| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 13 - 20 March 2019 | |
|
| |
|
| |
| |
| |
| |
| | FORMAT International Photography Festival is the UK's largest curated biennale of International contemporary photography, and welcomes over 100,000 visitors from all over the world. FORMAT19 will featuring over 200 international photographers and open on the 14th March with Exhibition Previews taking place across the city of Derby. |
| | |
|
|
| |
| | This year's main exhibition for Venice Biennale,
"May You Live In Interesting Times" include 79 artists, over 50% of them are working with photography and videoart, like Stan Douglas, Gauri Gill, Jean-Luc Moulène, Zanele Muholi . » |
| | |
|
|
| |
| |
| |
| | Last days of Foam Talent Call for photographers between the ages of 18 and 35: through 17 March, 11.59 pm, UTC +1 |
| | |
|
|
| |
| |
|
| |
| |
|
| |
| |
| | | Cos, Collections, Light bulbs, 2012 © Scheltens Abbenes | | | | | | | | 15 March – 5 June 2019 | | | | Opening: Thursday 14 March 17:30 | | | | | | | | | | | | | The artist duo Scheltens & Abbenes is seen as the most progressive still-life photographers in the Netherlands today. Maurice Scheltens (1972) and Liesbeth Abbenes (1970) have managed to build an international artistic practice at the intersection of commissioned and autonomous photography.
The exhibition draws the visitor into a sense of wonder at the things we encounter in daily life. In their studio, Scheltens & Abbenes analyse the essence of things by subjecting their anatomy to a meticulous and painstaking examination. Object come to life by lifting them from their everyday context, framing and zooming in on them, to thereby penetrate to their innermost core: a colourful powder patch, the sharp crease in a men’s shirt, rivets on a lorry. This is what the title of the exhibition refers to: ZEEN. This is a Dutch synonym for a tendon, which is a robust but pliable form of tissue that ties a muscle to the skeleton. This serves as a metaphor for how Scheltens & Abbenes zoom in on the inner dimension of an object’s body, and then tie this to a greater whole. It also refers to displaying the characteristic features of an object at a very detailed level. Lastly, the title is a play on the words Zien, (Maga)Zine and Zen, all of which refer to paying attention, to concentrating, to being sensitive to details – which are all important elements in the Scheltens & Abbenes oeuvre.
Photography emerged as an applied form of art that has gradually evolved into an autonomous art form as well. Scheltens & Abbenes’s work explores the intersecting field. This puts them firmly in the tradition of prominent Dutch product photographers such as Piet Zwart, who played with the flat surface of the photog… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
| |
| | Barbara Probst
Exposure #139: Munich, Nederlingerstrasse 68, 08.21.18, 5:13 p.m.
2018
Ultrachrome ink on cotton paper
3 parts: 112 x 75cm / 44 x 29 inches
Edition of 5
courtesy: Galerie Kuckei + Kuckei, Berlin | | | | | | | | 15 March – 18 April, 2019 | | | | Opening: Friday, 15 March, 6-9pm | | | | | | | | | | | | | A half-visible cup of coffee is nearly full. A few drips of coffee on the lip of the cup give the impression of someone having already taken a sip. It is positioned on a dark wooden table in the center of a pool of liquid. The liquid is clear, allowing the patina of the wooden table to show through and reflecting the light therein. Is it water? Was there a glass or a bottle spilled? Accidentally or intentionally? These two components in Barbara Probst’s Exposure #140 would be perplexing enough by themselves. But our eye continues to wander, toward something that looks like part of a person’s arm resting heavily on the edge of the table. And once again, a cascade of questions is unleashed in the viewer: Who does the arm belong to? Where is the person? What are they doing here? What role do they play in this photograph and how are they connected to the coffee cup and the spilled liquid?
The scene described could pass as a classic still life if it were not the subject of a triptych whose three images all revolve around a specific moment in the scene, featuring it from various angles. Barbara Probst uses a radio-controlled mechanism to create her Exposures, which allows the artist to simultaneously release the camera shutters from a distance. By this means a series of images is generated which breaks up the supposed reality of the moment into several views.
