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| PHOTOGRAPHY INTERNATIONAL | | 15 - 22 May 2019 | |
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| | On 17, 18 and 19 May 2019, Paris Gallery Weekend brings together 48 modern and contemporary art galleries around a particularly rich programme including over 60 exhibitions and dozens of performances, talks, concerts, signings, ... |
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| | From 16 May to 2 July, the city of Porto (PT) will host the
first edition of Ci.CLO Bienal Fotografia do Porto with: 11 curators // 53 artists // 16 venues // 8 workshops
1 symposium // 1 publication // social events // |
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| | Under the generic title of "Bodyfiction(s)" the 7th edition of the European Month of Photography Luxembourg showcases a series of contemporary photographic art in relation to exhibitions in Budapest, Bratislava, Vienna. |
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| | Prima Materia, 2019
140 x 107,5 cm / framed 142,5 x 110 cm
Inkjet on Hahnemühle Photo Rag Baryta paper, wooden frame, museumglass
5 + 1 AP
© Koen Hauser | | | | | | | | 18 May – 22 June 2019 | | | | Opening: Friday 17 May 2019, 5pm | | |  | | | | | | | | | | In his new exhibition at The Ravestijn Gallery, Koen Hauser (b.1972, the Netherlands) presents an eclectic collection of photographs featurng an array of objects and sculptures, many of them existing only in his imagination before they are materialised through the help of digital technologies.
In the words of author Merel Bem, “Koen Hauser never starts from the idea that a photo should represent reality in a direct way. As a photographer with a deeply rooted urge to create, he is therefore determined to (be able to) put reality into his own hands where photographic material is as plastic as wax and can be molded into every imaginable shape.”
Hauser’s work nearly always originates in historical books; from the colours that pervade through bygone publications to the expressive design language and the materiality of photographic reproductions found within. In Skulptura, he introduces sculptural artifacts of disparate origin, processing them with a diverse assortment of approaches and working methods. Importantly, Hauser does not rely on digital rendering alone to conjure up these motifs but also, at times, involves himself in the physical craft of making such pieces with clay. Other photographs derive from the photographs of objects from art history - with their museum like backdrops and in their original reproduction quality - he transforms them into newly envisioned images with the aid of photoshop. | | |
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| | | |  | | | | © Philipp von Recklinghausen |
| | | | | | | | | | | | Sat 18 May 19:00
18 May – 30 May 2019 | | | | | |
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| | Kasedori, Yamagata, Japon. | Fāmā, Ishigakijima, Okinawa Prefecture.
De la série YOKAINOSHIMA. © Charles Fréger 2013-2015 | | | | The European Month of Photography Luxembourg (biennial) | | | PORTRAITS, HORS CADRE | | | | | | | | until 24 October 2019 | | | | | | | | | | | | | Ogres, spirits, ghosts or demons.
In Japan, myths and folklore have survived since ancient times and into the present. Every fantastic or supernatural creature is attributed to a class called “yōkai".
Owing to the geological nature of the archipelago, the Japanese people are particularly exposed to the creative and destructive forces of the natural elements. The population is particularly attuned to Nature’s rhythm and has maintained specific ties to the primary forces. The belief in mythical and irrational phenomena has had its place in the culture of mankind for millennia.
Some events elude human understanding; the gap is filled by emotions and imagination. This opens a door to parallel worlds, helping to explain inexplicable things, to overcome life’s trials and tribulations, or to seek supernatural protection for the future. These beings, called upon for protection and support, manifest themselves in changing and masked forms, their character and nature ambiguous. Some apparitions are frightening, others inspire respect, others still are adored and solicited for their mercy and their empathy. Celebrated in the rites and traditions of rural folklore, the Yōkai have become popular during festivals and seasonal ceremonies.
The French photographer Charles Fréger has taken an interest in their effigy. To take their portrait, he places them in an original environment drawn from his imagination: a landscape chosen specially to support an expressive posture a… | | |
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| | |  | | | | Dudelange LU | CNA | |
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| | | from the series "NEOs" © Ezio D’Agostino | | | | | | | | EMoP European Month of Photography Luxembourg | | | | until 9 June, 2019 | | | | | | | | | | | | | 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… | | |
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| | | |  | | | | Hendrix Guitar © Henry Leutwyler |
| | | | | | | | | | | | Fri 17 May 18:00
17 May – 17 Jun 2019 | | | | | |
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| | | From the series Separation Anxiety, 2018 - ongoing © Dima Komaraov, courtesy of the artist | | | | | | | presenting a new generation of young photographers | | | | | | | 16 May - 16 June 2019 | | | Official opening 15 May 2019: drinks and music in the presence of many of the Foam Talents from 18.00 hrs onwards. Please RSVP »
Foam Talk 16 May 2019: In conjunction with the exhibition Foam Talent, Foam is organising a morning of talks at Autograph ABP on Thursday 16 May. Entrance is free. Please RSVP » | | | | | | | | | | | | | Foam Fotografiemuseum Amsterdam and Beaconsfield Gallery Vauxhall present the brand new exhibition Foam Talent 2019, with works from a new generation of visual artists. The work of these 20 outstanding young artists selected through the annual Foam Talent Call are featured in Foam Magazine #52, the Talent Issue. The Foam Talent exhibition will be on show at Beaconsfield Gallery Vauxhall in London for the fourth year.
