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| PHOTOGRAPHY INTERNATIONAL | | 2 — 9 October 2024 | |
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| | Closeup of a woman in black and white, wearing a headpiece that covers her hair. Mode voor Avenue, 1966
© Paul Huf / MAI. | | | | | | | | 4 October 2024 – 2 February 2025 | | | | Opening: Thursday 3 October 18:30 | | |  | | | | | | | | | | Foam celebrates the 100th anniversary of the birth of renowned Dutch photographer Paul Huf with a retrospective, Golden Years. Huf emerged as a leading figure in the fields of advertising, fashion, and portrait photography during the 1950s, and was innovative with his use of colour. Notably, Paul Huf played a crucial role in the establishment of Foam Photography Museum Amsterdam, co-founding the institution in 2001.
This exhibition showcases over 100 works that provide deep insights into Huf's diverse oeuvre. Known for his theatrical and colourful aesthetics, as well as his ability to create unique compositions, Huf became one of the most prominent photographers of his time. He played a crucial role in professionalising commissioned photography in the Netherlands and is celebrated as a pioneer who elevated Dutch (advertising) photography as an art form.
Golden Years features iconic campaigns such as ‘Vakmanschap is Meesterschap’ (‘Craftsmanship is Mastery’) for Grolsch Brewery, fashion shoots for magazines such as Margriet and Avenue, and the famous portrait of Ajax legends Klaas Nuninga, Sjaak Swart, Piet Keizer, and Johan Cruijff. A personal highlight of his career was photographing the Dutch Royal Family in 1952, an honour that led to numerous subsequent commissions from the Royal House. Huf was the first official court photographer, paving the way for renowned successors such as Koos Breukel, Anton Corbijn, and Rineke Dijkstra.
Huf's impact on commissioned photography is further demonstrated by the album covers he designed in 1954 for Philips' classical music collection, a bold departure from the plain brown sleeves that were typically used for records at the time. British model Ann Pickford appeared on all covers, as there were few professional models in the Netherlands during that period. These covers even went on to inspire the song ‘Hoezepoes’ (‘Covergirl’) by famed Dutch writer Annie M.G. Schmidt.
Huf's artistic versatility extended beyond photography, as shown through his work as a filmmaker. His documentary on painter Carel Willink from 1975 was awarded with several prizes and will be screened in the exhibition at Foam for the first time.
Paul Huf (1924-2002, Amsterdam) was a self-taught artist who began photographing during his teenage years, inspired by his father's hobby. By experimenting in a self-made darkroom, he mastered the techniques of developing and printing photos. Throughout his career, Huf garnered numerous awards and exhibited his work internationally. He had a special connection with Foam, having played a role in the museum’s establishment. In recognition of his contributions, the Foam Paul Huf Award has been presented annually since 2007, supporting and promoting emerging photographers on a global scale. | | |
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| | Adidas X Pharrell, 2017
© Viviane Sassen and Stevenson (Johannesburg / Cape Town / Amsterdam). | | | | | | | ... until 12 January 2025 | | | | | | | | | | | | | Foam is thrilled to present the first large-scale retrospective of the Dutch fashion photographer and artist Viviane Sassen in the Netherlands. The exhibition PHOSPHOR: Art & Fashion, which comprises more than 200 works, reveals over thirty years of her multifaceted career bringing together photography, collage, painting and video. The exhibition serves a significant homecoming for Sassen, following her first museum showcase at Foam in 2008 titled Flamboya.
The Dutch contemporary artist Viviane Sassen rapidly gained worldwide recognition, both in the fashion industry and in the photography world. Her distinctive and eclectic visual oeuvre will fill almost the entire building of Foam. This exhibition will shed light on Sassen’s creative process by focusing on two main themes: the incessant search for new photographic forms and the importance of intimacy in her work.
The exhibition features iconic series, including Flamboya (2008), Umbra (2014) and Parasomnia (2011), along with unseen archives, mixed-media works that blend photography, painting, collage and video.
Sassen's fashion photography for brands such as Louis Vuitton and Dior will be presented in a monumental installation. Early experiments with objects from her personal archives, her initial self-portraits, and her final photo project from her studies illustrate the beginnings of Sassen's visual language. These images are being showcased for the first time in the exhibition PHOSPHOR: Art & Fashion.
