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| PHOTOGRAPHY INTERNATIONAL | | 19 — 26 February 2025 | |
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| | VINCENT FOURNIER
THE ITAMARATY PALACE – FOREIGN RELATIONS MINISTRY, WOOD AND STEEL PANEL BY ATHOS BULCÃO, BRASÍLIA, 2012
Inkjet on Hahnemuhle Baryta Paper, white hand painted wooden frame with art glass
150 x 255 cm
Edition #7/10 plus 2AP
Series: Brasilia | | | | | | | Pop-up exhibition | | | | | | | | 20 – 23 February 2025 | | | | Opening: Thursday 20 February 17:00 - 20:00 | | | | | | | | | | | | | In the gnarled branches of an ancient forest, or glossy, digital abstractions of timber’s processed surfaces, Against the Grain groups six contemporary artists whose varied wooden worlds shift the dial in new directions, exposing a changing relationship between the organic and the artificial. For centuries, the forest has served as a twilight zone for artists – a realm of possibility and a site of transformation, a source of raw materials or subject matter in its own right. In photographic history, incursions into nature’s wooded depths are a well-trodden creative path, while close observations of plant life are synonymous with the medium’s origins. From William Henry Fox Talbot’s The Pencil of Nature andAnna Atkins’ cyanotypes to Karl Blossfeldt’s timeless botanical studies, nature’s bounty has long been a source of artistic inquiry – and photography has long sought to capture, classify, and reimagine its many forms.
In the gnarled branches of an ancient forest, or glossy, digital abstractions of timber’s processed surfaces, Against the Grain groups six contemporary artists whose varied wooden worlds shift the dial in new directions, exposing a changing relationship between the organic and the artificial. | | |
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| | | Kilian Breier, Ohne Titel (Bretter), 1957, © Nachlass Kilian Breier, Hamburg/VG Bild-Kunst, Bonn | | | Kilian Breier » Abstract Concrete—Matter, Light, and Form | | | | ... until 11 May 2025 | | | | Thu Feb 20, 2025 6:00pm: Guided tour with curator Franziska Schmidt | | | | | | | | | | | | | The Alfred Ehrhardt Stiftung invites you to the exhibition Kilian Breier: Abstract Concrete—Matter, Light, and Form focusing on the work of German avant-garde photographer Kilian Breier (1931– 2011). Breier is regarded as one of the leading experimental photographic artists of the post-war period. The exhibition offers an insightful glimpse into his development as an artist and demonstrates Breier’s understanding of photography as a medium that produces its own kind of imagery.
Breier’s work is characterized by the idea that photography is significantly more than just a means for depicting reality. He regarded it as a method for generating images that do not show what is visibly apparent but instead form unique, often abstract visuals realms. For decades, he explored the possibilities of using light, chemical processes, and camera-less techniques to create images that transcend traditional photography.
The exhibition presents around fifty photographic works from the 1950s to the 1980s, including works exhibited for the first time, showcasing Breier’s developmental arc from objective representations of nature to complete abstractions. Even in his early student works created around 1953, he made use of random constellations of elements from his everyday surroundings—such as perpendicular, densely packed trees, thick undergrowth, or woodpiles—abstracting the structures and forms of these motifs via light and shadow. His aim was not to depict nature realistically but rather to create graphic and high-contrast portrayals of its aesthetic elements. These early works reveal Breier’s interest in reducing nature to its essential forms as well as the graphic qualities of abstract photography.
At the same time, Breier experimented with ca… | | |
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| | | | | | | Kai Löffelbein
A2, I, Schwülper, aus der Serie "Uferlandschaften", 2024
© Kai Löffelbein |
| | | | Eine Ausstellung der Braunschweigischen Landschaft e.V. im Museum für Photographie Braunschweig | | | | | | | Fri 21 Feb 19:00
22 Feb – 21 Apr 2025 | | | | | |
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| | | Installation view: Look at Us - 25 Years of Art Collection Deutsche Börse | | | | | | | 25 Years of Art Collection Deutsche Börse | | | | | | | | ... until 9 March 2025 | | | | | | | | | | | | | The exhibition is a highlight of the Foundation’s annual programme celebrating the 25th anniversary of the Art Collection Deutsche Börse. From 10 October 2024, the Deutsche Börse Photography Foundation will present the exhibition "Look at Us. 25 Years of Art Collection Deutsche Börse".