This imaginative installation presents a forward-thinking showcase of photography and reflects on the full spectrum of creative approaches that mark today’s developments in the photographic medium. The exhibition will be opened on 15 May 2019, coinciding with Photo London.
Together, the 20 emerging artists featured in the exhibition are exceptionally placed to share their insight into the state of contemporary photography. They cross the borders of the medium with remarkable ease, focusing on the cycle of time, on socio-political factors and on our everyday life.
Object oriented installations that focus on the experience of the spectator are as readily found as classic two-dimensional photographs; while archival materials continue to play an important role, together with multi-layered, long-term research projects. These artists possess and demonstrate authenticity through powerful means of visual expression. | | |
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| | FLORENCE HENRI
Portrait Composition (Nude with Comb), 1930
Gelatin silver print, printed 1977
© Martini & Ronchetti, courtesy Archives Florence Henri | | | Florence Henri »
REFLECTING BAUHAUS: Photographs & Paintings | | | | until 18 May 2019 | | | | | | | | | | | | | Atlas Gallery is pleased to present an exhibition of photographs and paintings by Bauhaus artist and photographer Florence Henri (1893-1982). Florence Henri’s work has featured in major institutional exhibitions worldwide, but this is the first time in many years that such a large body of the artist’s work is available for sale.
Despite enjoying considerable popularity in the 1920s and 1930s, Henri’s work was forgotten until it resurfaced through a fortuitous series of discoveries in the mid-1970s that led to a thorough study of her work and the creation of her archive.
Henri trained first as a pianist in Rome and then as a painter under Fernand Léger, from whom she adopted the visual language of Cubism. At the Bauhaus in Weimar in 1924, she was also taught by Paul Klee and Wassily Kandinsky. Henri enrolled at the Bauhaus school of art, design and architecture in Dessau in 1927 at which point she turned solely to photography. With the encouragement of Hungarian constructivist artist László Moholy-Nagy (1895-1946) and his wife, Lucia Moholy (1894-1989), she explored the latest art movements – Constructivism, Surrealism, Dadaism and De Stjil. Henri experimented with ‘New Vision’ photography as practised by Moholy-Nagy, Man Ray and Aleksander Rodchenko. The influence of her association with El Lissitzky and Piet Mondrian was also significant and is reflected her grid-like compositions of this period (1928-29).
Henri quickly became one of the most celebrated photographers associated with the Bauhaus, appearing in seminal exhibitions such as Film und Foto at Stuttgart in 1929. Displayed among other of her remarkable contemporaries including: Moholoy-Nagy, Kurt Schwitters, Hans Richter… | | |
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| | | Susan Meiselas. Villagers watch exhumation at a former Iraqi military headquarters outside Sulaymaniyah, Northern Iraq, 1991 © Susan Meiselas | | | | | | | | | | | until 2 June 2019 | | | | The winner will be announced at a special award ceremony on 16 May 2019. | | | | | | | | | | | | | Laia Abril (b. 1986, Spain) has been nominated for the publication On Abortion (Dewi Lewis Publishing, November 2017).
Susan Meiselas (b. 1948, USA) has been nominated for the exhibition Mediations (Jeu de Paume, Paris, 6 February - 30 May 2018)
Arwed Messmer (b. 1964, Germany) has been nominated for his exhibition RAF – No Evidence / Kein Beweis (ZEPHYR|Raum für Fotografie, Mannheim, 9 September - 5 November 2017)
Mark Ruwedel (b. 1955, USA) is nominated for the exhibition Artist and Society: Mark Ruwedel (16 Feb - 16 Dec 2018 at Tate Modern, London) | | |
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| | Mark Ruwedel
"LA River/Glendale Narrows #24, 2017", 2017
Gelatin silver print mounted on board
11 x 14" on 20 x 24" board
© Mark Ruwedel | | | | | | | until 5 July 2019 | | | | | | | | | | | | | | | Large Glass is delighted to present the work of American photographer Mark Ruwedel and Italian photographer Cesare Fabbri.
