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| PHOTOGRAPHY INTERNATIONAL | | 21 - 28 June 2017 | |
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| | | Stretching, 2016 © Roger Ballen & Asger Carlsen | | | | | | | | | | 23 June – 27 August 2017 | | | | The exhibition opens on Thursday 22 june 2017 from 5.30 pm onwards, in the presence of the artists. | | |  | | | | | | | | | | In the collaborative project titled No Joke, artists Roger Ballen (1950, VS) and Asger Carlsen (1973, DK) explore the more sinister sides of the human psyche. Together the duo produced 37 images, without ever working in the same studio at the same time: their creative exchange and co-creation has been a purely online affair. Their menacing work evokes a sense of anxiety and longing that is usually experienced only in dreams.
Although Roger Ballen lives in Johannesburg and Asger Carlsen in New York, the two artists have been working together online for some four years. In their bizarre universe, Carlsen’s use of the human body as a plastic medium and Ballen’s interest in collages and the occult merge together. They create an outlandish world full of distorted bodies, manic creatures, flesh and rough sketches in black, white and grey. Both frightening and intimate, their work demonstrates fiction’s power to delve more deeply into the human spirit, compared to reality.
Asger Carlsen first suggested collaborating with Roger Ballen for an assignment by VICE in 2013. This evolved into a remarkable creative exchange that is conducted online only: the images with a white background originated in Carlsen’s studio in New York, while the images with a dark background originated in Johannesburg, where Ballen lives and works. The artists sent their work to each other and elaborated further on each other’s images. This resulted in the dark and mysterious book No Joke (2016): a collection of still lifes, crippled female figures, and fusions of their self-portraits. | | |
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| | | | | | | | | | | | | 5 ans .tiff 10 jeunes photographes belges prometteurs | | Thu 22 Jun 20:00 23 Jun – 8 Oct 2017 | | | | | | | |
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| | Liu Bolin Mobile Phone 2012
Courtesy: Three Shadows Photography Art Centre | | | | | | | Three Shadows 10th Anniversary Special Exhibition | | | | | | | 28 June – 27 August 2017 | | | | Opening reception: Wednesday 28 June 17:30 | | | | | | | | | | | | | Emerging after the Cultural Revolution, Chinese contemporary photography has more than forty years of history. This exhibition is divided into four sections: “The Rise of Unofficial Photography (1976–1979)”, “New Wave Photography (1980-1989)”, “Experimental Photography (1990-2006)”, and “The Development of Experimental Photography Organizations (2007-present)”. The exhibition provides a comprehensive overview of the work of important Chinese contemporary photographers from the mid 1970s on, as well as related historical material. The exhibition will be accompanied by an academic catalogue and related symposium, which will further trace the development of contemporary Chinese photography. This special exhibition to commemorate Three Shadows Photography Art Centre's 10th anniversary is jointly curated by Wu Hung (Harrie A. Vanderstappen Distinguished Service Professor of Art History, East Asian Languages and Civilizations & Curator at the Smart Museum of Art, University of Chicago).
The exhibition catalogue will be published on the opening of the exhibition. | | |
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| | Sofie Bird Møller: untitled (from the series "interactions"), 2015
180 x 120 cm, acrylic on found photo material; Courtesy ALEXANDER OCHS PRIVATE | | | | | | | | 23 June – 2 September 2017 | | | | Opening reception: Thursday 22 June 19:00 | | | | | | | | | | | | | The artist Sofie Bird Møller was born in Copenhagen, Denmark, studied in London and Copenhagen, was a master student at Günther Förg at the Akademie der Bildenden Künste in Munich, and is now working in Berlin-Kreuzberg. These geographic coordinates seem to define her work: the city of Munich, rich with Catholicism; Berlin, fractally organized; Copenhagen, cheerful and bright; and the expanse of the horizon above the Baltic Sea.
