon viewing", goes back to the 8th century.
Planned on the same date, the "Moon Show" will bring two unique photographic positions together. United by a common subject, but with a very different concept of visual imagery, the authors play with our "perception of images" in an age of fake news and alternative facts. | | |
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| | Ashley Gilbertson
1,215 American soldiers, airmen, Marines and sailors pray before a pledge of enlistment on July 4, 2008, at a massive re-enlistment ceremony at one of Saddam Hussein's former palaces in Baghdad, Iraq 2008
from Whiskey Tango Foxtrot series
type C photograph
69.0 x 94.0 x 5.5 cm
Courtesy of the artist
© Ashley Gilbertson / VII Network | | | | | | | | | | | | | 13 September 2019 – 2 February 2020 | | | | | | | | | | | | | Civilization: The Way We Live Now is an international photography exhibition of monumental scale, featuring the work of over 100 contemporary photographers from Africa, the Americas, Asia, Australia and Europe with over 200 original photographs being exhibited.
In this increasingly globalised world, the exhibition explores photographers’ representations of life in cities as its key theme and presents a journey through the shared aspects of life in the urban environment. The selected works create a picture of collective life around the world and document patterns of mass behaviour. The exhibition looks at the phenomenal complexity of life in the twenty-first century and reflects on the ways in which photographers have documented, and held a mirror up, to the world around us.
A major publication is being produced by Thames & Hudson in parallel with the exhibition.
Civilization: The Way We Live Now has been produced by the Foundation for the Exhibition of Photography, Minneapolis/New York/Paris/Lausanne and the National Museum of Modern and Contemporary Art, Korea, in consultation with the National Gallery of Victoria. | | |
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| | | |  | | | | © Sergei Tcherepnin |
| | | | | | | | | | | | Wed 11 Sep 18:00
11 Sep – 13 Oct 2019 | | | | | |
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| | | |  | | | | Arlene Gottfried GG's Barnum Room, Times Square, 1979 |
| | | | | | | | Photographs of New York City circa late 70's and 80's after dark | | | 12 Sep – 28 Oct 2019 | | | | | |
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| | | |  | | | ORLAN
Etude documentaire : le Drapé-le Baroque : photographie n°20, 1978
Black and white photography, 158 x 118cm / 62.20 x 46.46 in |
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| | | © Vittroia Gerardi | | | | | | | | 12 September – 10 November, 2019 | | | | Opening: Thursday, 12 September, 6-9pm | | | | | | | | | | | | | Following the remarkable success of her first series "Confine", exhibited at Galerie Thierry Bigaignon in 2017, the young italian artist, Vittoria Gerardi, confirms her irresistible talent with a new series dedicated to Pompeii. A delicate and powerful work that challenges the very nature of photography.
Pompeii, in itself, is a kind of oxymoron: it is a constantly evolving ruin, it has an objective existence but provides a subjective experience, it is past and present, fossilized and moving. It is all that has been discovered and all it still holds. It is a city and it is a name. And it is now the name of the new series by Italian artist, Vittoria Gerardi.
Like the ancient city immersed in oblivion by natural disaster, later revealed through the use of plaster, Vittoria Gerardi uses two different materials to visually translate the richness of Pompeii. Its memory is evoked through the plasticity of the plaster and its “return to the light” emerges as metaphor through the silver gelatin. “The pictures I was able to take of the city are trapped in the reduced space of the negative, the images stagnate at the border of latency before being revealed by the positive print. Though, in Pompeii, what is revealed is still somewhat veiled!" explains Vittoria Gerardi. | | |
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| | | | | | | | | 13 September – 22 December 2019 | | | | | | | | | | | | | Le Bal presents a unique ensemble of photographs by Sigmar Polke dating from the 170s, an eblematic period featuring the artist's first jubilant experiments (double exposure, floutage, solarisation, Superposition...) They reveal Polke as an alchemist of photographic material, poet of almost nothing, free from the rules of the medium and fierce chronicler of his time.
«MY ART IS LIKE A BUSH PRUNED BY PREJUDICE - DESPITE IT ALL WE GROW, EVEN BETTER. AND NOT ONLY DO WE PROLIFERATE UPWARDS, BUT ALSO DOWNWARDS.» SIGMAR POLKE
"Untitled" was the name Sigmar Polke chose for his exhibition in 1986 at the Schelma Gallery. One could describe just as tersely and categorically the entire body of photographs presented in this book and the exhibition it accompanies: hundreds of untitled, undated prints. Shots that remained over the years in a chest in the house of Georg, Sigmar Polke’s son, and had long since been forgotten. (Fritz Emslander, co-curator, Deputy director of the Museum Morsbroich, Leverkusen)
Polke used the photographic medium early on, as both a documentary source for his paintings and as a means in itself. There is a reciprocal contamination of the two practices in Polke’s work, so much so that it is just as possible to evoke the photographic dimension of his painting as it is to speak of the pictorial dimension of his photography. His approach to photography was, from the beginning, that of an amateur craftsman. Polke always developed and printed his photographs himself, irrespective of the rules (not heeding to correct times of exposure and using out-of-date paper and chemicals), flippantly practising under- and over-exposure as well as double-exposure.