The collection of contemporary photography was established in 1999, it currently comprises more than 2,300 works by around 160 artists from 35 nations. Comprehensively showcasing new acquisitions from the last two years, "Look at Us" illustrates the ways in which these works enrich the body of the collection and enter into a dialogue with previously acquired groups of works. In reference to the guiding principles of the anniversary year – cooperation, dialogue and diversity – multifaceted visual languages and narratives by both emerging and established artists join forces in the exhibition. Each artistic position offers its own perspective on the central theme of the Art Collection Deutsche Börse, the "conditio humana" – the exploration of the conditions of human existence and its position in the world. The artists investigate how the medium responds to questions of identity and community – ranging from personal experiences as well as cultural and historical contexts to questions of belonging and social inequality. Furthermore, they address the complex relationship between humans and nature, be it in the form of human interventions in natural habitats or the reciprocal impact of urban landscapes on individuals and the community. | | |
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| | | | | | | Andreas Mühe
Mooslahnerkopf, 2010, aus der Serie Obersalzberg
© Andreas Mühe, VG Bild-Kunst 2025 |
| | | | | | | | | | | | Tue 25 Feb 19:00
26 Feb – 24 May 2025 | | | | | |
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| | | Isaac Chong Wai, Self Portrait: The evening when I was beaten up by a stranger with a glass bottle, 2015 © Isaac Chong Wai. | Roxana Rios, Figure, Form, 2020 – ongoing
© Roxana Rios. |
| | | States of Rebirth | | | | The photographed Body in Motion | | | | | | | 21 February – 17 August 2025 | | | | Opening: Thursday, 20 February, 7 p.m. | | | | | | | | | | | | | The exhibition "States of Rebirth" at Deichtorhallen Hamburg examines the correlation between the body, movement and societal structures in physical and digital spaces, through a focus on documentary and conceptual projects in Performance-, Portrait and Dance-Photography. Through a choreography of photographs that explore the relationship between moving bodies, the exhibition examines how our attitudes, gestures and affections at once reflect, configure and transform how we negotiate societal change.
The exhibition brings current practices into urgent dialogue. Presented are works by KhingWei Bei, Felipe Romero Beltrán, Moshtari Hilal, Naomi Lulendo, Ana Maria Sales Prado, Roxana Rios, Aykan Safoğlu, Isaac Chong Wai und Farren van Wyk who stage so-called "glocal bodies". Iranian dance scholar Elaheh Hatami coined the term to describe bodies that hold ties to more than one place.
"States of Rebirth" traces how our understanding of the gaze – from one body to another, the seer to the seen – has reversed, and how these aesthetic principles might help dismantle our sense of belonging. As Moshtari Hilal formulates it in her at-once poetic, autobiographic and analytically precise essay Hässlichkeit (Ugliness, 2023): "The gaze has turned: it is not those who are looked at who are ugly, but those who look with the intention to dehumanize."
Bodies are storytellers, whether in everyday life or in choreographed movements. Experiences of migration, marginalisation and social exclusion shape our body language, our perception of the self and the other. Our poses and postures can be seen as the reflection on our embedding in social (power) structures.
At the same time, they can be a medium of self-empowerment, resistance and transformation. T… | | |
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| | | from the photographic series '100 Jahre' (100 Years) 1998-2000 © Hans-Peter Feldmann | | | | | | | | 30 January – 1 June 2025 | | | | | | | | | | | | | With the photographic series '100 Jahre' (100 Years) the German artist Hans-Peter Feldmann tells the story of a whole century, reflected in the faces of different individuals. As a representation of human aging, it also becomes a mirror for the viewer.
The series is one of the artist’s most important works, encapsulating the essence of his art. With warmth and humour, Feldmann’s art challenges the world around us, encouraging us to discover the poetry in the everyday.
Besides ‘100 Years’ Hans-Peter Feldmann is represented in the Louisiana Collection by a considerable number of his early artist books, the so-called ’Bilderhefte’ and by a selection of paintings, where he adds simple and subtle modifications to older paintings.
'100 Years' is a series of 101 black-white photographs portraying members of the artist’s family and social circle, ranging in age from 0 to 100 – from eight-week-old Felina to centenarian Maria Victoria. The portraits are displayed in chronological order alongside a bouquet of freshly cut flowers. Below each photo, the subject’s first name and age are noted. The work is created between 1998 and 2000.
Born in Düsseldorf, Hans-Peter Feldmann (1941-2023) was an influential German conceptual artist, who began his career in the late 1960s. Influenced by Pop art, he sourced his material from everyday life and popular culture. Throughout his life, Feldmann collected images of all kinds – newspaper and magazine clippings, as well as his own photographs – compiling them into a large archive that became the foundation of his artistic practice.
