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| PHOTOGRAPHY INTERNATIONAL | | 22 - 29 March 2017 | |
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| | ART BASEL HONG KONG 2017 will feature 242 premier galleries from 34 countries. This year's show features 29 new galleries and half of the galleries showing overall have exhibition spaces in Asia and the Asia Pacific region. www.artbasel.com/
Art Central Hong Kong 2017 from 21-25 March 2017 with 100 contemporary galleries showcasing the next generation of talent alongside some of the most established galleries from across Asia and the globe. |
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© Art Basel | | | | | | | |
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| | | © Nelson Morales | | | | | | | – 14 May 2017 | | |  | | | | | | | | | | Foam welcomes Hydra, a young photography platform based in Mexico City, for a collaborative presentation of young talent from Mexico at Foam 3h. From workshops on bookmaking to curating exhibitions, Hydra organises a range of photography-related activities, establishing a vibrant network of contemporary photographers in the process. Foam and Hydra present the work of two young talents in Mexican photography: Nelson Morales (1982) and Diego Moreno (1992). Mexico’s complex history has created an equally complex society. Over time, it has absorbed various different cultures and traditions, combined strong Catholic values with beliefs from other religions, and mixed influences from foreign cultures with indigenous, pre-Hispanic customs. Through photography, both artists visualise and question notions of identity through personal and cultural explorations in their own local environment. Foam X Hydra is the first of three collaborations taking place in 2017, involving photography platforms in Mexico City (Mexico), Lagos (Nigeria) and Yogyakarta (Indonesia) that each operate in a specific local art scene. The initiative offers Foam the opportunity to present young talent from different cultural contexts and to research new developments in local photography discourses worldwide. | | |
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| | | three clouds from the series Curonian Spit, 2015 © Christof Rehm | | | | | | | – 30 Apr 2017 | | | | | | | | | | | | | fotodiskurs presents Christof Rehm’s recent body of work Curonian Spit for the first time as a solo presentation. In this photographic work, Christof Rehm stratifies times and techniques as well as putting past and present on top of each other. He shows landscapes of Erna Lendvai-Dircksen through his lens, forms historical photographs with simple means to contemporary images. By using the ordinary camera of his old mobile phone he creates images of ominous timelessness. Curonian Spit
East Prussia 1941. Clouds, mountains, sand and water. A barren landscape. The landscape of Thomas Mann, Albert Speer then. An harsh landscape. Recorded by Erna Lendvai-Dircksen. Shifting sand dunes. Dedicated to the Germanic nation. Aggressive landscape, ideological pictures? No negative prints, burned. No photo prints, lost in war. But a book. Gauverlag Bayerische Ostmark. A printed landscape. A printed landscape rephotographed. Today. East Prussia 1941. The pictures of Erna Lendvai-Dircksen. Digital. Clouds, mountains, sand and water. Appropriated landscape. Curonian Spit. Outland, images by Christof Rehm. Reprinted on recycled paper. Overlaid times, moiré. Wide landscape… | | |
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| | | |  | | | | Janos Frecot: Bahnbogen 51/50, Berlin 1964 |
| | | | | | | | | | | | Thu 23 Mar 19:00
24 Mar – 24 May 2017 | | | | | | |
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| | | | | | | | | | | | | IN TRANSIT DIGITALE MEDIENKUNST AUS MALTA | | Fri 24 Mar 19:00 25 Mar – 16 Apr 2017 | | | | | | | |
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| | | |  | | | | Amiata #08, from the series Amiata © Arno Schidlowski |
| | | | | | | | | | | Thu 23 Mar 18:30
24 Mar – 14 May 2017 | | | | | | |
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| | | © Susan Dobson: Moonrise (SmartCentre), 2011 | | | City-Landscapes | | | | | | | – 7 April, 2017 | | | | | | | | | | | | | The "altered landscape" has long been a theme in photography. In 1975 William Jenkins curated the exhibition New Topographics at George Eastman House, which featured Robert Adams and Stephen Shore, among others. This seminal exhibition was both a reflection of the local environment, including a highly conceptual, documentary, detached and socially critical comment on an increasingly modern world, which was driven by economic rationality and mostly absent of its makers. The exhibition City Landscapes (Stadt-Landschaften) at in focus Gallery certainly associates itself with the movement, however, it delves further. Whilst the New Topographics photographers primarily emphasised an objective, documentary focus, the artists in this exhibition are specifically interested in interpreting and examining the relationship between the human being and altered urban landscapes. | | | | |