Sofie Bird Møllers' art touches our iconographic brain, the thousands and thousands of stored hard drives and millions of pictures, and her art touches our bodies, often unpleasantly, as if cutting our own flesh. Instead of painting images, Møller paints over images that already exist: prints, advertisements, posters, newspapers and journals, historical engravings, pages from a Bible printed in 1855. The collector and curator Wilhelm Schürmann's words hold true: "No more skin in the picture. Everything carefully removed and retouched." Or added: the artist cuts, tears, glues together on paper and on the computer; she alters, alienates and paints, paints with a brush, a hand, with her own paint-covered body, with her breasts, her legs, her forehead, her hair, all on existing images she has found elsewhere. | | |
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| | | |  | | | | Melina Papageorgiou: woman desert, 2015, Abu Dhabi |
| | | | | | | | | | | Thu 22 Jun 19:00
22 Jun – 13 Aug 2017 | | | | | |
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| | | |  | | | | Irene de Andrés: Cruise-r, 2015. Courtesy the artist |
| | | | | | | | | | | Thu 22 Jun 19:00
23 Jun – 17 Sep 2017 | | | | | |
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Fritz Block
Barker at Coney Island, New York City, 1931
Silbergelatine, 24,0 × 17,6 cm
© Fritz Block Estate Archive, Stockholm/Hamburg | 
Fritz Block
Ball Game at Juan-les-Pins Beach, Côte d’Azur, 1931
Silbergelatine, 22,6 × 16,4 cm
© Fritz Block Estate Archive, Stockholm/Hamburg |
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| | | | | | | | New Photography – Modern Color Slides | | | | 24 June – 10 September, 2017 | | | Opening: Friday, June 23, 2017, 7 pm
Opening remarks: Dr. Roland Jaeger, Exhibition Curator | | | | | | | | | | | | | The German-Jewish photographer Fritz Block (1889–1955) was a highly versatile figure in modern photography. His work spans the period from the so-called "Neue Fotografie" (New Photography) of the late 1920s in Germany to the color photography of the 1940s in the US. Having fallen into a long period of oblivion due to his biography of exile, he is currently being rediscovered. This exhibition presents the first exhaustive retrospective of the work in his estate and includes 130 black-and-white vintage prints, 20 color enlargements from original color slides, and numerous original examples of his works from the illustrated press. This unusually rich trove of materials is being shown in a compact format resembling a filmstrip, which revisits both the presentation of photographs in printed media and in exhibitions typical of the time of Weimar republic.
The life of the photographer was equally multifaceted. He was first active as an architect and proponent of "Neues Bauen," the modern architecture style of the late 1920s. In Hamburg he and his partner ran the architecture firm Dr. Block & Hochfeld. The need to document the construction of his own buildings led him to take up photography in 1929. Using a small-format Leica camera, Block captured the technical structures in the harbor of Hamburg in a style indebted to New Objectivity. He also possessed a sensibility for the expressive depiction of people, photographing individuals ranging from a shipyard worker to a circus clown. His interest in nature is revealed in his photographs of animals and studies of plants, his still lifes and X-ray images of shells. Block also experimented with the unconventional forms of New Vision and arranged his images into photo reportages. | | |
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| | | ELMAR HAARDT, LAS VEGAS, 2017, C-Print, Diasec, 200 x 245 cm © Elmar Haardt | | | | | | | | 24 June – 22 July 2017 | | | | Opening reception: Friday 23 June 18:00 | | | | | | | | | | | | | Like no other country the United States of America stood for the realization of dreams and almost unlimited possibilities.
In his new photographic series, the artist Elmar Haardt (born 1974 in Essen) deals with the fragile status of the Land of Dreams. The series started with two large-scale works (200 x 250 cm each) produced in Los Angeles and Las Vegas this February. In addition to these works a new image, which has just been photographed in New York, will be presented at Jarmuschek + Partner gallery for the first time.
Elmar Haardt works with a special technique: His images are composed of analogue large-format slides, which are combined as digital scans into a new kind of panoramic view. This technical effort leads to an extraordinary condensation of the visual image information. Despite the exuberant amount of visible details, the subject appears orderly and like a film still taken from the flow of time.
