| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 12 - 19 September 2018 | |
|
| |
 |
| |
| |
| | | | 
Photoville New York City | | | | | | | |
|
|
| |
|
| |
| |
|
| |
 |
| | | The Champagne Suite, 2015 © Juno Calypso / Courtesy of the Foam Collection | | | | | | | | | | | | | 14 September – 18 November 2018 | | | | The exhibition will be opened on Thursday 13 September in the presence of some of the artists. | | |  | | | | | | | | | | In 2014, Foam presented to the public work from its own collection for the first time, in the exhibition Reflected – Works from the Foam Collection. Since then, the collection has grown from over 400 to around 550 works of art. The collection – which is focused solely on contemporary photography – is still constantly developing. Loading… Works from the Foam Collection shows a selection of the most recent additions from the last five years. It features work from 30 international photographers in a diverse exhibition that reflects Foam’s exhibition programme. From the monumental work by the French artist Naomi Goudal to experiments with negatives by the Japanese Daisuke Yokota, and from the sophisticated work of Sjoerd Knibbeler to the still lifes of the young American Daniel Gordon and the strong, colourful images by Viviane Sassen.
Foam has been working for over ten years on its growing collection that shows the development of the medium throughout the 21st century. By spotting and presenting young talented photographers at an early stage of their careers and simultaneously adding their work to the collection, the museum ensures that its collection keeps pace with the potential and development of the young artists. In this way Foam tries to recognise and record the most recent developments of the medium as contemporaneously as possible. | | |
| |
|
|
| |
 |
| | Mirror Study (_Q5A2059), 2016 (detail)
© Paul Mpagi Sepuya | | | | | | | | 14 September – 18 November 2018 | | | The exhibition will be opened on Thursday 13 September in the presence of Paul Mpagi Sepuya. On 14 September Paul Mpagi Sepuya and Senta Simond, who is simultaneously exhibiting her portraits at Foam, will speak about their work in the special event Beyond the Male Gaze. | | | | | | | | | | | | | Paul Mpagi Sepuya (1982, US) explores the conventions of portrait photography and the role of the studio in his work. Sepuya’s photographs often contain fragments or compilations from earlier work, which appear in the image as strips or cuttings. These are layered over the camera lens or pasted to the mirror of the studio in which he takes his photographs. Thus his images are not collages in the true sense of the word, but ingenious compositions created in front of the lens and captured in a single shot.
Sepuya’s work is rooted in homoerotic visual culture. Friends, muses and intimates from the queer community are the subject of his work. Body parts are revealed and concealed: the entire body is rarely shown. His provocative approach arouses feelings of desire, to see what is hidden. This makes his work more than a dialogue of intimate relationships between the artist and those portrayed; it is also a visual exploration of ideas surrounding representation, identity and sexuality. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | | Garage Still #08/2016, St. Petersburg, Analogue C-print © Jacquie Maria Wessels | | | | | | | | September 16 – October 27, 2018 | | | | Opening: Sunday September 16, 14.00 – 17.00h | | | | | | | | | | | | | For her Garage Stills project, Jacquie Maria Wessels is looking for classic car repair garages all over the world. She is fascinated and intrigued by the shapes and colours of the mysterious, to her completely unknown objects she discovers in this wonderful world. With the found attributes she creates still lifes on the spot, which she captures with an analogue camera. By extracting the objects from their everyday context and arranging them in a completely new way, Wessels gives them a totally different dimension in her surprising compositions.
Wessels approaches this series with her documentary background in mind, however in this male dominated world of rough-around-the-edges garages she takes the liberty to move objects or to remove them and to highlight her staged still life. In the interiors of the old garages she stages her newly discovered materials into a collage-like image. The still lifes that arise subsequently are remarkable in terms of colour and an often playful beauty.