Feldmann has exhibited at the Venice Biennial (2003, 2006), Museo Centro de Arte Reina Sofía (2010) and Solomon R. Guggenheim Museum in New York (2011). | | |
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| | Sabine Weiss
Ave-de-Versailles, 1953 | Jean-Philippe Charbonnier
Bettina, Place Vendome, Paris 1953 |
| | | | | | | | | | | | | ... until 15 March 2025 | | | | | | | | | | | | | in focus gallery is pleased to present the exhibition "All Paris in a frame" in good time before the friends and collectors of photography worldwide make their way to Paris for the world's largest fair for photographic art - Paris Photo - with photographs by internationally renowned photographers.
"Paris is considered the cradle of photography, the glorious starting point of the new medium. It was here that the photograph in the form of the Daguerreotype was made public in mid-August 1839 and presented to an astonished world public without a patent. A date that marked nothing less than the beginning of the photographic age. It is no coincidence that the photographer and historian Jean Claude Gautrand speaks of a 'love story between Paris and photography', which probably refers to the large number of chemists, opticians and artists who immediately took up the new medium as researchers or practitioners, as well as to the fact that Paris itself quickly and privilegedly became the subject of images." (Hans-Michael Koetzle, from: "Eyes on Paris", 2011)
In this exhibition, the gallery is presenting a unique collection of photographs by world-famous artists such as Ilse Bing, Edouard Boubat, Jean-Philippe Charbonnier, Elliott Erwitt, René Groebli, Frank Horvat, Walde Huth, Thomas Kellner, Willy Maywald, Marc Riboud, Willy Ronis, Louis Stettner and Sabine Weiss. The photographs in this exhibition, most of which were taken between 1950 and 1980, offer a fascinating insight into the attitude to life in Paris at that time, while typical sights appear little or only as a peripheral phenomenon.
What many of the exhibited photographs have in common is a certain tendency towards nostalgia and the depiction of an urban, upbeat atmosphere that is p… | | |
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| | Elfriede Stegemeyer
fotomontage, 1933/1934
Vintage gelatin silver print on Agfa-Lupex Paper
12 x 8.9 cm
Museum Ludwig, Cologne
© The Estate of Elfriede Stegemeyer | Alfred Ehrhardt
Eigenartiges Formenspiel des Windes im feuchten Sand
(The playful wind’s strange shapes in the damp sand)
from: Die Kurische Nehrung (The Curonian Spit), 1934
Gelatine silver process
34,5 x 49,5 cm
Museum Ludwig, Cologne
© Alfred Ehrhardt Foundation Repro: Rheinisches Bildarchiv, Cologne |
| | | Seescapes | | | | | | | ... until 27 April 2025 | | | | In a double presentation, the Museum Ludwig is showing newly acquired photographs by Alfred Ehrhardt (1901–1984) in dialogue with photographs by Elfriede Stegemeyer (1908–1988). Although the two photographers never met, they shared an interest in the subject matter of water, beaches, and sand for several years. | | | | | | | | | | | | | Alfred Ehrhardt studied painting with masters such as Paul Klee and Wassily Kandinsky at the Bauhaus in Dessau in 1928–29. Due to his modernist approach to art, he was dismissed from his teaching job at the Landeskunstschule Hamburg by the Nazis in 1933. Using a camera, he searched for structures and abstract forms in the sand dunes of the Curonian Spit and in the tidal flats of northern Germany, and discovered the sublime in details—his form of inner emigration. He was always intent on capturing the impact of Urkräfte, primordial forces, far away from civilization, as well as "the essential." Summing up his work in 1967, he wrote, "I wanted to convey the organic whole through one detail, which is only possible if with your choice of the detail you overcome the statics of outward appearance and grasp the dynamism of the object in terms of light and angle, making the whole come alive although you are only showing a detail. In photography there is nothing wrong about mentioning design. However, it is not a matter of optical gimmicks and tricks. Much more, it’s a fundamentally new way seeing that reveals to us the essential elements of things." Erhardt published his works in photography books such as Die Kurische Nehrung (The Curonian Spit, 1934), Das Watt (The Tidelands, 1937), and, later, Wattenmeer: Formen und Strukturen (Mudflats: Forms and Structures, 1967). Alongside his pictures taken outdoors, he created enlargements of seashells and snail shells in the style of Neue Sachlichkeit, and later he also made award-winning avant-garde films such as Tanz der Muscheln (Dance of the Seashells), which was released in 1959.