Like travel photographers and natural scientists in the 19th century, the artist finds himself with a big camera in the lonely landscape. Whereas only one single level can be precisely identified with the naked eye, the images of Elmar Haardt confront the viewer with a high-resolution depth of field, which is extended over the entire landscape. Comparable to the pictorial effect and painterly aesthetics of Caspar David Friedrich's "Mönch am Meer" (1808/1810), these photographs evoke an urge to look at them and the feeling to get drawn into the image. In times of fleetingly appearing images and their more and more casual consumption, Haardt's photographs make the viewer pause for a moment and demand him to look intensely - a conscious visual challenge and simultaneously an expansion of existing percept… | | |
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| | | |  | | | Brown Brothers, Arbeiter beim Bau des Woolworth-Gebäudes in New York, 1912
© ullstein bild |
| | | | From the Ullstein Collection 1894-1945 | | | | | | 23 Jun – 31 Oct 2017 | | | | | |
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| | | |  | | | | Kathrin Tschirner: aus "Kurfürstenstraße" |
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Fotofestival Dortmund 2017 | | | | | | Fri 23 Jun 20:00
24 Jun – 23 Jul 2017 | | | | | |
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| | | |  | | | | Jorma Puranen, Icy prospects #5, 2005 |
| | | | | | | | Die informelle Malerei trifft auf die Geste in der Fotografie | | | | | | | Tue 27 Jun 19:00
28 Jun – 16 Sep 2017 | | |
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| | | |  | | | Christian von Alvensleben
MACARÉU Pedro de Moel 15, ca. 120 x 70cm, Silber Gelatine Handabzug |
| | | | | | | | | | | Wed 21 Jun 18:00
22 Jun – 2 Jul 2017 | | | | | |
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| | | Harry Gruyaert, Morocco, Ouarzazate, 1982, © Harry Gruyaert / Magnum Photos, courtesy Michael Hoppen Gallery | | | | | | | | – 27 June 2017 | | | | | | | | | | | | | Michael Hoppen Gallery are delighted to present ‘Western and Eastern Light,’ the first exhibition of photographs at the gallery by Belgian photographer Harry Gruyaert.
Gruyaert is a Magnum photographer who has travelled extensively over the last 30 years photographing Europe, North Africa, the Middle East and America, often by road from the comfort of his Volkswagen Kombi. He was one of the first European photographers to take advantage of the creative potential of colour photography, following in the footsteps of great American colourists such as William Eggleston and Stephen Shore. | | |
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| | | Series North Korea n°4, 2005-2011. From the Datazone project © Philippe Chancel | | | (Im)possible to see: North Korea | | | | | | | 22 June – 3 September 2017 | | | | Opening reception: Wednesday 21 June 6:30pm | | | | | | | | | | | | | The best contemporary photographers from around the world will present their works at The Lumiere Brothers Center for Photography's exhibition (Im)possible to see: North Korea that is to open on June 22. More than 70 photos selected specifically for exhibition in Russia are united by one main idea — to show the possibilities of photography in the study of the image of one of the most secretive states. Exhibition is complemented with chronicle photos taken by Soviet photographers in the middle — second half of the XX century, giving the opportunity to show the range of the DPRK perception in different cultural and temporal contexts. "Photography is a way to explore the world, including its inaccessible parts. It has always performed this function and even today, in spite of the ability to quickly cover distances, we learn a lot of things only through the images and accompanying texts. This is especially true for closed states access to which is restricted or impossible for political reasons. But in the end the image is shaped only through mass media and is often mythologized, and North Korea, perhaps, is the most striking example. Another difficulty is that even once in country, it is almost impossible to shoot, because the government is constantly monitoring any man with a camera. Therefore, the authors daring to tell something about the DPRK through the photo, are looking for ways to do it", comments chief curator of The Lumiere Brothers Center for Photography Natalia Grigorieva-Litvinskaya on the idea of the exhibition. | | |
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| | | | | | | | | | | | | Lens on Life Project Operation Goma in North Kivu, Democratic Republic of Congo | | Thu 22 Jun 18:00 22 Jun – 25 Aug 2017 | | | | | | | |
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| | Nemo Jantzen
Pop Icons IV (Natalie Portman), 2017
Photography, acrylic, and glass spheres on wooden canvas