Because of science and technical development, cars have developed into computer-controlled machines. As a result, the former 'personal and organized chaos' in the garages is being replaced by sterile order, as a result of which contemporary garages increasingly start to resemble scientific laboratories. The traditional garages where manual labour is still central are slowly dying out. In the Garage Stills series you can feel the presence of the mechanics even though they are not in the picture, the atmosphere and the hustle and bustle of their working environment are frozen in a fixed picture. The old garages, which previously stood for progress and are now being overtaken by new technologies, have been recorded in this series before they will di… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | Yamamoto Masao, Bonsai "Microcosm Macrocosm", 2018, silver gelatine print
© Yamamoto Masao | | | | | | | | September 15 – December 23, 2018 | | | Opening: Friday, September 14, 2018, 7-9 pm
Opening remarks: Dr. Madoka Yuki
Part of EMOP Berlin - European Month of Photography 2018 | | | | | | | | | | | | | The Japanese artist Yamamoto Masao first studied oil painting, before he discovered photography as his ideal medium due to its particular capacity to evoke memory. Yamamoto is known for his small-format silver gelatin prints, which he reworks through tinting, painting over them, or other manual interventions to the point that they take on the character od objects carrying reminiscences of the past. As diverse as his motifs are, his images are expressions of an attitude of humility, as propagated by the Chinese philosopher Laozi, who considered humanity as only one small part of nature, which in turn is merely a miniscule part of an immense universe. By observing all the minute things around him, Yamamoto finds a key for accessing the all-encompassing nature of the universe that he captures on photographic paper.
For the exhibition at the Alfred Ehrhardt Foundation, Yamamoto has created a wall installation that inconspicuously integrates selected works by Alfred Ehrhardt. Particularly meaningful to Yamamoto is Ehrhardt’s "constructive and structural eye for the beauty of nature, which archives the artistic forms of nature." Yamamoto’s work demonstrates a fundamental correspondence between Ehrhardt’s worldview as characterized by natural philosophy and his own, Japanese perspective on nature.
In addition, Yamamoto presents photographs from his series Shizuka (= cleansed, pure, or immaculate), which shows things that he found in the woods surrounding his home, and which like “precious jewels carry the peaceful breath of nature within.” In his Bonsai series, Yamamoto continues in direct fashion the 100 or even 200 years of dialogue that has existed between bonsai trees and bonsai masters. This body of work reflect… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | |  | | | Gregor Sailer: "Carson City VI / Vårgårda, Sweden", 2016
aus der Serie "The Potemkin Village"
C-Print, 95 x 120 cm, Ed. 5 + 2 AP |
| | | | | | | | | | | Fri 14 Sep 19:00
15 Sep – 17 Nov 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| | | |  | | | | © Andreas Herzau |
| | | | | | | | | | | Fri 14 Sep 19:00
15 Sep – 2 Dec 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| | | |  | | | | Rattenhausen – aus der Serie Territorien © Sabine Wild |
| | | | | | | | – aus der Serie Territorien | | Fri 14 Sep 19:00
13 Sep – 13 Oct 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | | Kahlil Joseph: Kendrick Movie - © Kahlil Joseph |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | Michael Reisch: Ohne Titel (Untitled), 17/001, 2016
50 x 40 cm, Digital C-Print Kodak Endura Glossy, Mounted, Frame |
| | | | | | | | | | | Sun 16 Sep 12:00
17 Sep – 25 Nov 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | | © Magdalena Stengel: aus "Baxtale Romnia – Glückliche Frauen“ |
| | | | | | | | | | | Fri 14 Sep 19:00
14 Sep – 8 Oct 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | | After Rodin V, Three Faunesses, 2016 © Erwin Olaf |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | | Series Metamorphosis, 2016 © Isabel Muñoz | | | Isabel Muñoz » Agua, Metamorphosis, Mythologies | | | | 13 September – 20 October 2018 | | | | Opening reception: Thursday 13 September 19:30 | | | | | | | | | | | | | Isabel Muñoz was born in Barcelona and has lived in Madrid since 1970. She stands out as an assertive photographer. Her series "Mythologies", taken in Bolivia, show mythological pre-Columbian masks and highlight the reaffirmation of human identities.
She also illustrates the capacity to decorate and modify one’s own body and the desire to belong to a "tribe" in her series "Metamorphosis", shot in Mexico.
