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| PHOTOGRAPHY INTERNATIONAL | | 22 — 29 May 2024 | |
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| | | Jeff Wall, “After ‘Invisible Man’ by Ralph Ellison, the Prologue”, 1999-2001 | | | | | | | | 24 May – 13 October 2024 | | | | | | | | | | | | | Since the 1980s, the work of Canadian artist Jeff Wall (b. 1946) has largely contributed to defining or redefining photography as a full part of contemporary art. His practice of the tableau or photographic picture inherits from the history of painting its key principle: composition. The thirty-five works presented here are taken from the nearly two hundred photographic pictures he produced since 1978. Formed piece by piece, the ensemble is both dense and extremely varied, crossed by recurrences and intersecting themes, with an acute sense of enigma. All images are part of a wide range of registers and modes of expression, from pure description to beginnings of possible tales.
The earliest work in the exhibition, a landscape from 1980, depicts a semi-rural site in the Greater Vancouver area; it corresponds to a documentary orientation. The most recent work (2023), through allegory, belongs to the other mode developed by Wall, which he describes as “cinematographic”: those images are carefully staged, sometimes to the point of producing a hallucinatory or marvellous world. A number of pictures partake of an intermediate, “near documentary” register. | | |
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| | | | | | | | Jens Lüstraeten: Still aus "VERTICAL CLOUDS", 4K video, 2024 |
| | | | | | | | | | | | Thu 23 May 18:00
24 May – 30 May 2024 | | | | | |
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| | Alfred Ehrhardt
Training sailing ship of the navy "Horst Wessel", Hamburg, 1930s/40s
Silver gelatin paper
© Alfred Ehrhardt Stiftung | Rolf Tietgens
Altona fish market on Sunday morning
from: "Der Hafen", Rolf Tietgens, Heinrich Ellermann Verlag
Hamburg, 1939
© Rolf Tietgens |
| | | | | | | | | | | ... until 7 July 2024 | | | | | | | | | | | | | Rolf Tietgens (1911–84) is regarded one of the most important photographers of the 1930s, but only a handful of people in Germany are familiar with his oeuvre. His work fell into obscurity after he emigrated to New York at the end of 1938, threatened with persecution as a homosexual artist in Germany. Since he never returned to his homeland, his body of work remained forgotten for quite some time. Today his book Der Hafen (The Port), published by the renowned Heinrich Ellermann Verlag in 1939 to mark the 750th anniversary celebrations of the port of Hamburg, has to be considered one of the preeminent photo books of the 1930s. It can be regarded as the most sophisticated elaboration of this subject matter in the history of German photography.
Alfred Ehrhardt’s (1901–84) singular images of the port of Hamburg are also being presented for the first time in this two-person exhibition. Ehrhardt’s photographs from the 1930s are more objective. The port is depicted here less as a metaphorical space, and more as a dynamic setting of the industrial age, which gave rise to a specific maritime technology. To a certain extent, Ehrhardt creates a kind of inventory of its elements, documenting various types of ships, loading bridges, cranes as well as characteristic details such as ship propellers and anchor chains. He managed to create particularly striking photographs of the seasonal forces of nature where these exert a visible impact on harbor operations, including when boats have to make their way through the ice. Evident in these images is Ehrhardt’s fondness for motifs that cemented his status as a nature photographer. | | |
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| | | Serie With You (part 3), 2022 © Sanja Marušić | | | Saison 2023 – 2024: FORMENSPRACHE | | | Free access to the outdoor exhibitions, daily, all year | | | | | | | ... until 7 October 2024 | | | | | | | | | | | | | Clervaux - Cité de l'image enters its new season 2023-2024 with 6 new open-air exhibitions.
We dive into a world full of fantastic forms, approaches, themes and techniques. The six photographers invited this year use their own formal language to express emotions, convey stories or present certain concepts. In this open-air exhibition, the focus is on playing with contrasts, experimenting with techniques or on the most diverse stylistic elements.