Elfriede Stegemeyer also began her work as an artist in a different genre before turning to photography in 1932. She was closely associated with the artist group of the Cologne Progressives and Dadaists, going one step further: she used photographs that she had taken of Sylt, Ibiza—where she visited artist Raoul Hausmann—and Sicily in her collages and overpainted them. In 1981 she wrote to art historian Uli Bohnen, "I am much too dedicated to my work to be able to put a label on it, but if I muse about it, I would classify it as ‘nature loving’ because I see all living things as being in danger, and I think that I sometimes approached the essence of things in my work. I allow my ‘thing’ to grow on its own as much as possible, what I do to that end is observe, investigate, isolate, connect—even at the risk of drawing false conclusions. If we don’t take risks ourselves, we cannot extract the vividness. That is why I risk making the following observation: I do not believe that abstraction alone leads to the goal. Structure per se is not an abstraction, but structure encompasses it and excludes it. I believe that all doctrines should be avoided; they impede the natural flow." Much of Stegemeyer’s oeuvre was destroyed in an air raid in 1943.
Both Elfriede Stegemeyer and Alfred Ehrhardt replaced the traditional seascape—that is, the maritime genre—with the visual experience of seeing natural structures. Both began using the camera during the Nazi era, as the medium was less in the focus of Nazi censorship and destruction. They both turned to nature in their pictures, and away from human beings, choosing details that captured natural structures in an abstract way. Although Stegemeyer and Ehrhardt both belonged to the photographic avant-garde, it took a long time for them to be truly discovered.
All photographs in the presentation are new acquisitions of the Photography Collection at the Museum Ludwig. Alfred Ehrhardt’s works are part of a generous donation from the Bartenbach family, and Elfriede Stegemeyer’s works were recently acquired from the estate of Cologne gallerist Gerd Sander, who was influential in making Stegemeyer’s work better known. This exhibition demonstrates once again that modernist photography has yet to be fully explored. | | |
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| | | | | | | | Wael Shawky, Drama, 1882, 2024 © Wael Shawky. Courtesy of Sfeir-Semler Gallery, Lisson Gallery, Lia Rumma, and Barakat Contemporary |
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| | | | | | | Sarah Charlesworth
Red Mask , 1983
Cibachrome with lacquered wood frame
42 x 31 in. (106.7 x 81.3 cm) |
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| | Hervé Guibert
Sienne, 1979
Vintage gelatin silver print
© Christine Guibert
Courtesy Les Douches la Galerie, Paris | | | | | | | | ... until 5 April 2025 | | | | | | | | | | | | | Les Douches la Galerie is delighted to present Voyages en Italie, a new exhibition dedicated to Hervé Guibert. Through portraits of his friends, his lovers, and still lifes of intimate objects, made between 1979 and 1990, the exhibition shows the central role Italy played in the journey of the writer-photographer, both as a source of aesthetic inspiration and as a realm of creativity.
Hervé Guibert was a writer. Hervé Guibert was a photographer. Between the two, the connection is powerful and the result delightful. When a phrase strikes in one of his books, it flutters into an image. When a whimsical humor shakes a sentence, it ripples through a photograph. When melancholy appears in the title of a novel (Le mausolée des amants [The Mausoleum of Lovers]), it resurfaces in the caption of a photo (Le depart [The Departure]). The exhibition of Hervé Guibert’s Italian photographs uniquely illustrates this incessant interplay. Here and there, he wrote about Italy, and like a companion who never lets go of his hand, his photographic journey is of a twin nature: an echo, a stereophony, without ever being able to pinpoint the origin of its music. | | |
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| | | | | | | Gertrud Vogler
Die Fotografin war auch nachts auf dem Platzspitz unterwegs.
Sie kannte viele Betroffene und pflegte langjährige Freundschaften.
Aufnahme vom 29.1.1989.