Sassen's oeuvre explores both the depths of human emotion and the boundaries of artistic expression. Death, sexuality, desire and connection with others are all motifs that structure her work. Renowned for her adept u… | | |
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| | | Jörg Auzinger, DESTINESIA | | | | | | | | | | | 8 October 2024 – 7 September 2025 | | | | | | | | | | | | | Clervaux has always seen itself as a "city of the picture" (Cité de l'image). The perception and public visibility of the image in all its facets, with a particular focus on photography, characterises the cultural vision of the town and its inhabitants.
With the mission statement "Clervaux - Cité de l'image", the town is positioning itself very specifically in the field of photography, in particular with public exhibitions. One of the central concerns is to open up to all forms and sensibilities of contemporary photography, in terms of genres, territories or the working methods of the medium. The focus is on building and constantly expanding a wide-ranging network that gives artists access to the local art scene. Promoting young artists and supporting them in their professional development is one of the main concerns of Clervaux - Cité de l'image.
100% PHOTOGRAPHY In the museum & in open space
"Clervaux - cité de l'image" & "The Family of Man"
The collection "The Family of Man" comprises 503 photographs by 273 artists from 68 countries and was created in 1955 by Edward Steichen for the Museum of Modern Art in New York (MoMA). Since 1994, it has been installed as a permanent exhibition in Clervaux Castle and has been listed on the UNESCO Memory of the World register since 2003. | | |
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| | | Installation de l’exposition “The Family of Man” au Château de Clervaux © CNA/Romain Girtgen, 2021 | | | | | | | UNESCO Memory of the World | | | | | | | | 1 March 2024 – 1 January 2025 | | | | open Wednesday to Sunday from 12 to 6 p.m. | | | | | | | | | | | | | The Family of Man comprises 503 photographs by 273 artists from 68 countries and was created by Edward Steichen for the New York Museum of Modern Art (MoMA).
Presented for the first time in 1955, the exhibition was meant as a manifesto for peace and the fundamental equality of mankind, expressed through the humanist photography of the post-war years. Images by artists such as Robert Capa, Henri Cartier-Bresson, Dorothea Lange, Robert Doisneau, August Sander and Ansel Adams were staged in a modernist and spectacular manner.
Having toured the globe and been displayed in over 150 museums worldwide, the last, complete version of the exhibition was permanently installed in Clervaux Castle in 1994. Since its creation, The Family of Man has attracted over 10 million visitors and entered the history of photography as a legendary exhibition. In 2003, the collection was inscribed in the UNESCO Memory of the World register.
Today, the restored collection is accessible to the public as a permanent exhibition at Clervaux Castle.
www.steichencollections-cna.lu
www.thefamilyofman.education/
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| | Barbara Klemm
Bryce Canyon, USA, 1984
Silbergelatineabzug von eigener Hand
30 x 40 cm
© Barbara Klemm | | | | | | | | ... until 19 October 2024 | | | | | | | | | | | | | To inaugurate the autumn 2024 gallery season, Peter Sillem Gallery is pleased to present a new exhibition by Barbara Klemm. Known for her mastery across various genres, Klemm also excels in landscape photography.
This exhibition features around thirty of her landscape portraits from Germany and around the world — from the Allgäu to Lake Plön, from the Mongolian steppe to the Iguazú waterfalls. Each photograph, printed by the artist as a silver gelatin print, showcases her skillful composition and deep connection to the landscapes she captures.
"Karl Friedrich Schinkel, Caspar David Friedrich, Georg Friedrich Kersting (...) gaze upon us from Barbara Klemm's landscape images. The German Romanticism, with its painting and graphics, and its solace, gravity, and abysses, reappears here in a new aesthetic quality." Péter Nádas
Barbara Klemm is considered one of the most important photographers in contemporary Germany. She was born in 1939 in Münster, Westphalia, and grew up in Karlsruhe. Since 1959, she worked for the Frankfurter Allgemeine Zeitung, and from 1970 onwards, she served as an editorial photographer with a focus on politics and culture. Her work has received numerous awards, including the Dr.-Erich-Salomon-Preis from the German Society for Photography (1989), the Hugo-Erfurth-Preis from the city of Leverkusen (1989), the Maria Sibylla Merian Prize for female visual artists in Hesse (1998), the Hessian Culture Prize (2000), and the Max Beckmann Prize from the city of Frankfurt am Main (2009). Barbara Klemm is the only woman to have been honored with the Leica Hall of Fame Award (2012). Since 1992, she has been a member of the Academy of Arts Berlin, and in 2010, she was elected to the Order Pour le Mérite. Barb… | | |
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| | Intombi zakwaNala eMtyamde, 2021
Inkjet on Baryta
Frame: 40 x 50 cm
Edition of 7
© Lindokuhle Sobekwa, Courtesy Goodman Gallery | | | | | | | | ... until 23 March 2025 | | | | | | | | | | | | | The Johannesburg Art Gallery, in collaboration with Goodman Gallery, is proud to present 'Umkhondo: Going Deeper', Lindokuhle Sobekwa's first solo exhibition at the museum, following his 2023 FNB Art Prize Award.