With depictions of fundamental themes in the life of a young woman, the artist Sanja Marušić attracts full attention with her colourful photographs on the market square. Heading towards the church, we pass the arcades with the photographic works of Christine Erhard, which have been developed out of a sculptural process in her studio. Opposite the church, Thaddäus Biberauer takes us on his journeys through nature. The snapshots, almost painterly in scene, invite us to dream. In Steph Meyer's works, the focus is on the photograph and the viewer. The picture within the picture, in which the viewers in the arcades of the Grand-Rue are included in the snapshot of the documented photo exhibition or even become voyeurs. On the castle plateau, Liz Lambert gives us a deep insight into her very personal story. In a poetic and partly symbolic way, she explores the questions of how relationships come into being and develop. In Tina Lechner's works in the garden of the castle, she focuses on the exploration of identity and the female body. Covered with self-produced props, this becomes a retrofuturistic sculpture.
Through their creative and poetic manner, the photographers a… | | |
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| | Daniel Wagener: "opus incertum"
Exhibition view at the Chapelle de la Charité, Arles © Armand Quetsch / CNA | | | | | | | Luxembourg Photography Award 2023 | | | | ... until 16 June 2024 | | | | Exhibition organized in collaboration with Lët’z Arles a.s.b.l. | | | | | | | | | | | | | "Opus incertum" – a term borrowed from Roman masonry, which consists of building walls from small blocks, broken tiles, and a variety of bricks - is an in-situ installation created by Daniel Wagener in response to the call from Lët'z Arles for the 2023 edition of the Rencontres internationales de la photographie, in Arles' iconic Chapelle de la Charité.
The artist was confronted with a religious building, a place of worship steeped in memory, history, religious iconography, baroque workmanship, gold, stucco, fake and real marble, and symbols. He chose to react through extreme contrast and built a system of prefabricated shelves, industrial racks, crossing the main nave from left to right, filled with images of contemporary "construction sites", urban views, traces of buildings from the past and present. This modular unit for storing images obstructed the view of the altar and, by replacing the object of worship, became the artistic interface of a new cult of consumption. Through his exhibition the artist questions the nature of the icon in our contemporary society and encourages us to reflect on the place of the spiritual and its intersection with the material.
Invited by the CNA/Pomhouse for the now traditional return of the arlesian exhibitions to Luxembourg, making the work accessible to the Luxembourg public who did not have the opportunity to visit Arles, the question arose of how to install opus incertum in this new setting. The easy copy-and-paste solution was quickly abandoned. A new in-situ installation was conceived, with the generous support of the CNA, enabling us to rethink the scenography and produce new images.
Once again, we find ourselves in an emblematic location, a kind of ind… | | |
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| | | Rozafa Elshan: Point de départ 3, Arles, 2023. | | | | | | | Luxembourg Photography Award Mentorship 2023 | | | | ... until 7 July 2024 | | | | Exhibition organized in collaboration with Lët’z Arles a.s.b.l. | | | | | | | | | | | | | Today, let us take from our pocket a little piece of paper folded in two to find therein a few words of encouragement scribbled in pencil. – Approach the centre of the platform, position yourself dear guest and read aloud the invitation addressed to you.
HIC HIC SALTA! in 1 - 2 - 3 seconds; HERE NOW JUMP! on the platform set up upon the ground so that you may at last, weightless, exist in a brief present moment. Let us hush into this silence to rid ourselves of our dear personality and to create therein a poem.(1) Let us descend the rising current of all life in a single and unique inscription. The boards laid on the ground forming a horizontal invite to get as close as possible to things so as to experience, with the body, the event which, once secured, as soon escapes us.
At the scale of a tiny flake, leaning into the slope towards sensitive matter, it insists by shifting gesture upon a kind of verification. Let’s jump, let’s dance and slice this space-time so that we may populate and tighten the surface to which we cling. For the occasion of this exhibition and by means of a search through permanent passage, the guest empties once more their daily pockets so as to show to us their footholds upon this stage. By way of each leap, harried and constantly jostled, he passes the faces of a crowd to afterwards reject them outright (2). He would repeat this movement right to the bottom of the bag to weigh nothing in the end (3). Yet despite all efforts to strip away, something constantly looms in the palm of their hand.