Individual elements are therefore repeated in the pictures, including for instance the part of the arm, the coffee cup, or the glass bottle with the yellow liquid. The different point of views give rise to new details that capture the same as well as new protagonists. In Exposure #140, there is suddenly a green pepper on the table, or white ceramic shards; a came… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Max Pinckers - Margins of Excess (2018) | | | | | | | 15 March – 9 June 2019 | | | Opening reception: Thursday 14 Mar 17:00
Max Pinckers » Margins of Excess (2018)
Edgar Martins » What Photography has in Common with an Empty Vase (2018-19)
Stefanie Moshammer » I Can Be Her (2014-18)
Amani Willett » The Disappearance of Joseph Plummer (2017)
Virginie Rebetez » Out of the Blue (2016)
Anne Golaz » Corbeau Vol 2: Finir comme prévu (to end as expected)(2018) | | | | | | QUAD centre for contemporary art Market Place, Cathedral Quarter, DE1 3AS Derby
www.derbyquad.co.uk | |
| | | | | | Composed around a series of photographic works that challenge modes of documentary and storytelling, Mutable, Multiple is an exhibition that explores how narrative, history, memory and myth can be recalibrated as a way of coming to terms with complex and changing realities.
A story of stories, the exhibition features six artists – all of whom make use of the narrative potential of photography to engage with their subjects, yet without adopting straightforward strategies. | | |
| |
|
|
| |
| |
|
| |
| |
|
| |
| |
|
| |
| |
|
| |
|
| | | | | | | | | | | | | | Thu 14 Mar 17:00
15 Mar – 14 Apr 2019 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
| |
|
| |
| |
|
| |
|
| | | | | | | | Preparing a warp, British nylon spinners, Pontypool, Wales 1964 by Maurice Broomfield |
| | | | | | | | FORMAT Festival 2019 | | | Thu 14 Mar 17:00
15 Mar – 5 May 2019 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | from the series "NEOs" © Ezio D’Agostino | | | | | | | | 16 March – 9 June, 2019 | | | | Opening: Saturday 16 March, 11am in the presence of the artist | | | | | | | | | | | | | NEOs, through the visible remains of our era, proposes a visual hypothesis as to what the forthcoming "Capitalist space" might resemble, an object too close to the Earth to be seen from the right distance. (Ezio D’Agostino)
In the course of his 2017 to 2018 residency, Ezio D’Agostino spent several weeks in Luxembourg and researched the economic and technological history of the country to question the very notion of development and progress from a given context.
In the vein of his previous projects, D’Agostino found his point of entry by working with the landscape. He set out in search of the stories that produced it, navigating between its layers and its temporal markers to deconstruct and reconstruct it by way of the image.
He visited the symbolic and structural sites in the history of the country’s development, exploring them through the prism of their different temporal phases: from Luxembourg’s steel industry past, to its financial services industry present, and on to its future with the SpaceResources space programme which aims to provide a framework for the study and mining of resources on near-Earth objects.
Thus, amongst other things, Ezio D’Agostino photographed the detail of the tunnel map of the former mine of Oberkorn, the blazing of molten steel in the Esch-Belval steelworks electric arc furnace, a compartment box for storing and cataloguing rare metals in the Natural History Museum, a collection of gemstones from Zimbabwe at a flea market, the radar dish at the SES (Société Européenne des Satellites) headquarters, the central tower in the facade of the Deutsche Bank building in the Kirchberg district, a heartbeat frequency sensor in the entra… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Cape Kamenny, Yamal Peninsula, Russia, May 2018 © Yuri Kozyrev / NOOR for Fondation Carmignac | | | CARMIGNAC PHOTOJOURNALISM AWARD – 9th EDITION
EXHIBITION AT THE SAATCHI GALLERY, LONDON | | | Arctic : New Frontier | | | | | | March 15 – May 5, 2019
FREE ADMISSION | | | | | | | | | | | | | Yuri Kozyrev and Kadir van Lohuizen (NOOR) were awarded the 9th edition of the Carmignac Photojournalism Award dedicated to the Arctic and chaired by Jean Jouzel, and under the patronage of Minister Ségolène Royal, French Ambassador for the Arctic and Antarctic Poles.
The endowment allowed them to carry out their pioneer double polar expedition «Arctic: New Frontier». For the very first time, two photojournalists have simultaneously covered the entire Arctic territory to bear witness to the irreversible effects of climate change. They wanted to experience the dramatic transformation of natural landscapes and the demographics in the Arctic, and the impact of these changes on the lives of the region’s inhabitants.