'Umkhondo: Going Deeper' unites two significant and interconnected bodies of work — 'I carry Her photo with Me' and 'Ezilalini (The Country)' — seen together for the first time. The exhibition showcases Sobekwa's journey of introspection and discovery as he wrestles with absence, loss and belonging.
It reflects his deep interest in (re)enactments of memory, personal histories and lived realities while also drawing attention to broader societal issues through a lens-based practice that spans over a decade. In 'Umkhondo: Going Deeper' Sobekwa critically examines the enduring legacies of historical injustices and their effects on personal and collective identities, work he describes as "confronting the deep scars left by apartheid and colonialism...exploring the fragmentation and poverty that continue to reverberate through South African society."
The exhibition title follows Sobekwa's first museum show in 2022 at Huis Marseille in the Netherlands — 'Umkhondo. Tracing memory' —where he participated in the 'The Beauty of the World So Heavy' summer programme. Translated as a "clue", "trail" or "trace", Umkhondo is a gesture to subtle imprints left behind — the fleeting memories etched into the fabric of time. The narrative thread of the exhibition is woven together by ideas of physical and spiritual journeys. The horizon line cuts into the sky, as a way to trace place, and trees as anchors, which like ancestors, connect both above ground and below. | | |
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| | | |  | | | | © Anja Schlamann |
| | | | | | | | | | | | 90 Works from five continents Syria, Cuba, Spain, Morocco, Sri Lanka, Zanzibar, Peru and Bolivia | | | Sun 6 Oct 11:00
6 Oct – 24 Nov 2024 | | | | | |
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| | | |  | | | | Sammy Baloji, Aequare. The Future that never was, 2023. Still. Courtesy of the artist and Galerie Imane Farès. |
| | | | | | | | | | | | Thu 3 Oct 18:00
4 Oct 2024 – 12 Jan 2025 | | | | | |
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| | Gerry Johansson New York, 1962
© Gerry Johansson | | | | | | | | ... until 2 November 2024 | | | | | | | | | | | | | There are several common denominators found throughout Gerry Johansson’s work that become apparent with even casual viewing. Some of those shared characteristics are obvious at first glance, for instance; the physicality of several of Johansson's books and exhibition print sizes, the apparent use of traditional analog materials; while other traits like the sense of stillness, the seeming perpetual daylight, and the camera's steady almost drone-like orientation to the world set an underlying commonality. Perhaps a trait most recognizable is his choice of working primarily in black and white.
The "America" photographs began when Johansson's parents sent him to New York after finishing his schooling in Varberg Sweden. Those early pictures inspired by the energies of the city (and the pulse of jazz!) might appear as an artist finding their voice through exploring a loosened documentary style tangential to Garry Winogrand, or perhaps more closely Ray K. Metzger, yet the year 1962 places Johansson right in their midst, not successor. The few examples included here taken with a small-format 35mm camera, are characterized by a tonal scale that allows shadows to swallow some detail and highlights to succumb to atmospheric fog: a grouping of men riding a ferry on New York's Hudson River are reduced to simple silhouettes against a fading Manhattan skyline; a maintenance worker on a ladder contrasted with New York's most famous landmark, the Empire State Building, emphasizing the dizzying verticality of the city through a patchwork of shadow and light. Though authentic and drawn directly from the real world, there is a dreamlike quality to these works that evolved into the "translucid clearness" that signifies Johansson's practice today.
What I find refreshing about Johansson's work is the sense one feels of his enjoyment of moving through an unfamiliar landscape and simply taking in what is before him. The work seems formed not in the mind first, but through the physical footsteps he takes and directness at which he looks.