Mark Ruwedel will show a series photographs, which document the Los Angeles River. For over two decades, he has been photographing American deserts or the remains of abandoned railway lines in the western United States and Canada - epic places with evidence of human intervention. "His photographs of the channelized LA River, and of similar stretches of Californian hinterland, show a place overwritten by industry, irrigation, urban planning and abiding fantasies about authentic wilderness."
Cesare Fabbri’s landscapes of Sardegna, reveal the remains of ancient cultures amidst geographical features, still relatively undisturbed by industrialisation. "Here are ruins both geological – a brutal promontory juts out of an eroded landscape of softer rock – and man-made: a vast cube of quarried stone has the aspect of a classical temple." (Quotes from a short essay by Brian Dillon). | | |
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| | | © Ruth Stoltenberg | | | | | | | | The European Month of Photography Luxembourg (biennial) | | | | 18 May – 30 June 2019 | | | | Opening reception: Saturday 18 May 10:30 | | | | | | | | | | | | | Schengen is a small wine making village in Luxembourg which shares a border with the German Saarland and the French Lorraine. It is here that the agreement to eliminate the inner-European border checks of the Schengen Area was signed. And yet today this symbolic place of international understanding as well as the successful co-existence of different cultures and nationalities has, in the truest sense of the word, run up against its borders.
Photographer Ruth Stoltenberg grew up in this border triangle in the 1960s and 1970s and was interested in exploring just what influence the opening of the borders has had in these 30 years on the various cultures and lifestyles of the people in those three countries. Referring to the Schengen model she asks: Is national identity visible? Are there visual differences in the villages, for example, in the houses, (front)gardens, streets or larger squares, which allow you to see which country is which ? Or does the region, shaped by winemaking and farming, have its own unique, transnational character?
Ruth Stoltenberg focuses on the small things of everyday life in the three neighbouring communities of Schengen in the Grand Duchy of Luxembourg, Perl in Germany and Apach in France as well as on smaller villages in the immediate vicinity.. She gets up close to the objects with her camera, while allowing the tiniest of details to speak from within her, on photographs strictly arranged in form. As to the question of where the images were taken, the photographer deliberately remains silent – it is only in the respective index that the place names are revealed. | | |
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| | | |  | | | Eva Stenram
Detail from Vanishing Point (2016)
Digital print on silk, framed C-type print on Fuji Chrystal Archive Paper, wood support
Courtesy THE RAVESTIJN GALLERY Amsterdam |
| | | | | | | | | | | | Tue 21 May 18:30
21 May – 20 Jun 2019 | | | | | |
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| | | |  | | | | Natalia Vodianova, L'Officiel Russia December 2016 © Danil Golovkin |
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| | | |  | | | Korakrit Arunanondchai
Together with history in a room filled with people with funny names 4, 2017
video still |
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| | | |  | | | | Audrey Hepburn by Bud Fraker for Sabrina Fair, 1954. Paramount Pictures © John Kobal Foundation |
| | | | | | | | Photographs from the
John Kobal Foundation | | | Greta Garbo, Humphrey Bogart,
Alfred Hitchcock & Co. | | | | | | | Sat 18 May 19:00
19 May – 15 Sep 2019 | | | | | |
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| | | Henri Foucault: Le Corps Infiniment | | | | | | | | until 18 May 2019 | | | | | | | | | | | | | Henri Foucault shows the full extent of his art in a very personal exhibition, for the first time at Galerie Thierry Bigaignon.
Though the artist will exhibit for the first time at the Galerie Thierry Bigaignon, Henri Foucault’s work is already well-established. This show, starting on April 4th, will thus be a great opportunity to discover or rediscover the artist’s specific universe - that of a photographer-sculptor or sculptor-photographer - through a selection of new works focussing on the body.
As an inexhaustible source of inspiration, the body has always been for Henri Foucault, as for many sculptors, a subject for study, and more so, an absolute fascination. Henri Foucault does not only photograph bodies, he sculpts them and tries, through a selection of them, to express their multitude. It is the very sculptural dimension of the body, its fundamental aspect, that draws his interest. The challenge is for him to represent it without ever falling into some kind of eroticism, nor into the figurative.