The photos of Yuri Kozyrev and Kadir van Lohuizen are superb. Through them, from Siberia, Svalbard and Greenland to Canada and Alaska, we discover the Arctic of today, with its landscapes and wildlife that are drawing a growing number of tourists, as well as its populations who are exposed to extreme climates and engaged in the exploitation of mining resources such as nickel and, increasingly, gas, oil and coal. Protecting the environment does not appear central to their activity, to put it mildly. —Jean Jouzel, climatologist, winner of the 2012 Vetlesen Award and co-winner of the 2007 Nobel Peace Award as Director of the IPCC | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Darren Sylvester 'If all we have is each other, that's OK' 2003, printed 2004 digital type C print, ed. 1/2 90.0 x 119.7 cm
National Gallery of Victoria, Melbourne Purchased through funds arranged by Loti Smorgon for Contemporary Australian Photography, 2004 (2004.552) © Darren Sylvester | | | | | | | Carve a Future, Devour Everything, Become Something | | | | 1 March – 30 June 2019 | | | | | | | | | | | | | Darren Sylvester: Carve a Future, Devour Everything, Become Something is the Melbourne-based contemporary artist’s first large-scale solo exhibition in a public institution. Bringing together works spanning the entire twenty years of his career, this exhibition is a timely and unique opportunity to review Sylvester’s practice and reveals his continued discussions on desirability, authenticity and mortality, all presented in a high-gloss finish.
Sylvester is a truly multidisciplinary artist who works in staged photography, sculpture, video, installation, performance and music. Everything he creates is the result of a detailed process of planning and research, with handmade sets and props photographed in studio to resemble high street fashion campaigns and sculptural fabrications that twist subjects ranging from fast food design to an astronaut space suit to the moon itself.
Sylvester’s practice is controlled, autodidactic and constantly evolving. It represents a detailed knowledge of and interest in pop culture, pop music, advertising, cinema, fashion, our relationships with each other and perhaps most significantly, our place in the universe.
Hopes and dreams, work conundrums, loss and longing, fear of death – these are subjects that appear time and time again. Aspects of his work appropriate and transform well-known products as ‘readymades’ as a way of looking at the ways we live with, and are shaped by, branding. NGV audiences will remember the artist’s pulsating dancefloor For you, 2013, presented as part of the Melbourne Now exhibition, that enabled people to dance within a stylised ‘make-up compact’. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Sumkino © Tamara Stoffers | | | | | | | 13 March – 30 June 2019 | | | | Saturday March 16, 4:00 pm: Artist tour with Tamara Stoffers, the history of her collage project. | | | | | | | | | | | | | Tamara Stoffers, one of the brightest of the new generation of young Dutch photographers, dives into images from the past to create old-fashioned collages which give birth to crazy photographic scenes.
Tamara Stoffers composes her images from old books about the former USSR. She cuts out, pastes and creates new situations, often making absurd visual connections. In her collages, the city is a dream, even if it is more of a surrealist dystopian vision. She tests the city as an agglomeration of visual and sensory stimuli, making it an ideal place to draw inspiration. Her densely peopled scenes show meetings between many different things, and the situations conjured up are often visually strange. Being in the city provides an opportunity to observe and interpret under a blanket of anonymity. It is a place to fantasise, to wander aimlessly and to be surprised. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Adama Delphine Fawundu, “Black Like Blue in Argentina,” 2018, Archival pigment print on canvas. | | | | | | | | 14 March – 6 April 2019 | | | | Opening reception: Thursday 14 March 18:00 | | | | | | | | | | | | | Crush Curatorial is delighted to announce Adama Delphine Fawundu: The Sacred Star of Isis, a solo exhibition. In this newly-conceived body of work, the artist takes the ancient West African deity, Mami Wata, as a departure point and builds on her engagement with her Mende heritage of Sierra Leone. Linking known and under-recognized geographies of the African diaspora, Ms. Fawundu’s work upends national and temporal borders, invoking interconnectivity and transformation across cultural and environmental thresholds.
Within the artist’s world, we move between Sierra Leone, Argentina, Harlem, Nigeria, Amagansett (NY), Massachusetts, and upstate New York. Here she generates connective threads of exchange between the magical space of nature and the material structures of history. Inhabiting colonial architecture, wooded forest, balls of cotton, and her childhood hairdo of the crescent curl, Ms. Fawundu reformulates spaces of positivity and empowerment in the shadows of cultural annihilation and historic violence. “Adama Delphine Fawundu’s work is about finding ways to connect with her kin - a group not merely confined to those who share a direct common ancestor but an expansive definition inclusive of the many who descend from the dispersed, the stolen, those for whom the violence, and opportunity wrought by the sea is at once a spectre and a fact of everyday life,” writes scholar Niama Safia Sandy.