- Text by Jeffrey Ladd
Gerry Johansson, born 1945 in Örebro, lives in Höganäs, Sweden. Johansson studied graphic design in Gothenburg in the late 1960s. His work has been exhibited at distinguished museums and institutions internationally, including the Kunsthalle Rostock in Germany; Museum of Modern Art in Bogota, Colombia; Hasselblad Center in Göteborg and the Moderna Museet in Stockholm, Sweden. Johansson has produced a large number of books including the recently published "Spanish Summer" and "American Winter", both MACK and was awarded the Swedish Arts Grants Committee’s Award and the prestigious Lars Tunbjörk Prize. | | |
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| | | Mark Armijo McKnight, Somnia, 2023. Gelatin silver print, 48 x 60in. (121.9 x 152.4 cm). Courtesy the artist. © Mark Armijo McKnight | | | | | | | | ... until 5 January 2025 | | | | | | | | | | | | | Mark Armijo McKnight: Decreation features new and recent black-and-white photographs by Mark Armijo McKnight (b. 1984, Los Angeles, California; lives in New York, New York) and focuses on his ongoing body of work, “Decreation.” The concept, originated by the French philosopher, activist, and mystic Simone Weil (1909–1943), describes an intentional undoing of the self, a process Armijo McKnight explores in images of bodies and landscapes in intermediate states, such as anonymous nude figures engaged in erotic play amidst harsh environments. These photographs convey a sense of both ecstasy and affliction. A new 16mm film in the gallery plays a cacophonous symphony of gradually unwinding metronomes set within the dramatic geological formations of the Bisti Badlands/De-Na-Zin Wilderness in New Mexico. Two large limestone sculptures, which double as seating, suggest the forms of a pair of ancient sundials. As a whole, Decreation simultaneously evokes tumult and quietude, darkness and light, isolation and togetherness.
This exhibition is on view in the Lobby gallery, accessible to the public free of charge as part of the Whitney Museum’s enduring commitment to supporting and showcasing emerging artists’ most recent work.
Mark Armijo McKnight: Decreation is organized by Drew Sawyer, Sondra Gilman Curator of Photography, with Nakai Falcón, Curatorial Assistant. | | |
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| | | Keith Haring, Body Painting, Paris, 1985 © Patrick Sarfati | | | | | | | | 4 October – 2 November, 2024 | | | | Opening: Thursday, 3 October, 2024 | | | | | | | | | | | | | The David Guiraud Gallery is pleased to present an exceptional series of photographs taken by Patrick Sarfati in 1985, showing the American artist Keith Haring creating a body painting on a young Parisian model.
This is most certainly the only reportage showing Keith Haring in the process of creating a body painting. From Ludovic's bare chest, the images show the painter moving around his model, brush in hand, gradually completing the body painting with each stroke.
Images of body paintings by Keith Haring are familiar but rare; only a few photographers have immortalized these ephemeral works: dancer Bill T. Jones photographed by Tseng Kwong Chi in 1983, Grace Jones photographed by Robert Mapplethorpe in 1984, and the artist painted by himself and photographed by Annie Leibovitz in 1986.
Andy Warhol took a few pictures while Keith Haring was painting Grace Jones, but the series presented here is the most complete known collection, providing a true reportage of the artist’s performance.
The gallery has selected eight images to create a series documenting Keith Haring performing a body painting.
The exhibition also showcases a set of portraits of the artist, captured by Patrick Sarfati at the time of this happening. For the exhibition, the artist also produced a large print (100 x 70 cm) of his two contact sheets, showing the entire session. | | |
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| | | |  | | | | Werner Feiersinger: ohne Titel, 2022 |
| | | | | | | | | | | | Sat 5 Oct 18:00
8 Oct – 29 Nov 2024 | | | | | |
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| | | |  | | | | Lea Sonderegger: ohne Titel (norm), 2022 |
| | | | | | | | | | | | Sat 5 Oct 18:00
8 Oct – 29 Nov 2024 | | | | | |
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| | | |  | | | Joachim Brohm
aus der Serie "STONED, 1989–94/2024", archival inkjet print, 50×40 cm |
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8 Oct – 29 Nov 2024 | | | | | |
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| | | Ryoji Akiyama. T.V. Frame Left in a Reclamation Area, Tokyo. 1969 | | | | | | | T3 Photo Festival Tokyo 2024 | | | | | | | | 5 – 27 October 2024 | | | | | | | | | | | | | The exhibition “New Japanese Photography” was held at the Museum of Modern Art (MoMA) in New York in 1974, co-curated by John Szarkowski, director of the MoMA Department of Photography, and Shoji Yamagishi, editor of Camera Mainichi. Regarded as “the first attempt to present an extensive survey of contemporary Japanese photography outside Japan,” this exhibition has had a major and long-lasting impact on the study and understanding of Japanese photography overseas to this very day.
