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| PHOTOGRAPHY INTERNATIONAL | | 13 - 20 November 2019 | |
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| | Between 14 and 17 of November 2019, Milan will host the fourth edition of Photo VOGUE Festival 2019. Also Thursday November 14th PBF 04 PhotoBrussels Festival is starting with the THEME "Still life?". LOOP Barcelona is a platform of the moving image, a FESTIVAL (12-24 Nov) with exhibitions, screenings and live performances around the city. The FAIR (19-21 Nov) is a selection of contemporary artists films and videos presented by international galleries in a unique viewing experience. |
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| | Danielle Dean: Bazar, 2018, 4-Kanal-HD-Video-Installation (Video still)
Courtesy the artist | | | | | | | | 15 November 2019 - 1 March 2020 | | | | Opening: Thursday, 14 November 2019 7pm | | |  | | | | | | | | | | In her artistic work, Danielle Dean grapples with the construction of ethnic, social, and gender-specific roles by examining the narratives she finds in political speeches and news items for example, as well as in business records, advertisements, and popular culture. She often begins her research in historical and contemporary archives, such as the company archives of the car manufacturer Ford in Detroit, or of the Galeries Lafayette department store in Paris.
With Trigger Torque, Danielle Dean (b. 1982 in Huntsville, Alabama, USA) presents her first exhibition in Germany at the Ludwig Forum für Internationale Kunst. Alongside new works for Aachen entitled Fordland (2019), she is also showing two additional large works: Bazar (2018) and True Red Ruin (2017).
Whether her works address the ideologization of the American landscape through the advertising of the automotive industry (Fordland, 2019), or the colonial past that can be found in department stores’ marketing strategies (Bazar, 2018), the artist examines the underlying power structures that lead to the manipulation of thoughts, feelings, and social relationships, and ultimately play a part in casting people in firmly entrenched political, social, and cultural roles and functions.
Danielle Dean subverts the visual language of advertising and transfers it to an artistic space where the line between fact and fiction is blurred. Her video installations, collages, and drawings unite various different objects, events, and locations, demonstrating that certain forms of invasion, violence, and surveillance operate across geographical and temporal boundaries, as well as the ways in which technology, architecture, marketing, and t… | | |
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| | | © Paul Soujon | | | | | | | | | | | | | 15 November 2019 - 12 January 2020 | | | Opening: Thursday, 14 November, 7pm
curated by Bodo Schlack | | | | | | | | | | | | | 20/21 sec. Overlay
Modus Operandi is a large format double analog projection comprised of 162 individual photographs. It collides images which otherwise don’t belong together, yet spontaneously respond to one another. The mechanics of two projectors put into motion a cycle of continuous exchange in which two images meet. For a moment they stand together in direct proximity. This proximity reaches an abrupt conclusion, marked by the characteristic mechanical sound of the changing analog slide – a sound which is transformed into a signal simultaneously concluding one pairing whilst anticipating the start of something new. The two differently programmed time intervals shift the sequence in such a way that a repetition of any single pairing only occurs every 12 hours.
81x81 Slides
In a months-long process in the absence of content specifcation, 22 artists were asked to feed material into an image pool. With regular screenings, a selection and arrangement were vigorously reworked with the intention of generating a collective visual language, exceeding the sum of its parts. The rhythmic switching sequence and persistent presence of the approaching image heavily entwine previously isolated artistic voices. Each image shifts the impression of the other, before vanishing and being replaced.
E-6 Process
To ensure comparable coexistence, each image has been transferred onto the same medium. The use of the analogue slide as an image surface gives each individual picture autonomous physical presence within a collaborative work. At the same time, each slide enhances qualitative differences between the variable techniques used with a particular clarity. Alongside images photographed directly… | | |
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| | | |  | | | ©Rebecca Fertinel, Belgium
1. Platz, Professional competition, Brief, 2019
Sony World Photography Awards |
| | | | | | | | | | | | Thu 14 Nov 19:30
15 Nov 2019 – 2 Feb 2020 | | | | | |
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| | Kyungwoo Chun
Face of Face#1, 2016
archival pigment print
140 x 115 cm (framed) | Kyungwoo Chun
Nine Editors#1, 2014
chromogenic print
90 x 73 cm (framed) |
| | | | | | | | 16 November 2019 – 25 January 2020 | | | | Opening: Friday, 15 November, 7pm | | | | | | | | | | | | | Efremidis Gallery is proud to present "Seoul Sazin", a solo exhibition by Kyungwoo Chun. Born in Seoul, Korea in 1969, Chun’s photographic work is known for its sensitive atmosphere. For "Seoul Sazin", the artist chose to show several series of photographic work which illustrates his continued interest in the inner lives of his subjects.