In 1 - 2 - 3 seconds, we can try to situate this something by laying it down in the middle of the floor. Dvora’s laces, the sound of a thou… | | |
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| | | | | | | Ilse Bing, Selbstporträt mit Leica im Spiegel, Frankfurt 1931
© Historisches Museum Frankfurt |
| | | | Frankfurt 1844 – 2024 | | | | | | | Tue 28 May 18:00
29 May – 22 Sep 2024 | | | | | |
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| | Denis Dailleux: Jour de mariage, el-Gamaleya, Le Caire 1998
C-Print, mounted, framed, 80 x 80 cm, edition of 8 | | | | | | | | ... until 1 June, 2024 | | | | | | | | | | | | | The portraits of Egypt by acclaimed French photographer Denis Dailleux are characterised by a unique dedication and empathy. Dailleux approaches the people and places he photographs with great discretion, hoping that they will open up to him without expecting them to. The result is a collection of painterly photographs that transcend time and place.
"The Egypt of Denis Dailleux reveals itself as (...) a place that harbors the eternal and the ineffable." Christian Lacroix
"Imbued with his distinctive delicacy, Denis Dailleux’s photographic work appears calm on the surface, yet is incredibly demanding, run through by an undercurrent of constant self-doubt and propelled by the essential personal bond he develops with those (and that which) he frames with his camera." Christian Caujolle, founder of Agence VU
Denis Dailleux was born in 1958 in Angers, France. He has published several books on Egypt (particularly Cairo), his impressions of the "Arab Spring," and Ghana. Dailleux has received numerous international awards, including the Monographies Award in 1997, the World Press Photo Award in the Portrait category in 2000, the Hasselblad Award in 2000, the Fujifilm Award in 2001, and the World Press Photo Award in 2014 in the Staged Portraits category (2nd place), and the Prix Roger Pic in 2019. He is a member of the Agence VU and currently lives in Paris.
His work is part of numerous institutional and private collections, including the Agnès B. private collection, the Fond National d'Art Contemporain, the Maison Européenne de la Photographie, and the Neuflize Vie collection. | | |
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| | | | | | | | Kristian Schuller: WOMAN ON RINGS |
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| | Susa Templin
Transparency Installation view, Parrotta Contemporary Art Cologne, 2024
Photo: Bozica Babic | | | | | | | | ... until 21 June, 2024 | | | Artist Talk & Apéro: Wednesday, 22 May, 5-7 pm
Susa Templin in conversation with Dr. Birgit Kulmer, Art Historian at the museum August Macke Haus | | | | | | | | | | | | | Susa Templin is in every respect a master at exploring unusual patterns of perception. In her pictures and installations she formulates a syntax of environment and experience, questions and possible answers. ... Anyone who makes their way into the transparent labyrinths of Susa Templin's overlapping pictorial worlds enters a new cosmos of perception that seems to transform, even dissolve, time and space. It is as if one is simultaneously outside and inside the forms and oneself; in front and behind, above and below. The images thus become mirages, simulators and open up unusual perspectives and points of view. (Excerpt text Dr. Christina Leber, "Susa Templin - Eine fotografische Philosophie von Raum", in: Exhib.Cat. Museum für Konkrete Kunst, Ingolstadt 2021)
Susa Templin (*1965, Hamburg) studied from 1987 to 1993 at the Hochschule für Bildende Künste - Städelschule in Frankfurt am Main and at the Hochschule der Künste in Berlin. She lives and works in Berlin and Frankfurt am Main.
Since her studies, she has been questioning the spatial qualities of the medium of photography in large-scale installations. In ever new groups of works, the artist deconstructs and reconstructs the photographically captured space in analogue and digital form and examines it in the third and fourth dimensions. | | |
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| | Zofia Kulik
Self-portrait with a Flag II, 1992
Silver gelatin print
150 x 150 cm
© Zofia Kulik / Courtesy: Persons Projects | | | | | | | | ... until 28 July 2024 | | | | | | | | | | | | | "Zofia Kulik – Rhythms of Power" is the Polish artist’s first survey exhibition in Austria. Besides large-format photographic works and the self-portrait The Splendour of Myself, the presentation includes parts of Kulik’s diploma project that were created between 1968 and 1971, towards the end of her studies at Warsaw Academy of Fine Arts.