Taken under the Mediterranean waters and the seas of Japan, her series "Agua" (Water), is a warning signal, alerting us to the hazards that threaten the survival of marine environments. | | |
| |
|
|
| |
| |
|
| |
| | Danila Tkachenko » | | | | | | | | | | | | Escape 10e édition du festival 9ph photographie et image contemporaine | | Thu 13 Sep 18:30 14 Sep – 10 Nov 2018 | | | | | | | |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | Zion 10, 2018
Inkjet print on Canson Infinity Baryta Photographique paper
135x170 cm, Ed. of 6 + 2 AP
© Mohau Modisakeng | | | | | | | | 13 September – 10 November 2018 | | | | Opening reception: Thursday 13 September 17:00 | | | | | | | | | | | | | One of the oldest extant works of literature, the Bible, narrates the interaction between Cain and his brother Abel and establishes an unpromising precedent for future kinship relations. Since that first murder, the first documented lie, and the sarcastic profession of ignorance which followed, violence and cruelty have frequently gone hand in hand with notions of kinship.
The first words uttered by the protagonist of perhaps the world’s most celebrated play, The Tragedy of Hamlet, exposes the perennial human hypocrisy of the appeal to kinship that is a mere screen for vice. Cain kills Abel and Hamlet refers to the new king Claudius—who has secretly poisoned his brother, Hamlet's father—as "more than kin" because he is now both his uncle and stepfather. In describing the usurper as "less than kind", Hamlet infuses the last word with distinct levels of meaning, which reinforce one another and unite to create a portrait of a villainy so comprehensive as to invalidate any notion of kinship. Shakespeare knew this as did Mohau Modisakeng, but only too well. Modisakeng was eight years old and fully aware of the evils of apartheid before the end of apartheid in 1994 in his native South Africa.
Kin is a solo debut presentation of an immersive body of work of the dramatic but poetic photographs and videos of contemporary artist Modisakeng. There is a growing expectation of sophistication when considering the work of contemporary artists from Africa and few can lay claim to leading this stylistic and aesthetic quality than Modisakeng. There is a deliberate atmospheric, esoteric and aesthetic cruelness in Mohau’s work with an underbelly of sardonic cruelty finely disguised. Half-nude black men are draped in white underg… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | Francesco Jodice: Arizona, Picacho Butte #013, 2014
c-print on Hahnemühle paper, mounted on Alu-Dibond, framed, 100 x 130 cm |
| | | | | | | | | | | Thu 13 Sep 18:00
13 Sep – 31 Oct 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | Ezra Stoller
Miami Parking Garage. Robert Law Weed and Associates.
Miami, FL, 1949
© Ezra Stoller, Courtesy Yossi Milo Gallery, New York | | | Ezra Stoller » Pioneers of American Modernism | | | | 20 September – 2 December 2018 | | | | | | | | | | | | | | | The Lumiere Brothers Center for Photography is presenting to the Russian public, for the first time, the work oftheoutstanding American architectural photographer of the 20th century—Ezra Stoller.
The Guggenheim Museum, the former Whitney Museum of American Art building, Manhattan skyscrapers, the TWA Terminal at Kennedy International Airport, the famous Fallingwater house, the iconic building of the 20thcentury—the RonchampChapel and many other architectural landmarks of the modernist era captured by one of the most influential architectural photographers will be presented at the Center for Photography at the Red October.
Works for the exhibition in Moscow were specially selected from Ezra Stoller's archive. The display includes black and white photographs of public buildings, offices and private homes from the very beginning of his career in the late 1930s to the 1970s.
For many years, Stoller worked with the pioneers of modern American architecture and the most famous representatives of Modernism, including Frank Lloyd Wright, Ludwig Mies van der Rohe, Louis Kahn, Le Corbusier, Paul Rudolph and Marcel Breuer.