Fifty years have passed since that groundbreaking exhibition. To mark this anniversary, we have planned 3 shows curated by SHIRABE Bunmei, KOBAYASHI Mika, and Marc FEUSTEL that reflect on the legacy of “New Japanese Photography” from a contemporary perspective. In addition, Sandra Phillips, curator emeritus of the San Francisco Museum of Modern Art, reflects back on that exhibition from a new angle. Through the festival, we hope to shine a new light on photography in Japan and highlight the transformation that has taken place in this field over the last fifty years.
"New Japanese Photography in New Light" is a selection of photographs from the works of 1974 introduced by 15 photographers by Sandra Phillips, Honorary Curator of the San Francisco Museum of Modern Art, after 50 years. | | |
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| | | |  | | | | Afterimage © Fukushima Kohei |
| | | | T3 Photo Festival Tokyo 2024 | | | | | | | 5 – 27 Oct 2024 | | | | | |
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| | | |  | | | | 甲斐 啓二郎｜Kai Keijiro |
| | | | T3 Photo Festival Tokyo 2024 | | | | | | | 5 – 27 Oct 2024 | | | | | |
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| | | |  | | | Abstraction: Blue and Red 1960
© YAMAZAWA Eiko,
Courtesy of The Third Gallery Aya |
| | | | T3 Photo Festival Tokyo 2024 | | | | | | | 5 – 27 Oct 2024 | | | | | |
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| | | |  | | | M L Casteel
aus der Serie "American Interiors", 2014
© M L Casteel |
| | | | Migration | Zuhause | Erinnerung | | | | | | | Sun 6 Oct 11:30
6 Oct 2024 – 12 Jan 2025 | | | | | |
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 | Fairs |
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| | |  | | | | New York US | AMP | |
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| Auctions |
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| Festivals |
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| Upcoming |
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| | | | | | L'album de Famille des Aixois 2ième Edition | | | | | | | 3 Oct – 30 Nov 2024 | | | This exhibition crosses two photographic sources: - those from the archives of the Aix family album collected by Fontaine Obscure and
- those from the archives of Lebanese families collected in Tyre (Lebanon) by the artist Chaza CHARAFEDDINE (Athar Collection).
The chosen subject is that of portraits of women from the 50s and 70s, just before the civil war in Lebanon. | | |
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| | | | | | | | | | | | | | Fri 4 Oct
4 – 30 Oct 2024 | | | | | |
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| | | | | | INTERNATIONAL PHOTO FESTIVAL | | | | | | | 3 – 13 Oct 2024 | | | | | |
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| | | | | | Make Voices Be Heard | | | | | | | 3 Oct – 3 Nov 2024 | | | | | |
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| | | © NADIA FERROUKHI | | | Festival La Gacilly-Baden Photo 2024 | | | | WORLD.NATURE.HERITAGE | | | | | | Baden near Vienna:
The largest outdoor photography festival in Europe will take place
from 13 June until 13 October 2024.
festival-lagacilly-baden.photo |  |
| | | | | | | | | | | | | WORLD.NATURE.HERITAGE – "Humanity has opened the gates to hell", warned Secretary- General António Guterres in an impassioned speech on the margins of the UN General Assembly in September 2023. UN General Assembly in September 2023 to politicians, entrepreneurs and activists, he warned of the terrible consequences of increasingly extreme weather events. "Our concern is that all climate action will be dwarfed by the scale of the challenge”, as humanity is heading for a temperature rise of 2.8°C.
An appeal to the world that has long been inscribed at the heart of our festival. It is our duty to preserve the poetry of creation for our children. On the fundamental issues of urbanisation, biodiversity, natural resources, environmental pollution and global warming, we will try to use images to provide, if not solutions, then at least food for thought. Therefore, in our seventh festival year, we will be showing the work of the great masters of environmental photography: Nazli Abbaspour, Evgenia Arbugaeva, Yasuhoshi Chiba, Joana Choumali, David Doubilet and Jennifer Hayes, Nadia Ferroukhi, Sacha Goldberger, Richard Ladkani, Lucas Lenci, Luca Locatelli, Pascal Maitre, Beth Moon, Maxime Riché, Sebastião Salgado, Alain Schroeder, Vee Speers, Brent Stirton, Lorraine Turci, David Turnley, Peter Turnley and Cássio Vasconcellos.