For decades, Kulik has been archiving thousands of photographic negatives and compiling a huge collection of visual phenomena. The motifs are organised into more than 250 different categories, ranging from images of models in various poses to themes such as skulls, bones, vegetables, flowers, dogs, fabrics, buildings, postcards, masks, explosions or cities – to name just a few.
In the darkroom, Kulik employs an analogue process of multiple exposure to combine hundreds of single images from this archive into complex, multi-layered compositions. Sketches and stencils serve to illustrate her working method.
Zofia Kulik organises her visual materials like a choreographer of mass gatherings – controlling the rhythm as she arranges single images into rows, circles and other geometric figures; often determined by the rules of symmetry, they define a world order in the manner of a mandala or join together in a serial arrangement to create an ornament.
Kulik’s artworks were shown in the 2023 edition of Les Rencontres de la photographie in Arles, at documenta 12 in Kassel in 2007, and at the 47th Venice Biennial in 1997. Her work is also represented in leading international museums, including Tate Modern, London; Centre Pompidou, Paris; Moderna Museet, Stockholm; and MoMA, New York.
Curated by Nathalie Hoyos and Rainald Schumacher | | |
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| | | © Margaret Courtney-Clarke | | | | | | | | ... until 28 July 2024 | | | | | | | | | | | | | Margaret Courtney-Clarke is a multi-award winning Namibian photographer. The exhibition at the Francisco Carolinum presents works from over 40 years of work and shows what the artist first brought into the public eye: South, West and North African indigenous women in their domestic environment.
Another focus of the artist is on the dark history of those people who historically lived in the Namib and Kalahari deserts. The long-term relationships and friendships she has built over the years not only grant her access to intimate portraits of embattled but resilient peoples, but also speak in detail to the big social justice issues of our time - persistent droughts, climate change, environmental degradation and the impact of the extractive industry in a resource-rich but water-scarce country.
Courtney-Clarke's acclaimed project Caged reflects the constraints of socio-economic and political forces by documenting fences, pens and cages that limit, protect and demarcate Namibia's individuals and places in various ways. Her ongoing quest to advocate for the neglected and overlooked is pragmatic in vision to highlight injustices, but poetic in formulation. Margaret Courtney-Clarke reveals her ingenuity and resilience, drawing attention to the ordinary in extraordinary circumstances.
Curator: Virginia MacKenny, Emeritus Associate Professor of Fine Arts, University of Cape Town, South Africa. | | |
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| | | Colour photograph of Lebohang Kganye’s large- scale cut-outs in situ in the Deutsche Börse Photography Foundation Prize 2024 exhibition. | | | | | | | | | | | | | Exhibition until 2 June 2024 | | | Lebohang Kganye » wins the Deutsche Börse Photography Foundation Prize 2024 | | | For more details visit: www.deutscheboersephotographyfoundation.org
| | | | | | | | | | | | | Lebohang Kganye was announced as the 2024 winner of the prestigious £30,000 prize at a special ceremony at The Photographers’ Gallery, London, on Thursday 16 May 2024.
The influential prize, presented by the Deutsche Börse Photography Foundation in partnership with The Photographers’ Gallery, rewards artists and their projects recognised as having made the most significant contribution to international contemporary photography over the past 12 months. 2024 marks 20 years of partnership between The Photographers’ Gallery and Deutsche Börse.
Lebohang Kganye was awarded the Prize for the exhibition "Haufi nyana? I’ve come to take you home" at Foam, Amsterdam, The Netherlands (17 February – 21 May 2023).
Lebohang Kganye (b. 1990, South Africa) combines photography, sculpture, performance, theatre and moving image into her multifaceted artistic practice. Exploring the intersections of personal history and ancestry, Kganye draws inspiration from shared oral histories and fictional texts. Growing up in post-apartheid Johannesburg, she delves into South Africa's complex past and reflects on the realities and consequences of apartheid and colonialism.