Stollerized—was the name that architects gave to the architecture photographed by Ezra. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | | Pink Man Opera #8 (Lounging Tiger Gets to Eat), 2009 | Lambda print | 47 x 58 in. (120 x 148 cm) © Manit Sriwanichpoom | | | | | | | | 13 September – 27 October 2018 | | | | Opening reception: Thursday 13 September 18:00 | | | | | | | | | | | | | Manit Sriwanichpoom is the most prominent and internationally active photographic artist of his generation in Thailand, known for his unsparing socio-political critiques that combine formal elegance with ironic humor. Shocking Pink Story, his first solo exhibition in the United States, will take place at Tyler Rollins Fine Art from September 13 – October 27, 2018. The exhibition will feature a twenty-year survey of Manit’s ongoing Pink Man series, which contains some of the most recognizable and visually arresting contemporary photographic images from Southeast Asia. The exhibited photographs will range from 1997, the first year of the series, to never before seen 2018 images, shown alongside video and installation works. The public is cordially invited to attend the opening reception on Thursday, September 13, from 6:00 to 8:00 pm; the artist will be in attendance.
Born in 1961 in Bangkok, Thailand, where he continues to live and work, Manit received his BA in Visual Art from Bangkok’s Srinakharinwirot University in 1984. His commitment to social activism developed while still a student, and during the 1980s he established himself as a photo-journalist, working for an international news service to document Thailand’s volatile political scene and rapidly developing consumer culture. Always with an artist’s sensitivity to the interplay between the sensuousness of surface aesthetics and the emotional and ideological contents they embody, he sought to develop a deeper critique that could convey what he calls “emotional truth” while giving free rein to his urge toward visual exuberance. These various currents coalesced in the mid-1990s with the Pink Man series in which a portly man, embodied by Th… | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | | | The Secret Photographs of William Goldman | | Thu 13 Sep 18:00
13 Sep – 13 Oct 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | | Dave Heath, Washington Square, New York, 1960 © Dave Heath / Courtesy Michael Torosian | | | Dave Heath » Dialogues with Solitudes | | | | 14 September – 23 December 2018 | | | | Opening reception: Friday 14 September 12:00-19:00 | | | | | | | | | | | | | “A Dialogue With Solitude is a self-portrait, the result of a quest for anonymous figures in whom I recognize myself.”
- Dave Heath
Dave Heath occupies a unique place in the history of American photography. Influenced by W. Eugene Smith and the photographers of the Chicago School, including Aaron Siskind and Harry Callahan, he cannot, however, be considered as either a documentary or an experimental photographer. His photography is above all a way of bearing witness to his presence in the world by recognizing an alter ego in others absorbed in their inner torment. He was one of the first, in the 1950s, to express the sense of alienation and isolation inherent to modern society in such a radical manner.
Abandoned by his parents at the age of four in 1935, Dave Heath had a difficult childhood in Philadelphia, spent in orphanages and foster homes. At fifteen, a photo essay in Life on a young orphan in Seattle, “Bad Boy’s Story” by Ralph Crane, was to have a decisive impact on his future: “I immediately recognized myself in this story and photography as my means of expression.”
In 1952, when he was twenty-one years old, Dave Heath was enlisted in the army and sent to Korea as a machine gunner. There he captured his first “inner landscapes”, photographing fellow soldiers outside the battlefields, in intimate, self-absorbed moments, while striving to grasp “the vulnerability of a consciousness turned inwards.”
American street scenes in Philadelphia, Chicago, and New York (where he settled in 1957), allowed him to refine his search. Rather than simply capturing a scene or an event – almost all of his photographs give no indication of location, date, or action &ndash… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | | © Yuki Onodera | | | Yuki Onodera »
The Bird escaped from Camera where to go? | | | | 18 September – 26 October 2018 | | | | Opening reception: Tuesday 18 September 17:00 | | | | | | | | | | | | | Vanguard Gallery is delighted to announce Japanese artist Yuki Onodera’s solo exhibition, The Bird Escaped from Camera Where to Go?, is opening on September 18th, 2018.
The works of Yuki Onodera have long been companied with comments such as “unbelievable”, “fantastic”, and even “obscure”. Her works have never focused on things which bear explicit reference visibly, but contain her personal experiences subtly.