The western word 'photography' comes from the Greek roots photos (ϕοτοσ), and graphos (γραοσ), together meaning 'drawing with light'. While the word 'photography' focuses on the process of making, the Korean word 'Sazin' (사진) means 'transfer or copy of truth' which places the emphasis on the outcome, the photograph. The difference in etymology says Dr. Ayelet Zohar, shows that Korean society did not passively absorb the western concept of photography together with its technology. Instead, it was actively recoded in response to established cultural and political discourses. The word 'Sazin' was originally a term that came from the 14th century to describe highly detailed portrait painting. It was understood that the concept of 'Sazin' encapsulated more than the straightforward reproduction of material reality instead it describes an exchange of souls.
The subjects of Chun’s photographic work are blurred, often past the point of recognition. The effect is the result of, at times, extremely long exposure times. Unlike the portrait photography of the middle of the 19th century, Chun’s choice for long exposure times is intentional. Here he intentionally turns away from the original Western purpose of photography, to document, to capture a mom… | | |
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| | | She Disappeared into Complete Silence © Mona Kuhn AD 7573, 2014 | She Disappeared into Complete Silence © Mona Kuhn AD 7272, 2014 |
| | | Mona Kuhn » She Disappeared Into Complete Silence | | | | 25 October 2019 – 23 October 2020 | | | | | | | | | | | | | The quality of light, according to Mona Kuhn, is measured in nuances of colour and – as strange as it may seam – even in sounds, or the absence of sounds. The photographer has translated this empirical experience into photographic images. Her journey towards the light took her to the Joshua Tree desert in California.
As a classical symphony is built upon rhythm and the development of an initial motif, so the potential of light is observable through its rhythmic and evolving intensity. The viewer can easily discern the alternating chromatic effects and the play of shadows. As the saturation of light increases, the shadows fade and the sounds dim. In an orchestra, every instrument is waiting for its entry or an interval. Faced with the everincreasing intensity of the sun, everything seems to hold its breath. The brightness yields only to time – a few, fleeting moments can be captured in the fullness of the light. The shadows will not be banished for long: as soon as the sun crosses the zenith, they prepare their resurrection.
The impression emanating from this magical moment is exhilarating. Do even the insects go quiet in the midday sun? There is complete silence. An illusion? This ephemeral stillness is not isolated. The muted soundscape gives way to a series of optical phenomena: reflections. The light paints non-tangible, transparent images into the desert. Mirages. Images appear and repeat themselves – mirrored or inverted. Up and down flow into each other; far blends into close. Apparitions are superimposed on each other. Straight lines are curving in the heat and brightness. Perception takes on surreal traits. Paradoxically, the light seems static amidst the shimmering vibrations. Suddenly the shadows start taking shape a… | | |
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| | Pete Smyth » | | | | | | | | | | | | LOCAL Exhibition and book launch | | Fri 29 Nov 18:00 16 Nov 2019 – 12 Jan 2020 | | | | | | | |
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| | | |  | | | | Goldin, Nan, The Other Side, Steidl, Germany, 2019, pg. 8 -9 |
| | | | | | | | | | | | Thu 14 Nov 18:00
14 Nov 2019 – 11 Jan 2020 | | | Nan Goldin will be in conversation with Nicholas Cullinan, Director of the National Portrait Gallery, London
Sunday, 17 November, 4:30 pm
National Portrait Gallery | | |
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| | | © Vikesh Kapoor | | | | | | | | | | | | | 14 – 17 November 2019 | | | | Opening reception: Thursday 14 November 2019 16:00pm | | | | | | | | | | | | | | Converted into an exhibition space, the former industrial complex of Base Milano will host “A Glitch in the System, deconstructing stereotypes”, an exhibition featuring the photographers selected through the scouting initiative launched on PhotoVogue, the photographic platform of Vogue.it, which boasts over 180,000 users, and as a result of the assessment of an internationally acclaimed jury consisting of experts from across the world, with different backgrounds and vision so as to provide the most inclusive and multi-faceted perspective. | | |
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| | | |  | | | Imitations of the Self (Study #2), 1973/2012
Ed. of 10 (2 PPs), Archival inkjet print,
image: 10.25″ x 7.25″, paper: 16.25″ x 13″ |
| | | | | | | | | | | | Tue 19 Nov 18:00
19 Nov 2019 – 18 Jan 2020 | | | | | |