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| | | Song to Woody Gerde's Folk City 1961 © Ted Russell | | | | | | | 24 March – 24 April, 2017 | | | | Opening Reception: Friday, 24 March, 6 p.m. | | | | | | | | | | | | | Bob Dylan is the subject of a compelling photography exhibition in Cuba at their national photo gallery, Fototeca de Cuba. Bob Dylan NYC 1961-1964, featuring the photographs of Ted Russell, opens on Friday, March 24th in Havana. The exhibition will continue through April 24th. This groundbreaking exhibition is the first in Cuba to depict the legendary musical artist who was recently awarded the Nobel Prize in Literature. There was no apparent reason for Ted Russell to photograph Bob Dylan in 1961, apart from an ambitious freelance photographer wanting to get another story to pitch to a magazine. Bob Dylan’s first album had not yet been released and this is one of the reasons Ted Russell’s photographs are so extraordinary. They offer a genuinely candid look at the young singer and guitar-player. Ted Russell’s photographs of Bob Dylan performing at Gerde’s Folk City in Greenwich Village at the start of his remarkable career capture the spark in the young performer’s eyes. In Russell’s photographs, as in Dylan’s music, we can see and hear the musical artist’s conviction and compassion, his humor, and his love of song. Whether inspired by Little Richard or Woody Guthrie, Dylan was clearly rooted in tradition, yet also contemporary and of his own time. This collection of photographs by Ted Russell is unique. They document Dylan’s first years as a musical artist in Greenwich Village in 1961 and then on up to 1964, at which point Dylan had already transformed popular music with songs like Blowin’ in the Wind, Masters of War, and The Times They Are A-Changin.’ In 1963, Russell photographed Dylan at the Emergency Civil Liberties Committee’s annual Bill of Rights Dinner, where he was being awarded the prestigious Tom Paine Award. Ted Russell photographed James Baldwin with Dylan at the dinner where, in his acceptance speech, Dylan acknowledged “all the young people” who were traveling to Cuba at that time. Russell photographed Dylan in his apartment again in 1964. In a series of stunning images from that day, Russell photographed Dylan writing at his desk. After 50 years lying largely dormant in a file cabinet, this unique collection has been brought to light in Bob Dylan NYC 1961-1964 (Rizzoli 2015). The book includes texts by Ted Russell and Chris Murray, and a foreword by Donovan. | | |
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| | | | | | | | | | | | | POWER Work By African American Women From The Nineteenth Century To Now | | Tue 28 Mar 18:00 29 Mar – 10 Jun 2017 | | | | | | | |
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| | | © Cédric Delsaux from the series Underground Society | | | | | | | March 25th until May 13th 2017 | | | | Opening on Friday March 24th from 6 pm until 9 pm | | | | | | | | | | | | | | During the European month of photography, Wild Project Gallery is eager to present one of the last series of Cédric Delsaux under the exhibition title Dark Celebration. The Series Underground Society continues his exploration of recurring anxieties of humanity by plunging places and figures in a troubling obscurity. Shipwrecked and abandoned to their fate, the survivors of the Underground Society unveil current fears and obsessions made up of apocalyptic visions where catastrophes, tragedies and breakdowns follow each other without respite. But, after all, it could be that the Underground Society is perhaps only a feeling, an elusive state of mute astonishment and suffocation, a latent presence about to break out or a distant fear as ancient as the end of the world that we were promised for soon, but is still late to come. | | |
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| | | Floria González, The day I killed a chicken de la serie Postpartum, s/f | | | Vitamina A. | | | | Nueva generación de fotógrafas en México | | | | | | | 24 March – 10 May 2017 | | | | Opening Friday 24 March 6pm | | | | | | | | | | | | | | |
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| | Sebastian Arlt: portrait of the actress Sibylle, Canonica, 2015