"We all need Eden as a horizon," writes Cyril Drouhet in his essay in the festival catalogue. "There was a time when we had a rainbow in our heads: We believed in the future, in progress, our dreams were full of utopias. In the third millennium, this colour has turned grey. But life needs radiant colours like in photography to enchant the world again. That is the cha… | | |
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| | | | | | the European Nomadic Biennial | | | | | | | – 24 Nov 2024 | | | | | |
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| | | | | | PANSORI: A Soundscape of the 21st Century | | | | | | | – 1 Dec 2024 | | | | | |
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| | | | | | open air festival - Australie & Autres Regards | | | | | | | – 3 Nov 2024 | | | | | |
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| | | | | | FESTIVAL DELLA FOTOGRAFIA ETICA | | | | | | | – 27 Oct 2024 | | | | | |
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| | | | | | See beyound the sea | | | | | | | – 3 Nov 2024 | | | | | |
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| | | |  | | | | crédits : Andrej Polukord |
| | | | Mondes impossibles / Impossible Worlds | | | | | | | – 13 Oct 2024 | | | | | |
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| | | | | | 13th ORGAN VIDA: Creeps and Butterflies | | | | | | | – 3 Nov 2024 | | | | | |
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| | | Ina Jang Three, 2008; Christophe Guye Galerie | | | Swiss Photomonth 2024 | | | | | | | Festival until 6 October 2024 | | | Schweizer Monat der Fotografie
Mois suisse de la photographie
Mese svizzero della fotografia Swiss
Swiss Photomonth | | | | | | | | | | | | | This autumn, the Swiss art scene will live to the rhythm of the Swiss Photomonth. The first edition of this Festival (30 August – 6 October 2024) will serve as a catalyst for the country’s abundant cultural offerings, and provide the public the chance to explore no fewer than sixty artistic spaces, ranging from world-renowned institutions to emerging venues. It is a unique opportunity to (re)discover the leading figures in photography, as well as the Swiss and international talents of tomorrow.
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| | | | | | Precarious Joys | | | | | | | – 1 Dec 2024 | | | | | |
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| | From the series Keepers of the Ocean (2019) © Inuuteq Storch
The Danish Pavilion: Rise of the Sunken Sun by the artist Inuuteq Storch | | | | | | | Stranieri Ovunque - Foreigners Everywhere | | | | | | | | – 24 November 2024 | | | | | | | | | | | | | The 60th International Art Exhibition , titled Stranieri Ovunque – Foreigners Everywhere , will open to the public from Saturday April 20 to Sunday November 24, 2024 , at the Giardini and the Arsenale; it will be curated by Adriano Pedrosa and organised by La Biennale di Venezia . The pre-opening will take place on April 17, 18 and 19 ; the awards ceremony and inauguration will be held on 20 April 2024 .
Since 2021, La Biennale di Venezia launched a plan to reconsider all of its activities in light of recognized and consolidated principles of environmental sustainability. For the year 2024, the goal is to extend the achievement of “carbon neutrality” certification , which was obtained in 2023 for La Biennale’s scheduled activities: the 80th Venice International Film Festival, the Theatre, Music and Dance Festivals and, in particular, the 18th International Architecture Exhibition which was the first major Exhibition in this discipline to test in the field a tangible process for achieving carbon neutrality – while furthermore itself reflecting upon the themes of decolonisation and decarbonisation.
The Exhibition will take place in the Central Pavilion (Giardini) and in the Arsenale, and it will present two sections: the Nucleo Contemporaneo and the Nucleo Storico.
As a guiding principle, the Biennale Arte 2024 has favored artists who have never participated in the International Exhibition—though a number of them may have been featured in a National Pavilion, a Collateral Event, or in a past edition of the International Exhibition. Special attention is being given to outdoor projects, both in the Arsenale and in the Giardini, where a performance program is being planned with events during the pre-opening and closing weekend of the 60th Exhibition.
Stranieri Ovunque - Foreigners Everywhere, the title of the 60th International Art Exhibition of La Biennale di Venezia, is drawn from a series of works started in 2004 by the Paris-born and Palermo-based Claire Fontaine collective. The works consist of neon sculptures in different colours that render in a growing number of languages the words “Foreigners Everywhere”. The phrase comes, in turn, from the name of a Turin collective who fought racism and xenophobia in Italy in the early 2000s.
«The expression Stranieri Ovunque - explains Adriano Pedrosa - has several meanings. First of all, that wherever you go and wherever you are you will always encounter foreigners— they/we are everywhere. Secondly, that no matter where you find yourself, you are always truly, and deep down inside, a foreigner.» | | |
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© 2 October 2024 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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