The nominated exhibition's title, "Haufi nyana?" meaning "too close?" in Sesotho, one of South Africa's official languages, explores and reimagines notions of home, belonging, heritage and identity. In the large-scale installation on display at The Photographers’ Gallery, Kganye uses silhouettes and life-sized cut-out figures of her family crafted from images in photo albums. The installation considers the impact of her family’s forced migration, due to land acts and apartheid law, including the alteration of their surname. Through symbolic elements, such as a central rotating light representing the Sesotho word for "light", "kganya", she symbolises her ancestral heritage. | | |
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| | | | | | | | Red Square Girls, Moscow, 1981 © Boris Savelev |
| | | | | | | | PHotoESPAÑA 2024 | | | 27 May – 14 Jul 2024 | | | | | |
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| | | | | | | | Milenia del corazón y del artificio, 1998 © Paloma Navares |
| | | | | | | | PHotoESPAÑA 2024 | | | 29 May – 1 Sep 2024 | | | | | |
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| | | | | | | | Self Portrait with Pocket Square © Sarah Maple |
| | | | 28 photographic positions from the United Kingdom | | | | | | | Sat 25 May 19:00
26 May – 15 Sep 2024 | | | | | |
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| | Jean-Claude Gautrand
Le Galet (#1), 1968-1969
Gelatin silver print, vintage. Printed by the artist.
© Estate Jean-Claude Gautrand
Courtesy Les Douches la Galerie, Paris | | | | | | | | 30 May – 13 July 2024 | | | | Opening: Wednesday 29 May 2024 5pm | | | | | | | | | | | | | Ahead of the retrospective Libres expressions, dedicated to Jean-Claude Gautrand by the Musée Réattu in Arles this summer (June 29-October 6), Les Douches la Galerie is pleased to present, for the first time, a solo show dedicated to French photographer Jean-Claude Gautrand (1932-2019). You are invited to discover his early experiments from the 1960s, with a selection of vintages from his iconic series. The book Recompositions by Jean-Claude Gautrand, published last April by Contrejour editions, accompanies these two exhibitions.
"To photograph is to engage in a race against erasure, disappearance, nothingness. It is a fight against time, a challenge to oblivion. The camera, a magical instrument capable of immortalizing the fleeting, but also the irremediable."1
It is certainly this "irremediable" quality that demands the most attention in the work of Jean-Claude Gautrand, who photographs the disappearance of things, constructions, or places to inscribe them into eternity. Photography witnesses a battle where destructive forces ally with time to erase what was thought to be eternal. The various post-war photographic clubs he frequented hardly inspired him. "Apart from the world of reporting, the photographic field was then reduced to either illustrative or documentary photography of distressing conformity".2 He discovers in volumes I and II (catalogs of the exhibitions Subjektive Fotographie I and II, from 1952 and 1955) organized by German photographer Dr. Otto Steinert, a different photography that struck him as "an atomic bomb in the mire of photography." | | |
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| | | | | | | | FIRST BORN 3 July, 1973 © Taiji Arita] |
| | | | | | | | Time Spent Playing with Family | | | 23 May – 28 Aug 2024 | | | | | |
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| | | | | | | | | | | | | | Sat 25 May 17:30
24 May – 15 Jun 2024 | | | | | |
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| | | | | | | | | | | | | | Wed 22 May
23 – 26 May 2024 | | | | | |
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| | Lot 107
Graciela Iturbide (1942)
Mujer Ángel, 1979
Gelatina de plata, imagen 45,5 x 31,6 cm, papel 50,5 x 40,5 cm
Dedicatoria y Firma, tiraje de época
3000 - 4500 € | | | | | | | Collection of photographs by Humberto Rivas and María Helguera | | | | | | | | | Auction: Thursday 30 May 2024 4pm | | | | Preview: 28 – 29 May 2024 | | | | On May 30 at 4 p.m. Juan Naranjo Gallery of Art and Documents will hold the first of the auctions that they have prepared for the commemoration of the 10th anniversary. The lots can be seen on May 28 and 29 between 11 a.m. and 1 p.m. and between 4 p.m. and 7 p.m. at the Jardins de Montserrat gallery, s/n, 08029 auctions@juannaranjo.eu Tel. +34 659 95 66 48 | | | | | | | | | | | | | The collection we are offering for sale provides a personal vision of Humberto Rivas and María Helguera. It is a collection comprised of images from photographers with whom they have maintained a close relationship. Each photograph is a story in itself, but we can also establish a dialogue between the creator and the collectors; it offers us a visual narrative from which we can trace a thematic and conceptual line with their artistic production.