There is no hierarchy in these images in which "family" photos, self-portraits taken with associates and accomplices, snapshots, documents destined to be worked on visually, graphic and chemical experiments, travel snaps, as well as pictures made under the influence of drugs are all brought together... Polke mixed up taxonomies, classifications and the sacred oppositions: documentary and fiction, archives and personal mythology, art and advertising, amateur and professional, experimental and popular… | | |
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| | | |  | | | | Adele, Close Up © Martin Schoeller 2009 |
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| | | |  | | | | © Mariko Takahashi |
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| | | Pieter Henket, The Twins from the series Congo Tales, 2017. © Pieter Henket, courtesy Kahmann Gallery Produced by Tales of Us. | | | | | | | | 14 September 2019 – 5 January 2020 | | | | | | | | | | | | | | The dazzling Congo Tales series gives ancient folklore a modern-day spin. Odzala-Kokoua National Park, in the heart of the Congo Basin, is an ecological wonderland that is home to untold numbers of rare animals as well as people who have lives vastly different from much of the rest of the world. In this stunning photographic series, Pieter Henket (b. 1979, The Netherlands, lives and works in New York) presents images of the children of Odzala-Kokoua telling the oral history of the Congo in enchanting and creative ways. Shot over the course of one month, Henket documented the children of this remote region as they designed, planned, created costumes for, and acted out a series of myths—about their tribes, their landscape, and the animals and plants that they live among. | | |
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 | Fairs |
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| | Benyamin Reich from the series "Imagine - Dreams of the third Generation"
Courtesy ALEXANDER OCHS PRIVATE | | | | | | | | | | | | | 12 – 15 September 2019 | | | | Opening: Thu 12 September 16:00 | | | | | | | | | | | | | | From 12—15 SEP 2019, Positions Berlin Art Fair, a partner of Berlin Art Week, will be presenting select international galleries with their most important positions of contemporary and modern art. For the sixth year, Positions will again be located at Hangar 4 at the former airport Tempelhof and offers visitors an attractive framework program with talks, prize award ceremonies, special exhibitions, and other events. | | |
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| | | | | | | | | | | | | | Thu 12 Sep 17:00
12 – 15 Sep 2019 | | | | | |
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| | | | | | Australasia's international contemporary art fair | | | | | | | 12 – 15 Sep 2019 | | | | | |
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| Auctions |
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| Festivals |
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| Upcoming |
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| | | | | | | | | | | | | | Wed 11 Sep 18:00
11 Sep – 15 Sep 2019 | | | | | |
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| | | | | | 29th Edition - What now? | | | | | | | 13 Sep – 27 Oct 2019 | | | | | |
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| | | | | | | | | | | | | | Wed 11 Sep 17:00
1 Sep – 30 Oct 2019 | | | | | |
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| | | | | | The Seventh Continent | | | | | | | 14 Sep – 10 Nov 2019 | | | | | |
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| | | | photomeetings luxembourg 2019 | | | | 15th edition: TSUKIMI / MOON SHOW | | | | | | | 13 September – 26 October 2019 | | | | | | | | | | | | | 50 years ago, the first man stepped onto the moon and since this historic moment, it stimulates our imagination: it’s unbelievable beauty enchants us every time we look at it. photomeetings luxembourg 2019 will celebrate this occasion with an exhibition by Hiroyuki Masuyama, Robert Pufleb and Nadine Schlieper.
The exhibition will be opened on 13 September, while simultaneously the annual moon festival called "Tsukimi" takes place in Japan. This ancient Japanese tradition, which translates into "moon viewing", goes back to the 8th century.
Planned on the same date, the "Moon Show" will bring two unique photographic positions together. United by a common subject, but with a very different concept of visual imagery, the authors play with our "perception of images" in an age of fake news and alternative facts.
The spatial installation and presentation of the photographs create a state of suspense between fact and fiction, forming a field of magical tension. Fascinating photographic interpretations of William Turner and Caspar David Friedrich paintings meet mysterious black and white photographs of unknown moons, whose origins and provenance can’t be traced back without in-depth research: "Alternative Moons".
A selection of the two series mentioned above will be featured at Galerie Clairefontaine, Espace 1. | | |
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| | | | | | | | | | | | | | Tue 11 Sep 18:00
12 Sep – 22 Sep 2019 | | | | | |
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| | | | | | | | | | The gallery festival with international curators in Vienna | | | Thu 12 Sep 18:00
13 Sep – 12 Oct 2019 | | | | | |
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| | | Grotte de glace de Vatnajökull (Islande), 2014 © Richard Mosse | | | | | | | | | | | | | until 22 September 2019 | | | | | | | | | | | | | | In September, MBAL invites you to visit the Alt.+1000 contemporary photography festival being held in three different venues. MBAL has formed a partnership with this festival renowned for exhibitions of contemporary photography with mountain themes. The museum, through its exhibitions focusing on landscape and its representation in historical and contemporary photography, is the first of the three venues taking part in the Alt.+1000 festival. To extend this focus on the landscape, MBAL invites visitors to explore the two other sites involved in the festival: the Grand-Cachot-de-Vent farm, a superb 16th century building located in La Chaux-du-Milieu, and Lake Taillères. This photographic journey taking place in three locations will allow visitors to fully experience the landscape in the imposing natural setting of the Neuchâtel mountains, at an altitude of 1,000 metres. | | |
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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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| | | 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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| | | |  | | | | © 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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| | | |  | | | | film 40-15 © ANNIKA LARSSON |
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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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© 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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