© Sebastian Arlt | | | No secrets! Images of Surveillance | | | | | | | 24 March – 16 July, 2017 | | | | Opening reception: Thursday, 23 March, 7 pm | | | | | | | | | | | | | Since Edward Snowden’s disclosures, no-one has been in any doubt about the existence of widespread digital surveillance and monitoring. However, it is not intelligence agencies alone that obtain data from our use of media technologies. Automated analysis of electronic processes, events and communications is also employed to interpret people’s behavior in the "Internet of Things" and the mind-blowing world of "Big Data". The highly emotive and controversial topic of surveillance is the subject of a two-part exhibition at the Münchner Stadtmuseum and the Munich ERES Foundation. The Münchner Stadtmuseum exhibition begins with a historical overview of the related phenomena of location surveillance and identity checking by government and private actors. The introduction of public street lighting may well have helped to make our streets safer, but it has also served as an instrument of power. The standardization of criminal photography by Alphonse Bertillon in the 1880s and the use of fingerprinting from 1900 onwards have made it easier for the police to establish the identity of an individual. These techniques are the forerunners of modern-day video surveillance. When photographers such as Nadar or James Wallace Black started boarding hot-air balloons around the middle of the 19th century, their aerial photographs provided viewers with completely new mind-boggling experiences. Today, however, such images generated by satellites and drones are seen as part of a quintessentially omniscient surveillance aesthetic. The main body of the exhibition features contemporary works including photographs, videos, paintings, posters and installations, with some works also referring back to historical surveillance. Hyojoo Jang’s “Panopticon” video, for example, references Jeremy Bentham’s 18th-century circular penitentiary designed so that inmates would be aware that they could be under observation at any moment, without ever knowing when or whether they were actually being watched. Bentham’s idea is now a metaphor for our current vast array of surveillance cultures and practices. | | |
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| | Flowers for Lisa, 2015
©Abelardo Morell/Courtesy of Edwynn Houk Gallery, New York | | | | | | | - 29 April 2017 | | | | | | | | | | | | | Edwynn Houk Gallery is pleased to present an exhibition of recent work by Abelardo Morell (American, b. Cuba, 1948), which marks the artist's third one-person show at the gallery. The exhibition consists of 20 large-scale photographs from his series "Flowers for Lisa," which is comprised of variations on the theme of floral still lifes. "Flowers for Lisa" is titled after and dedicated to Morell's wife of over 40 years, Lisa McElaney. The artist will be present at the opening reception on Thursday, 9 March from 6-8pm. In 2014 Abelardo Morell made a photograph of flowers for his wife's birthday. What started as an ordinary bouquet, set up in a vase in the artist's studio, became the impetus for an investigation into the depiction of floral arrangements throughout the history of art. Morell shot the same bouquet many times, rearranging it over and over in the same vase, and photographing it repeatedly. After making over 20 photographs of the various arrangements, Morell digitally compiled the multiple exposures, letting the computer software try to make sense of the chaos of imagery to form one image. The resulting photograph, "Flowers for Lisa, 2014" is a demonstration of the passage of time that challenges the very definition of a still life (a picture consisting predominantly of inanimate objects). This single picture captures the transformation of freshly cut flowers into bending, wilting stems. Eventually losing their petals, they form puddles of color that twist into the wood veneer of the artist's work table, dissolving and disappearing before our eyes. | | |
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| | | |  | | | Léon Herschtritt, Serge Gainsbourg, circa 1969
Gelatin silver print by Philippe Salaün, 50 x 60 cm, edition of 25
© Léon Herschtritt / LA COLLECTION, service presse
Courtesy Galerie Esther Woerdehoff |
| | | | | | | | | | | Mon 10 Apr 18:00
27 Mar – 25 Jun 2017 | | | | | | |
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| | Sinje Dillenkofer: Case I 22
Colt percussion revolver system, 1849-55, Historical Collections, Innsbruck, 2015
43.5 x 82.5 cm, Archival Pigment Print, Edition 6 | | | | | | | 25 March – 6 May, 2017 | | | | Opening: Saturday, 25 March, 3-8pm | | | | | | | | | | | | | The "TRANSLOCALS" exhibition is a series of inside views of historic and modern boxes of which Sinje Dillenkofer took photographs in private and public collections or museum archives, among them the Louvre Museum in Paris. Her main interest is of empty containers, étuis, caskets or cases and their various lines, forms, constructions and imprints in lid and bottom - the «architectures of the archive». The photographs appear abstract as autonomous pictures in which time and the past become visible. The lines and shapes emerge because precious items such as scientific instruments, jewellery or articles for everyday use have been protected and archived. The objects themselves do not appear in the pictures, but are present through the negative form of the upholstered hollow space. Their impression allows the photographs to assume a painterly quality, a poetic life of their own. As "TRANSLOCALS", the photographs transfer the objects places from the archive to the Fine Art context. | | |