The catalogue offers 58 lots of photographs by authors with whom the collectors have had a relationship. The auction comprises works by Spanish photographers: Gabriel Cualladó, Ricard Terré, Joan Fontcuberta, América Sánchez, Javier Vallhonrat, Manolo Laguillo, Mariano Zuzunaga, Pere Formigera, Ferrán Freixa, Toni Catany, Carlos Cánovas, Chema Madoz, Cristina García Rodero, Fran Herbello, Manuel Sonseca, and Vari Carates. There is also a group of creators from Latin America such as Anatole Saderman, Eduardo Comesaña, Marcelo Brodsky, Marcos López, Facundo de Zuviria, Adriana Lestido, Graciela Iturbide. Photographs by authors of different nationalities like Eva Rubistein, Roberto Salbitani, Henry Lewis, André Jasinski, and Raymonde April. | | |
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| | | lot 61 Charles Clifford, Aldeanos de Palma y sus alrededores, 1860 | | | | | | | A photographic vision of 19th century Spain | | | | | Auction: Thursday 30 May 2024 4pm | | | | Preview: 28 – 29 May 2024 | | | | On May 30 at 4 p.m. Juan Naranjo Gallery of Art and Documents will hold the first of the auctions that they have prepared for the commemoration of the 10th anniversary. The lots can be seen on May 28 and 29 between 11 a.m. and 1 p.m. and between 4 p.m. and 7 p.m. at the Jardins de Montserrat gallery, s/n, 08029 auctions@juannaranjo.eu Tel. +34 659 95 66 48 | | | | | | | | | | | | | The catalogue composed of 91 lots, features important photographers who visited or worked in Spain in the 19th century such as Alphonse De Launay, Pierre Emile Joseph Pecarrere, Francisco de Leygonier y Haubert, Paul Marès, Louis de Clercq, Auguste de Belvedere, Charles Clifford, José Martínez Sánchez, J. Laurent, Charles Mauzaisse, Alphonse Guiard, José Rodrigo, Louis Léon Masson, Edgar Haincque de Saint-Senoch, James Hollingworth Mann, Lévi, Casiano Alguacil, Beauchy, Antoni Esplugas y Puig.
Lidia Ortiz's interest in historical images led her to start a collection of 19th-century photography at a time when it was still in the process of being categorized. These circumstances allowed her access to images that generally speaking did not interest collectors of the time. Her interest in contemporary art and the history of photography enabled her to seek out and collect images that went beyond well-known names and those already in collections. Advised by expert Christophe Goeury, Lidia began to take an interest in lesser-known or undervalued photographers who produced high-quality work. | | |
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| | 119 John Bulmer
Herefordshire/Großbritannien *1938
HALIFAX, YORKSHIRE. 1965. Farbabzug. 24,3 x 37,5 cm (29,7 x 42,0 cm).
1.200,00 - 1.500,00 EUR | | | 39th Auction Photographie | | | | | | | | | | | | | | | | | | |
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| | | | | | | | | | | | | | Tue 4 Jun 14:00
30 May – 3 Jun 2024 | | | | | |
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| | | | | | | | | | | | | | Wed 5 Jun 18:00
31 May – 4 Jun 2024 | | | | | |
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| | | | 6. Fotofestival Lenzburg | | | | Synthesis | | | | | | | Festival: 25 May – 23 June 2023 | | | Opening Weekend: Saturday/Sunday 25th/26th May 2024
Programm: here | | | | | | | | | | | | | A synthesis of numerous topics
The exhibitions this year focus on the theme of 'Synthesis' and encourage us to consider the rapid advancements in technology and the overwhelming amount of information that we encounter. In the midst of this diversity, individuals can feel lost, but can also find ways to rediscover themselves and strive for balance. The theme of synthesis is also reflected in the art on display, which explores the permanence and transformation of images.