Sculptor at heart, Henri Foucault nevertheless chose photography a long time ago. Unless photography chose him! Over the years, the artist has developed an artistic universe that, through the play of light, enjoys reinventing new forms of perception. "From this confrontation between[...] the slow shaping of a volume and the dazzling nature of the photographic act," Dominique Païni tells us, "emerges the possibility of merging sculpture and photography. Photographing and sculpting, sculpting and photographing, it is this alternation that is accomplished in Henri Foucault's work." | | |
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| | Chema Madoz, Untitled, 2000
Gelatin silver print, 125 x 150 cm
Edition of 5
© Chema Madoz, Courtesy Galerie Esther Woerdehoff | | | | | | | | until 29 May 2019 | | | | | | | | | | | | | Born in Madrid in 1958, Chema Madoz began self-taught photography and printing in the early 1980s, in the creative effervescence of Movida. He began exhibiting his work in 1983 while working as a bank clerk. In the early 1990s, he decided to stop photographing people and landscapes to focus exclusively on objects. The photographer picks them up in flea markets, shops or even garbage bins, randomly from his street errands.
He says, “With photography, I discovered the possibility of highlighting all the images that come into my head. By its brevity and intensity, photography is close to poetry. ». With the fragility of a cloud, a thread or a butterfly, Chema Madoz’s pictures sometimes plunge us into a waking dream, a frozen moment thanks to the magic of photography. Like the Japanese haikus, their simplicity is only superficial and invites us to meditate on existence and impermanence. | | |
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| | | |  | | | | © Mandy Barker |
| | | | The Ci.CLO Bienal Fotografia do Porto 2019 | | | | | | | 16 May – 30 Jun 2019 | | | | | |
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| | | |  | | | | from the series Oikonomos 2011 © Edson Chagas |
| | | | The Ci.CLO Bienal Fotografia do Porto 2019 | | | | | | | 16 May – 30 Jun 2019 | | | | | |
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| | | |  | | | | © Rica Castro Neves & Daniel Moreira |
| | | | The Ci.CLO Bienal Fotografia do Porto 2019 | | | | | | | 16 May – 2 Jul 2019 | | | | | |
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| | | |  | | | | © Dinis Santos |
| | | | The Ci.CLO Bienal Fotografia do Porto 2019 | | | | | | | 16 May – 2 Jul 2019 | | | | | |
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| | | |  | | | | Katinka Schuett: Griffith Observatory, Los Angeles, California, USA |
| | | | | | | | | | | | Wed 15 May 19:00
16 May – 28 Jul 2019 | | | | | |
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| | | |  | | | | Gundula Schulze Eldowy: New York, 1992 |
| | | | | | | | Robert Frank & Gundula Schulze Eldowy
in New York | | | | | | | Thu 16 May 18:00
17 May – 7 Jul 2019 | | | | | |
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 | Fairs |
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| | | | Photo London 2019 | | | | | | | | | | | | | | | | | | | Photo London 2019 will include 100 galleries and 500 artists with 16 solo presentations. An expanded Discovery section will present 23 new and emerging galleries and artists. Preview Wednesday 15 May | Press Preview, 10.00-18.00 | Private View, 18.00-21.30 Public Opening | Thursday 16 May 12:00 - 21:00 | Friday 17 May 12:00 - 21:00
Saturday 18 May 12:00 - 19:30 | Sunday 19 May 12:00 - 18:30 | | |
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| | | | | | | | | | | | | | Tate Modern / Turbine Hall | | | Fri 17 May 14:00
17 – 19 May 2019 | | | | | |
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| | | |  | | | | © Rodrigo Gatinho |
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| Auctions |
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| Festivals |
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| Upcoming |
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| | | Maria Oliveira 2018 | | | The Ci.CLO Bienal Fotografia do Porto 2019 | | | 11 curators // 53 artists // 16 venues // 8 workshops //
1 symposium // 1 publication // social events // | | | | | | | 16 May – 2 July 2019 | | | | | | | | | | | | | From 16 May to 2 July, the city of Porto will host the first edition of Ci.CLO Bienal Fotografia do Porto. The Bienal supports innovative approaches to visual representation that contribute to a greater critical awareness of the ecological and social vulnerabilities we face. Ci.CLO develops a continuous research and experimentation in collaboration with artists, questioning its own methodologies and proposing narratives, both utopian and dystopian, motivated by cultural and environmental changes.
ADAPTATION AND TRANSITION, the title of the first Ci.CLO Bienal Fotografia do Porto, suggests a dialogic relationship marked by social and environmental crisis. Each era can be characterised in how collective expectations and fears are managed. History tells us that attempts to react are based on scientific and technological development, together with an appeal for awareness, rational thinking and greater spirituality. Concerns related to environmental and ecological changes has emerged in the last 50 years. Narratives surrounding conflicts between culture and nature, which determine our survival and stability on the planet, have gained increasingly more space and consistency. This century is at a critical point. Survival is discussed in terms of imminent risk and emergency.