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 | Fairs |
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| | | | | | | | | | | | | 23 – 25 Mar 2017 | | | Art Basel's fifth edition in Hong Kong will feature 242 premier galleries from 34 countries and territories, as well as a new sector, Kabinett. This year's show features 29 new galleries and half of the galleries showing overall have exhibition spaces in Asia and the Asia Pacific region. The show takes place at the Hong Kong Convention and Exhibition Centre. | | |
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| | | | | | | | | | | | | 21 – 25 Mar 2017 | | | Art Central returns to the Central Harbourfront from 21-25 March 2017 with 100 contemporary galleries showcasing the next generation of talent alongside some of the most established galleries from across Asia and the globe. Now in its third edition, Art Central is recognised as a place of discovery and a platform for museum quality artworks from more established names to be exhibited alongside cutting-edge works by emerging artists. | | |
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| | | | | | | | | | | | | Thu 23 Mar
24 Mar – 26 Mar 2017 | | | With the leading galleries from Sweden, Denmark, Norway, Finland and Iceland participating, Market will showcase an exclusive selection of the most interesting art on the Nordic art scene, once again focusing on carefully curated solo or duo projects. | | |
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| Auctions |
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| | Robert Frank
„Paris“ (Dächer). 1946
Vintage. Silbergelatineabzug. 17,8 × 27,9 cm (27,6 × 35,2 cm) (7 × 11 in. (10 7/8 × 13 7/8 in.)).
Schätzwert: EUR 10.000–15.000 | | | Modern and Contemporary Photographs | | | Consignments now welcome
Photography Auction / May 31st 2017 in Berlin | | | | | | | | | | | | | | | | |
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| Festivals |
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| Upcoming |
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| | | | | | | | | | | | | 24 Mar – 23 Apr 2017 | | | FORMAT is the UK's largest curated biennale of International contemporary photography. | | |
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| | | An-My Lê (b. 1960), Film Set ("Free State of Jones"), Battle of Corinth, Bush, Louisiana, 2015. Inkjet print, 40 x 56 1/2 in. (101.6 x 143.5 cm). Collection of the artist; courtesy the artist and STX Entertainment, Los Angeles | | | Whitney Biennial 2017 | | | | | | | – 11 June 2017 | | | | | | | | | | | | | The 2017 Whitney Biennial, the seventy-eighth installment of the longest-running survey of American art, arrives at a time rife with racial tensions, economic inequities, and polarizing politics. Throughout the exhibition, artists challenge us to consider how these realities affect our senses of self and community. The Biennial features sixty-three individuals and collectives whose work takes a wide variety of forms, from painting and installation to activism and video-game design. In a suite of photographs from her new project, The Silent General, An-My Lê examines allusions to the past in modern-day Louisiana. In one image, a monument to a Confederate Army general quietly interrupts a quotidian urban landscape; another captures a moment on the set of a recent film about a Confederate Army deserter. As in so many of Lê’s works, in these images the imagined past and the actual present coexist in the same frame, begging the question: when does history end and the present begin? Taken as a group, the photographs propose that perhaps history never ends, that the raw materials of America’s bloodiest war—issues of race, class, labor, and wealth—are still deeply enmeshed in the landscape of the United States and the fabric of its society. | | |
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| | | |  | | | | Detail from 'Berwick, England, 1991 / La Spezia, Italy', 2016, from the series 'Beloved Curve', 2015 - 2016 © Sarah Fishlock |
| | | | Autobiography as Memory | | | | | | – 23 Mar 2017 | | | FOCUS Photography Festival Mumbai takes place every two years, in the month of March. In March 2017, this theme will explore how photographs and photographers have used the medium to construct and shape history, underpinning socio-political narratives and building geographies as well as retelling our very own personal stories. Since the birth of the medium we have used photography and its archives to revisit the past and talk about the present, to challenge what we think we remember, to deconstruct the grand pillars of history and extract new stories from the margins.
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© 15 March 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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