© Schweizerisches Sozialarchiv |
| | | | | | | | | | | | Thu 20 Feb 18:00
21 Feb – 9 Mar 2025 | | | | | |
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| | | | | | | | | | | | | | Wed 19 Feb
20 Feb – 23 Feb 2025 | | | | | |
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| | | | | | | | | | | | | | Thu 27 Feb
1 – 31 Mar 2025 | | | | | |
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| | | | | | TOP 30th Anniversary: Docs: Images and Records - Commission Project | | | | | | | 18 Feb – 23 Mar 2025 | | | | | |
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| | | | | | Nurture Gaia | | | | | | | – 25 Feb 2025 | | | | | |
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| | | | | | Etre ailleurs | | | | | | | – 8 Mar 2025 | | | | | |
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| | | | | | 2nd edition Jeu de Paume Festival | | | | | | | – 23 Mar 2025 | | | | | |
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| | | | | | | | Saodat Ismailova, Melted into the Sun, 2024. Single-channel video, color, 5.1 sound. Courtesy of the artist, Fondazione In Between Art Film and Batalha Centro de Cinema. |
| | | | She Who Starts the Song… | | | | | | | – 30 Mar 2025 | | | | | |
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| | | | | | TOP 30th Anniversary: Docs: Images and Records | | | | | | | – 16 Feb 2025 | | | | | |
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| | | Debsuddha, Crossroads, laureate of the Images Vevey Book Award 2023/2024. Installation view, Biennale Images Vevey 2024 | | | Images Vevey Call for Entries | | | GRAND PRIX IMAGES VEVEY 2025/2026
REGISTRATION IS NOW OPEN! | | | | Professional artists and photographers, as well as those in training, have until 25 February to enter the competition for the 15th Grand Prix Images Vevey and/or the 6th Images Vevey Book Award. | | | | | | | | | | | | | GRAND PRIX IMAGES VEVEY
is a creation-support grant for photography projects. The award, worth some 40,000 CHF, enables one artist to develop a new photography project over a year and to present it at the next Biennale Images Vevey from 5 to 27 September 2026. The competition represents unique support for contemporary creation, with complete freedom of choice over subject and genre.
SUBMIT NOW → | | | IMAGES VEVEY BOOK AWARD
is a grant that supports the publication of a photography book which showcases an optimal and original balance between publication format and photographic content. It provides a financial contribution that aims to encourage artists to take risks and to innovate, in order for them to develop a suitable sophisticated publication format for their photography project.
SUBMIT NOW → | | |
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| | | | The Art & Authenticity Photography Retreat 2025 | | | | one-week full-immersion workshop for female photographers | | | | | | | Tuscany, 17 - 24 May, 2025 | | | Early Bird Discount for Applications submitted by 17 December 2024
More information: art-authenticity-photography-retreat | | | | | | | | | | | | | The Art & Authenticity Photography Retreat is a one-week full-immersion workshop for female photographers held each spring in the heart of Tuscany and designed to clarify and strengthen your practice.
Set in a remote hamlet of Chiusdino, Tuscany, The Art & Authenticity Photography Retreat is for female photographers interested in intensifying their practice in a focused, regenerative setting — in an idyllic location, close to nature, free from urban noise and shared with a small community of fellow photographers.
The Art & Authenticity Photography Retreat will be held May 17-24, 2025.
The Retreat mentors look forward to drawing on 20+ years of knowledge, trials, victories, and lessons learned to help you crystallize your expression, sharpen your visual language and lift your project to the next level.
THE RETREAT
Authenticity is the degree to which an individual's actions are congruent with their beliefs and desires, despite external pressures. The Art & Authenticity Photography Retreat is designed to help participants recalibrate their practice in alignment with this idea — help them attune their work with their artistic integrity, develop their artistic core, and lay a solid foundation on which to build forward.
Through a week’s worth of analyses, exercises, photography assignments, reflection and shared inspiration, The Art & Authenticity Photography Retreat aims to help you achieve a greater level of authenticity in your work while at the same time achieving greater maturity in your projects. The Retreat is a chance to understand how photography serves you and to venture new approaches that may strengthen your practice. It is also a chance to take a break from everyday responsibilities and embark on a personal journey — A week just for you.
The Art & Authenticity Photography Retreat is a ‘photograph and reflect' workshop. It is neither a technical course nor a portfolio review. It is a unique combination of analysing your existing work or project, engaging through assignments, and reflecting in a constructive, empowering way - reflecting on your strengths, possible improvements, and future goals.
Because it is a communal experience, The Art & Authenticity Photography Retreat builds on mutual support, shared analyses and the intelligence of the group.
Ultimately, The Art & Authenticity Photography Retreat is about strengthening your resilience — as a photographer, as a person, as a woman — so that you may make convincing work that is aligned with your values and immune to external pressure. | | |
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© 12 February 2025 photography now UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editors: Claudia Stein & Michael Steinke
contact@photography-now.com . T +49.30.24 34 27 80 |
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