How can artistic mobilisations function in this time of great contradiction? There is a need to critique global governance that continues to promote ecologically unsustainable strategies. How can we diagnose this "crisis of our time" beyond the pessimism that has created a state of global passivity? What is the "response-ability" we want to encourage? | | |
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| | | © Elena Parris | | | | | | | Searching for Beauty | | | | | | | | 17 May – 17 June 2019 | | | | Opening reception: Friday 17 May 18:00 | | | | | | | | | | | | | For a whole 4 weeks, Lenzburg will once again be dedicated to photography and will bring together experts and professionals from near and far to awaken and deepen its visitors' enjoyment of photography.
Exhibition "Schein und Sein" by Henry Leutwyler at Stapferhaus
17 May – 17 June, 2019
The exhibition "Schein und Sein" - a collaboration between the Lenzburg Photo Festival, the Stapferhaus and the Musée des Beaux-Arts in Le Locle - is a reflection on the search for beauty and the real - and at the same time a journey back to the first home of the photographer Henry Leutwyler. Born in Lenzburg, he went out into the wide world at the age of 14 and taught himself how to photograph. Today he has photographed the greatest stars of our time and the covers of the most important magazines. The exhibition shows where Leutwyler came from and how far he has come: a life between appearances and reality. More information: www.henryleutwyler.com
Complete festival program: www.fotofestivallenzburg.ch | | |
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| | | |  | | | | © Alma Haser |
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| | | |  | | | | © Lucie Khakhoutian |
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| | | |  | | | | from the series Poupées 2017 © Neus Solà |
| | | | Rencontres photographiques de Montpellier 18th edition | | | | | | | – 26 May 2019 | | | | | |
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| | | | FOTOGRAFIA EUROPEA 2019 - REGGIO EMILIA | | | | | | | exhibitions open through 9 June, 2019. | | | | 24 festival exhibitions, 10 exhibition venues across the city, 6 regional partners, over 120 artists, 85 events and OFF Circuit, an extended collective event and creative showcase for professionals, amateurs and upcoming artists that includes over 300 exhibitions. | | | | | | | | | | | | | From April 12th to June 9th, Reggio Emilia will host the XIV edition of FOTOGRAFIA EUROPEA, the festival organised by Fondazione Palazzo Magnani in collaboration with the Comune of Reggio Emilia and the Region of Emilia-Romagna, with support from the Ministry of Cultural Heritage and Activities. The festival explores all spheres of photography, the art form that best interprets the complexities of contemporary society.
Exhibitions, talks, performances and workshops are highlights of Fotografia Europea, an event never before so rich, which is populated by key figures in photography, culture and knowledge, and hosted across the city's main cultural institutions and exhibition spaces.
Conceived and designed by the Scientific Committee of Fondazione Palazzo Magnani – composed of Marco Belpoliti, Vanni Codeluppi, Marina Dacci, Marzia Faietti and Gerhard Wolf, under the artistic direction of Walter Guadagnini – FOTOGRAFIA EUROPEA 2019 is built around the theme of BONDING: Intimacy, Relationships, New Worlds, which will run like a fil rouge through all the exhibitions in the programme. | | |
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| | | |  | | | | © Cecilia Del Gatto |
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| | | |  | | | | Once Removed (production still) 2019. Courtesy of the artist © Lawrence Abu Hamdan |
| | | | Leaving the Echo Chamber | | | | | | | – 10 Jun 2019 | | | | | |
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| | | |  | | | | Hannah Bronte FUTCHA ANCIENT (detail) 2018 lightboxes, photographic prints, textiles, ink, shell Photograph: Mia Forrest |
| | | | Art Gallery of New South Wales / Carriageworks/ Museum of Contemporary Art | | | | | | | – 23 Jun 2019 | | | | | |
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| | | |  | | | | © Masayoshi Sukita |
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| | | |  | | | | Almagul Menlibayeva, Marriage Yurta, 2008, stampa lambda su dibond, 100 X 150 cm, courtesy Fondazione 107 |
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| | | |  | | | | Taysir Batniji, Gaza Walls, 2001. Courtesy the artist and Galerie Sfeir-Semler (Hamburg/Beirut). |
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| | Billy Gerard Frank – Film Still from 2nd Eulogy: mind the gap
© Billy Gerard Frank | | | | | | | May You Live in Interesting Times | | | | | | | | 11 May – 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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| | | |  | | | | © Susana Raab -USA |
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© 15 May 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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