45 1/2 x 49 x 1 1/4 in (115.6 x 124.5 x 3 cm) | | | | | | | | 22 June – 20 August 2017 | | | | Opening reception: Thursday 22 June 18:00 | | | | | | | | | | | | | BLANK SPACE is pleased to present an exhibition of Dutch artist Nemo Jantzen (b. 1970). This exhibition features the artist’s mixed media photography whose technique of disintegration is represented through a series of portraiture. The Spectacle will be the artist’s first solo exhibition with the gallery, and will continue until August 20. Consisting of nine portraits, the exhibition will explore how changing perspectives demand new ways of seeing, and perception is arbitrated by the voice of media. The inception of Nemo Jantzen’s glamour portraiture formed as he explored the idea of how messages are indirectly delivered through media, which influences social behavior and perception of aesthetic. Jantzen created as the subject of each portrait iconic figures and poster faces commonly seen in advertisements, television, billboards and social media. Up close, the images of separate circles are cinematic stills or vintage photographs associated with the subject of the portrait. Magnified beneath resin and glass spheres, the individual photographs together with the alluring expression of the subject of the portrait convey a sense of voyeurism, as the visual spectacle draws the viewer to examine the work at a closer distance. Divided, yet whole when viewed collectively, the portraits explore the variable nature of perception. According to the artist, the portraits “reflect an idealized world filtered through the demands of the eye of the beholder.” Inspired by manipulation of perspective in cinematography, and productivity of digital photography, Nemo Jantzen mastered the innovative technique of piecing together globular units to form an image of a photograph, thereby blurring the lines between Photorealism and Pop Art. He ga… | | |
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| | Elene Usdin
Dante d'après Otto Dix 2016, 64 x 64 cm
Archival pigment print with acrylic painting, framed
Unique piece
© Elene Usdin, courtesy Galerie Esther Woerdehoff | | | Elene Usdin » The Inhabitans / Les Habitants | | | | 21 June – 13 July 2017 | | | | Opening reception: Wednesday 21 June 18:00 | | | | | | | | | | | | | | Elene Usdin is proving that she is not only an excellent photographer, but that she can also handle the brush like the great classical masters. Last autumn at Paris Photo, the French artist exhibited in exclusivity some of her newly fresh and unique pieces from her latest series, Les Habitants (The Inhabitants). Starting with the timeless genre of portrait, Elene Usdin then disrupts it by directly painting on the photographic print. And she paints the emotions, hidden behind the calm look of her teenage models. The artist also questions a certain idea of photography (almost a cliché) which defines a photograph by its reproducibility. With the previous series Femmes d’intérieur, exhibited at the Galerie Esther Woerdehoff in 2015, she already highlighted her photographs with paint to create originals. Once again, her photographs from Les Habitants have become unique pieces, but the gap is made even greater between the brief moment of the shooting and the timeless hours that Elene Usdin needs afterwards, paintbrush in hand, to ornate meticulously each portrait with a multitude of marvelous figures. | | |
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| | | |  | | | | aus der Serie "Kosmos Train" © Janine Graubaum |
| | | | | | | | | | | Wed 21 Jun 19:30
22 Jun – 30 Jul 2017 | | | | | |
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| | Robyn Stacey
'Ice', 1989 from Redline 7000
Cibachrome print 120 x 140cm | | | | | | | final exhibition | | | | | | | | – 30 June 2017 | | | | | | | | | | | | | In 1991 Bob Hawke was Prime Minister of Australia, The Simpsons debuted on Channel 10, Boris Becker beat Ivan Lendl in the Australian Open Tennis Championship, Tim Berners-Lee introduced the web browser, Nirvana released Nevermind, and Stills Gallery opened its doors at 16 Elizabeth Street, Paddington. At the time Founder and Co-Director, Kathy Freedman announced “There’s a lot of very important and exciting work being done at present using photographic images. Stills will be providing the opportunity for people to see a wide range of current work.” From these small beginnings - a roomsheet created on a typewriter and black & white prints selling for around $200 - Stills Gallery has shifted and evolved to keep up with changes in the way we produce, enjoy and understand photography. These changes have included the move to a large converted warehouse space in 1997, to accommodate the larger works being produced by artists, and the handing over of the baton from Co-Director Sandy Edwards to current Co-Director, Bronwyn Rennex along the way. We are really proud of the artists we have worked with and the exhibitions we have mounted over the years. It has been a privilege to work with such a diverse range of talented artists. And we've enjoyed sharing their works with the world - whether in Paddington or Paris... William St or Waterloo. We've also enjoyed the artworks themselves - looking at them (in the flesh), thinking about them, writing and talking about them... and of course selling them. We have relished their power to challenge and move us. In our final exhibition Curtain Call, we are taking the opportunity to look back over the history of the gallery and will present the mother of all salon hangs featuring over 70 artists from over the 26 years of exhibitions including. We’ll also be featuring ‘a work a day’ on our Facebook and Instagram feeds – where we ask friends, colleagues, collectors and artists to nominate a work or artist that has spoken to them over the history of the gallery. Please join us for this final celebration of all the fantastic artists Stills has worked with over the years. | | |