The exhibited artists address various urgent themes, such as light pollution, the intersection of bacteria and art, the love of food, the art of play, and the complexity of human relationships. Through their photographic projects, these artists evoke emotions and inspire reflection on these pressing issues in our society.
With over 300 images, 13 locations and 20 indoor and open-air exhibitions, this year's edition of Fotofestival Lenzburg is the most extensive to date. | | |
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| | | | | | EXPOSITION, PROJECTIONS, RENCONTRES, WORKSHOPS. | | | | | | | 28 May – 2 Jun 2024 | | | | | |
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| | | | düsseldorf photo+ | | | | Biennale for Visual and Sonic Media: On Reality | | | | | | | ... until 14 July 2024 | | | | 50 participating institutions, galleries and off-spaces | | | | | | | | | | | | | | | The third edition of the Biennial for Visual and Sonic Media düsseldorf photo+ from 17 May to 14 July 2024 is themed "On Reality". In exhibitions and concerts, talks, panels and other events, current and updated photography as well as media-based art in its most diverse facets can be experienced throughout Düsseldorf. The artists will reflect in a wide variety of ways on how media significantly shapes our understanding of reality today and in the past. Computer-generated worlds of images and sounds surround us everywhere, and the Biennale integrates these into the art trail and links analogue-generated audiovisual realities. In total, the Biennale offers over 50 exhibitions and events in museums, collections, galleries, independent exhibition spaces and universities. This year's düsseldorf photo+ is being organised under the artistic direction of Pola Sieverding and Rupert Pfab. Ljiljana Radlovic oversees the project management.
Highlights from our varied exhibition programme:
In photographs, now seen as historic, Allan Sekula critically illuminates social structures operating within the industrial workforce of the USA at Galerie Konrad Fischer. The group exhibition at the gallery boa basedonart, another retrospective show, focuses on social stereotypes in relation to self-portraits. Sumi Anjuman offers a contemporary insight into gender inequality at the private Philara Collection.
Toby Binder also takes a sociological standpoint with a look at crisis-ridden milieux at the gallery Clara Maria Sels. The exhibition at Julia Ritterskamp further investigates this stance in a show of t… | | |
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| | | | RAY 2024 ECHOES | | | | 5th International Triennial of Photography | | | | | | | ... until 1 September 2024 | | | | | | | | | | | | | The international Triennial of Photography RAY is celebrating the diversity of photography in Frankfurt and the Rhine-Main region for the fifth time with a focus on "ECHOES". Eleven institutions and exhibition venues in Frankfurt and the Rhine-Main region will be showing works on the theme of "ECHOES" by contemporary photographers and artists. With exhibitions, numerous events, and a three-day festival on the triennial theme of "ECHOES", RAY offers a multifaceted exploration of photography.
How do images contribute to the understanding of our identity, our memories, our emotions, and the ability to grasp and process current social, communal, and political challenges? RAY Echoes offers no answers to these questions, but rather – like a laboratory – it offers many perspectives and opportunities for individual exploration.
The artists of the RAY 2024 – Triennial of Photography use photography and related media to explore and reflect on the challenges and tensions of self-perception and human interaction. Their works span the past, present, and future, from the intimate and personal to the collective. By capturing these diverse moments and phenomena, they generate an echo that draws the public’s attention to their themes. Similar to a sound experience, they create reverberation that is perceived as an independent event beyond what is depicted. On this basis, RAY Echoes concentrates on three focal points: identity, memory, and emotion.