In Study for Image à la sauvette, the squeezed and crushed pet bottles has remained their nature as containers in the series of seemingly contingent reshaping process. Instead of “a photography artistic work”, it seems more appropriate to characterize it as a “photographic record of a work”. The painted pale green pigment bursting out of the bottle has re-enhanced the uncertainty and contingency of the pet bottle’s transformation as a personal experience. In How to make a Pearl, Onodera recalled people’s recognition of the existence of camera between the photographer and subjects by inserting a glass marble between her lenses, while we are made aware of subconscious acts that we normally would not mind. The enlarged grains, created chemically during development process, powerfully lifted the people out of the surrounding darkness in the sharp relief and echos the lofting while “pearl” up above. The artist further pursued her artistic practice in the manner of a craftsman through Muybridge’s Twist series: these giant photographies of twisted bodies becomes materials to be cut, enlarged and rearranged deliberat… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | | Marcos Chaves, Dying of Laughter, Photographie © Helmut Batista, Courtesy Nara Roesler Gallery | | | | | | | | until 30 September 2018 | | | | | | | | | | | | | | Presented at the São Paulo Biennale in 2002, this installation consists of large-scale self-portraits of Marcos Chaves laughing hysterically accompanied by a soundtrack of pre-recorded laughter. The audience finds itself surrounded by these hilarious and grinning faces, while a sequence of uncontrollable laughing, sometimes to the point of tears, can be heard through headphones. Exploring the fine line between joy and sadness, unease and complicity, the concept generates mixed feelings by working like a mirror for the human soul expressing itself in all its forms, whether in pain, grief or extravagance. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 | Fairs |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
| |
 |
| |
| Auctions |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| Award |
|
| |
| |
|
| |
 |
| | | | | THEME: THE AMAZON | | | 10th EDITION OF THE CARMIGNAC PHOTOJOURNALISM AWARD | | | CALL FOR APPLICATIONS
Deadline for submission of proposals: Sunday 7 of October 2018 at 12am (GMT) | | | More information: www.fondationcarmignac.com/photojournalism | | | | | | | | | | | | | The 10th edition of the Carmignac Photojournalism Award is dedicated to the Amazon and will address issues related to its deforestation. The Amazon is a vast region covering the territory of nine nations: Brazil, Bolivia, Peru, Ecuador, Colombia, Venezuela, Guyana, Suriname and French Guiana. The region has a surface area of 5,500,000 km² and is crossed by the Amazon river, the second longest river in the world and the largest by discharge volume of water. The Amazon alone accounts for half of the remaining tropical forests on the planet. It is home to 70% of the world's biodiversity and to one in ten of the world’s species. This territory is home to 30 million people, including 350 indigenous groups, most of whom live in their natural habitats, but the development of economic activities in the region mean that this ecosystem is under more threat than ever before. Since 1999 at least 2,200 new species have been discovered in the Amazon biome, but with 17% of the Amazon’s surface area already destroyed, the rainforest is increasingly vulnerable. Responsibility for the degradation and destruction of this fragile natural environment lies with climate change, but also human activity. The consequences are multiple and both local and global: greenhouse gas emissions, destruction of biodiversity, hydrological alterations and even soil erosion. The 10th edition of the Carmignac Photojournalism Award aims to support an investigative photography project that will highlight the upheavals to the Amazon rainforest and encourage reflection of the consequences of massive deforestation. | | |
| |
|
|
| |
| |
| |
|
| |
| Festivals |
|
| |
| Upcoming |
|
| |
| |
|
| |
 |
| | | | photomeetings luxembourg 2018 | | | | 14th edition: The Rage of Devotion | | | | | | | 11 September – 20 October, 2018 | | | | | | | | | | | | | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | | | | Lyon Septembre de la photographie | | | | | | 14 Sep – 17 Nov 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | | | | | | Wed 12 Sep 18:00
13 Sep – 16 Sep 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | The gallery festival with international curators in Vienna | | | | | | Thu 13 Sep 18:00
14 Sep – 13 Oct 2018 | | | | | |
| | | | | | | |
|
| |
| |
| Current |
|
| |
| |
|
| |
 |
| | Frédéric Nauczyciel, "House of HMU, film series, A Baroque Ball [Shade] – Paris Ballroom", Photogramme
© Frédéric Nauczyciel, 2014 | | | | | | | VISUAL ARTS BIENNALE | | | | | | | | until 30 September 2018 | | | | | | | | | | | | | Festival Images Vevey is the first and main biennale of visual arts in Switzerland. Every two years, it presents original photographic exhibitions, outdoors in the streets and the parks of Vevey as well as indoors in unusual venues, and features collaborations with people who ensure Vevey’s status as a “City of Images” all year round.