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 | Auctions |
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| Festivals |
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| Upcoming |
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| | | Andrea Frazzetta Donna Ferrato Donald Weber | | | | | | | The partnership with CANON | | | | | | | Workshops: 16 July – 1 October 2017 | | | | | | | | | | | | | The partnership between Cortona On The Move and Canon Cortona On The Move has established a partnership with Canon for the 2017 Edition of the festival with the aim of collaborating to promote contemporary photography among a larger audience, to celebrate its protagonists and to offer professional photographers opportunities of growth. Canon, as Digital Imaging Partner, cooperates with the festival to organize various initiatives. The first initiative is the COTM Summer School which is being held in collaboration with Canon Academy. From 16th July to 1st October, eight workshops have been scheduled to give all the participants the opportunity to study with the top contemporary photographers in the picturesque environs of Cortona. From portraiture to reportage, from framing to postproduction techniques, the eight workshops will teach you the techniques for creating great images. From July 29th to July 30th Marco Olivotto will teach a series of post-production techniques. Giulio Di Sturco will show different forms of Documentary photography and storytelling of current days during August 5th and 6th. Afterwards, from August 26th to August 27th, Andrea Frazzetta's workshop will discuss what it means to work in the editorial field and produce a photographic reportage on commission and Franco Pagetti will learn how to apply a personal vision to diverse photographic fields. Eventually, the September / October calendar includes workshops with Richard l'Anson (September 16th and 17th) world-famous travel photographer - in collaboration with Lonely Planet - and Alessandro Penso (September 30th - October 1st), who will focus on the development of a Photographic project. COTM Summer School covers the whole period of the festival with a dense program of workshops and teachers of national and international renown. The workshops are open to groups of 8 to 15 people - professional photographers, amateur and photography enthusiasts - and they last two days. During the opening days - from July 16th to July 17th - Donna Ferrato will hold the Erotic Eye workshop dedicated to the world of eroticism, symbols and fantasies, and Donald Weber will discuss techniques with the aim to sharpen the vision and come to terms with the final work. Among the planned initiatives, Canon events are intended to inform about the news of 2017, to present and develop the collaboration for educational contents addressed to schools and to launch the special edition of the HD Book. Moreover, as a Digital Imaging Partner, Canon will take care of printing of all 21 exhibitions of the photographers on show. | | |
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| | | | | | Rip It Up - Over 230 artists and 1000 artworks | | | | | | – 28 Jul 2017 | | | | | |
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Wang Bing, Tie Xi Qu: West of the Tracks (2003) |
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| | | | | | | | | | | | – 13 September 2017 | | | | | | | | | | | | | The documenta 14 is the fourteenth edition of the art exhibition documenta and will take place 2017 in both Kassel, Germany its traditional home, and Athens, Greece. It will be held first in Athens from 8 April till 16 July, and in Kassel from 10 June till 17 September 2017. As part of the concept of the artistic director Adam Szymczyk the exhibition will proceed in both countries. The artists should work with and on both locations. www.documenta14.de | | |
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| | | | | | 20th edition | | | | | | – 27 Aug 2017 | | |
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| | Sharon Lockhart, LITTLE REVIEW, 2017. Single-channel installation, HD Video.
Courtesy of the artist and Zachęta – National Gallery of Art, Warsaw | | | | | | | | | | | | – 26 November 2017 | | | | | | | | | | | | | The 57th International Art Exhibition, titled VIVA ARTE VIVA and curated by Christine Macel, is organized by La Biennale di Venezia chaired by Paolo Baratta. The Exhibition will be open to the public from Saturday May 13th to Sunday November 26th 2017, at the Giardini and the Arsenale venues. The preview will take place on May 10th, 11th and 12th, the awards ceremony and inauguration will be held on Saturday May 13th 2017. The Exhibition will also include 85 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the historic city centre of Venice. Also for this edition, selected Collateral Events by non-profit national and international institutions, present exhibitions and initiatives. Detailed information can be found on www.labiennale.org/en/art/ | | |
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© 21 June 2017 photography-now.com
Ziegelstr. 29 . D–10117 DE . Berlin . Editor: Claudia Stein + Michael Steinke . contact@photography-now.com . T +49.30.24 34 27 80 |
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