The exhibition includes video works and a series of photographs titled the The Sacred Star of Isis (2017-ongong)featuring the artist occupying a host of settings that bore witness to events of the diaspora. Documenting herself as a black female agent within these ghostly sites, Ms. Fawund… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | THE DOOR
© Reine Paradis
Courtesy Galerie Catherine & André Hug, Paris |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
|
| | | | | | | | © Ruth Orkin, "American girl in Italy", Florenz, 1951 |
| | | | | | | | | | | | Thu 14 Mar 18:00
14 Mar – 5 May 2019 | | | | | |
| | | | | | | |
|
| |
| | | | | | | | © Merry Alpern, "Shopping" |
| | | | | | | | | | | | Thu 14 Mar 18:00
14 Mar – 28 Apr 2019 | | | | | |
| | | | | | | |
|
| |
| | | | | | | | aus Liebes-Leben 1978 © Roswitha Hecke |
| | | | | | | | | | | | Thu 14 Mar 18:00
14 Mar – 5 May 2019 | | | | | |
| | | | | | | |
|
| |
| | | | | | | | © Nan Goldin, "Nan one month after being battered", Berlin 1984 |
| | | | | | | | | | | | Thu 14 Mar 18:00
14 Mar – 5 May 2019 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
|
| |
| |
| |
| |
| |
|
| |
|
| |
| |
| |
|
| |
| Awards / Call for entries |
|
| |
| |
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | | | | | | FOREVER//NOW | | | | | | | | 15 March – 14 April 2019 | | | | Opening reception: Thursday 14 March 17:00 | | | | | | | | | | | | | In Derby’s museums, art galleries and historic, pop-up and renovated spaces and buildings the festival will present over 50 exhibitions, including portraits of Elvis impersonators and off grid Siberian communities; documentary projects on the tribes of native Indians and the post conflict and wartime landscape of North Africa; a French treasure hunt for buried gold and the search for the truth behind the exclusive Bohemian Club in America. These are just a few of the many extraordinary photography stories visitors to Derby will discover at FORMAT19. The new generation of photographic artists rush towards the new, embracing the rapid transformation that technology and cultural exchanges bring to it. It is such new approaches to photography that FORMAT19: FOREVER//NOW will address during the festival. Forever is an idea built into the very nature of the photograph that records the moment and immediately presents us with a visual memory of the past. Forever touches upon our obsession to record and share the continuous moments of our lives. Yet forever is an illusion and the immortality photography proffers can quickly sour when digital anonymity becomes virtually impossible to obtain. The eruption of selfies and Instagram is contradicted by campaigns around the right to be forgotten or opt out. Now is the new photography orthodoxy, in which the message is all, the product of an era that is seen as “post truth”, regardless of whether it is a fictionalised story or a factual narrative or an aesthetic mixture of the two. The challenge for the photographer is how to establish their message in the now and stop it being transitory. In this era of Trump’s fake news, where truths, lies and myths are easily interchanged, we need to find a new structure to realign our perception of reality and provide a frame of reference for identifying where the truth really resides. FORMAT19 will look at how photography is evolving and moving ever forward, while keeping a curatorial eye on its past and how it is being constantly reinterpreted. Even as we endeavour to extend subjects through photography, time and material can never be endless, it is a difficult concept to pin down and the immortality that photography seems to offer is always just out of reach. Alongside the mass production of pictures and our seemingly endless desire to be seen, there are calls for digital anonymity and campaigns around the right to be forgotten or to opt out. FOREVER//NOW is a contested idea that we invite you to think widely about, there are many ways to perceive it. | | |
| |
|
|
| |
| |
|
| | | | | | | | | | | | | | Wed 20 Mar 20:00
20 Mar – 20 Apr 2019 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
|
| | | | | | | | Karrabing Film Collective. Still from The Jealous One. 2017. Video. Courtesy of the Karrabing Film Collective |
| | | | | | | | | |
|
| |
|
|
| |
|
|
| |
|
|
| |
|
| |
|
| |
|
| | | | | | | | Zanele Muholi, 2018, installation view, Kochi-Muziris Biennale. Courtesy: Kochi Biennale Foundation |
| | | | Possibilities for a Non-Alienated Life | | | | | | – 29 Mar 2019 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | | | | | | | | | – 24 Mar 2019 | | | Anna Soler Cepriá
FLAMAZO FLARE
One piece
85 x 120 cm Digital photograph
Inkjet print on photographic paper | | |
| | | | | | | |
|
| |
|
| | | | | | | | | | 11th Moscow International Biennale | | | | | | | Feb – April 2019 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| | | | | | Leaving the Echo Chamber | | | | | | | – 10 Jun 2019 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
| |
| |
|
| |
| |
|
| |
© 12 Mar 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 |
| |