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| | | |  | | | | ©Masahisa Fukase Archives |
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| | | |  | | | Yokomizo Shizuka
Forever (and again) 2003
2-channel video installation 17 min. (loop)
Courtesy: WAKO WORKS OF ART, Tokyo
Installation view: Forever (and again), IZU PHOTO MUSEUM, Shizuoka, 2018
Photo: Kioku Keizo |
| | | | | | | | Matsukawa Tomona | | | 19 Nov 2019 – 29 Mar 2020 | | | | | |
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 | Fairs |
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| | | | | | | | | | | | | | Tue 19 Nov 19:30
19 – 21 Nov 2019 | | | | | |
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| | | | | | | | | | | | | | Thu 14 Nov 16:00
15 – 17 Nov 2019 | | | | | |
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| Auctions |
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| Festivals |
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| Upcoming |
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| | | | | | Even Outer Space | | | | | | | 12 – 24 Nov 2019 | | | | | |
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| | | | | | | | | | | | | | Thu 14 Nov 18:00
15 Nov – 21 Dec 2019 | | | | | |
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| | | | | | Mondi| Lucca | | | | | | | 16 Nov – 8 Dec 2019 | | | | | |
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| | | | | | | | | | | | | | Thu 14 Nov 16:00
14 Nov – 17 Nov 2019 | | | | | |
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| Current |
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| | | | | | | | TAXED TO THE MAX | | | | | | | | ... until 1 December 2019 | | | | | | | | | | | | | | | The 26th edition of the festival examines the societal tensions created by international conglomerates with their vast accumulations of capital and their influence on national and global politics. TAXED TO THE MAX asks: how does the increasingly perfected entanglement of corporatism, finance capital and modern government affect the lives of regular people?
With the 34 participants, the festival presents a refreshing mix of photo series, mixed media, video and sound installations, performances, and spatial work on this theme.
TAXED TO THE MAX
...at least you are not afraid to live life on the brink of chaos
Alan Gignoux | Anika Schwarzlose | Bérangère Fromont | Brigitte de Langen | Coralie Vogelaar | David Klammer | Davide Monteleone | Dorothée Elisa Baumann | Ezio D’Agostino | Gina Peyran Tan | Glenna Gordon | Igor Tereshkov | Ishan Tankha | Ivar Veermäe | John Vink | Jos Jansen | Joseph Rodríguez | Kanad Chakrabarti | Lana Mesić | Lena Dobrowolska & Teo Ormond-Skeaping | Mari Bastashevski | Mark Curran | Martin Toft | Marvin Leuvrey | Michele Borzoni | Oliver Ressler & Zanny Begg | Sergey Novikov & Max Sher | Sven Johne | Thomas Kuijpers | Tony Fouhse | Ursula Biemann Mentorship young curators: George Knegtel & Laura Carbonell Reyes
A new Noorderlicht initiative is a mentorship for young curators who are invited to curate an exhibition that will flank the festival. With this mentorship program Noorderlicht realizes the ambition to not only produce exhibitions and festivals, but to also facilitate the photographic community, invest in emerging voices and share its experience and knowledge. George Knegtel (Netherlands, 1992) and Laura Carbonell Reyes (Colombia, 1986) have been selected for this pilot edition. For their exhibition, they have invited the following participants.
Daniël Siegersma | Keijiro Kai | Lonnie van Brummelen & Siebren de Haan & Tolin Alexander | Lucia Nimcova & Sholto Dobie | Marcos Ávila Forero | Roberto Huarcaya | | |
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| | | | | | V BIENNIAL OF PHOTOGRAPHY ON INDUSTRY AND WORK: 11 EXHIBITIONS / 11 VENUES | | | | | | | – 24 Nov 2019 | | | | | |
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| | | |  | | | | © Julio Bittencourt // aus der Serie "Ramos" |
| | | | Gerechtigkeit | | | | | | | – 24 Nov 2019 | | | | | |
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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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| | | | | | International Photography Festival | | | | | | | – 31 Dec 2019 | | | | | |
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| | | | | | Terra Nostra - The Age of the Anthropocenee | | | | | | | – 5 Jan 2020 | | | | | |
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| | | | | | Edition 2019 | | | | | | | – 16 Nov 2019 | | | | | |
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| | | | | | IMAGINED COMMUNITIES | | | | | | | – 2 Feb 2020 | | | | | |
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| | | | | | 72 DAYS OF FREE ART | | | | | | | – 1 Dec 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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© 13 November 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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