From 8 to 30 September 2018, based on the theme Extravaganza. Out of the Ordinary, visitors will get to discover, free of charge, some sixty indoor and outdoor projects, some in monumental format, as well as the works produced thanks to Grand Prix Images Vevey 2017/2018. | | |
| |
|
|
| |
| |
|
|
| |
|
| |
|
| |
| |
|
| |
 |
| | | © Aida Muluneh | | | | | | | I LOVE AFRICA | | | | | | | | until 30 September 2018 | | | | | | | | | | | | | THE LARGEST EUROPEAN PHOTOGRAPHY FESTIVAL IS COMING TO BADEN THE FESTIVAL LA GACILLY PHOTO CELEBRATES ITS 15TH YEAR IN 2018. WITH 400 000 VISITORS, THE FESTIVAL LA GACILLY PHOTO IS THE MOST SUCCESSFUL PHOTO FESTIVAL IN EUROPE. JACQUES ROCHER, today President of the Fondation Yves Rocher, initiated a festival of photography in 2004 in his birthplace La Gacilly (FR). It was dedicated to the theme of Man and the Environment. Convinced that it is our duty to engage with the future of our planet and to look for humanistic and sustainable concepts for our interaction with nature and with each other, he and his Leading Team turned the Festival La Gacilly Photo into an event that has set an international standard of social relevance in bringing together artistic photography and photojournalism. THE FESTIVAL LA GACILLY-BADEN PHOTO CELEBRATES ITS LAUNCH IN 2018. It complements the work in La Gacilly by expanding it and embedding it within a European context. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | | | | Divided We Stand | | | | | | – 11 Nov 2018 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | 114 Artists. 28 Exhibitions | | | | | | – 30 Sep 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| | | | | | Role-playing - Rewriting mythologies | | | | | | – 16 Oct 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | | Alejandro Chaskielberg - Maria Ines Imperiale' from the series 'Laberinto' | | | The 25th Noorderlicht International Photography Festival | | | | 23 June – 23 September 2018 Museum Belvédère | Heerenveen | | | | IN VIVO | the nature of nature | | | | | | | | | | | | | | | | The 25th Noorderlicht International Photography Festival takes place from 23rd June until 23rd September in Museum Belvédère in Heerenveen and examines our ambiguous relationship with nature. IN VIVO takes its inspiration from a rich tradition of a love for nature and shows images of a confrontational beauty, which upon closer examination expose the extent to which our experience of nature is directed by economic, social and cultural shifts. Thirty photographers from eleven different countries show us their view on the experience of nature, an essential part of our identity. Research has shown that nature has a positive influence on our health, lowers stress and stimulates creativity. Nature is therefore a significant contributing factor to our well-being, however cultivated it is. IN VIVO challenges the viewer to look in a different, layered way at the living experiment we call nature. | | |
| |
|
|
| |
| |
|
| | | | | | Imagined Borders | | | | | | – 11 Nov 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| | | | | | open air festival | | | | | | – 30 Sep 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
|
| |
|
| | | | | | Photography to end all Photography | | | | | | – 31 Dec 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
|
| |
|
| |
|
| |
|
| |
|
| |
|
|
| |
|
| | | | | | Starting from the Desert. Ecologies on the Edge | | | | | | – 19 Sep 2018 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
| |
|
| |
 |
| |
| |
|
| |
| |
|
| |
© 12 September 2018 photography-now.com
Ziegelstr. 29 . D–10117 DE . Berlin . Editor: Claudia Stein + Michael Steinke . contact@photography-now.com . T +49.30.24 34 27 80 |
| |