In the exhibition RAY Echoes Identity at the Fotografie Forum Frankfurt (3 May – 1 September, 2024, opening on 2 May), the artists explore the making and breaking away from identities. Echoes are present in the form of reflections on personal experience… | | |
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| | | | | | Rencontres photographiques de Montpellier 18th edition | | | | | | | – 26 May 2024 | | | | | |
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| | | | | | Even Better Than the Real Thing | | | | | | | – 30 Sep 2024 | | | | | |
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| | | | | | Rencontres de la jeune photographie internationale 2024 | | | | | | | – 25 May 2024 | | | | | |
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| | | | | | Festival de la jeune photographie européenne | | | | | | | – 2 Jun 2024 | | | | | |
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| | | | FOTOGRAFIA EUROPEA 2024 - XIX edition | | | | Nature loves to hide | | | | | | | Reggio Emilia until 9 June 2024 | | | Dedicated to the interconnections between humans and nature, and to the transformations human beings can undertake beyond an approach of dominant control, the 19th edition of the Reggio Emilia Festival returns to invite us reflect on pressing critical issues
Palazzo Magnani, Chiostri di San Pietro, Palazzo da Mosto, Villa Zironi, Palazzo dei Musei, Biblioteca Panizzi, Spazio Gerra and the spaces of the Circuito OFF host exhibitions by both established photographers and young talents | | | | | | | | | | | | | | | From 26 April to 9 June 2024, Reggio Emilia will once again observe the changes to the contemporary sphere through the eyes of great photographers and young practitioners with the 19th edition of FOTOGRAFIA EUROPEA: the festival promoted and organised by Fondazione Palazzo Magnani and the Municipality of Reggio Emilia, with support from the Emilia-Romagna Regional Council.
Nature loves to hide is the theme chosen by the Festival’s artistic board, this year made up of Tim Clark (editor of 1000 Words), Walter Guadagnini (photography historian and Director of CAMERA – Centro Italiano per la Fotografia) and Luce Lebart (researcher and curator, Archive of Modern Conflict).
Drawing on the paradox expressed in a famous fragment by Heraclitus, the title seeks to encompass the power of a nature that so often conceals its essence right before our eyes, while increasingly revealing it in destructive ways, in a continuous process that may be understood as an oscillation between being and becoming. Through this edition’s many prestigious solo and group exhibitions, Fotografia Europea 2024 sets out to explore the connections between concealment and discovery that characterise our relationship with nature, imagining new narratives bound up in an eco-centric conception as opposed to an attitude of dominant control that our species exercises over the planet, so as to understand the current dynamics and the new directions to be taken. | | |
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| | | | | | Ten Thousand Suns | | | | | | | – 10 Jun 2024 | | | | | |
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| | | © Kalina Pulit | | | EXPOSED. Torino Foto Festival | | | | New Landscapes - Turin’s New International Festival of Photography | | | | | | | ... until 2 June 2024 | | | the first edition with the title New Landscapes – Nuovi Paesaggi
Artistic Directors: Menno Liauw and Salvatore Vitale
Over 20 temporary exhibitions in more than 20 venues
One programme of events dedicated to photography organized with the city’s main cultural institutions and independent organizations | | | | | | | | | | | | | EXPOSED is Turin’s new international festival of photography, which every year will bring temporary exhibitions, a specialised fair, educational activities, meetings, artistic commissions and off-site events centered around a theme to the Piedmontese capital in May. Promoted by the City of Turin, the Piedmont Region, the Turin Chamber of Commerce, Intesa Sanpaolo, Fondazione Compagnia di San Paolo and Fondazione per l’Arte Moderna e Contemporanea CRT on behalf of Fondazione CRT and organised by Fondazione per la Cultura Torino, EXPOSED was created to strengthen the deep bond between Turin and photography.
The goal is to provoke contemplation regarding the transitional state of photography. Starting from a historical perspective, Exposed seeks to present various approaches, perspectives, narratives, and intersections that showcase the diverse forms the medium takes on. Simultaneously, it aims to inspire, evoke emotions, entertain, and propose new ways of interacting with, interpreting, and appreciating the work of both classic and contemporary artists.
Exposed envisions itself as a cutting-edge presence in the international photography panorama, complementing the existing offerings. Therefore, the festival’s artistic direction is focused on an inclusive approach to attract diverse audiences—both local and international—through a diverse program that encompasses different approaches to photography: from classic to contemporary, cross-media, installative and performative.
Collaboration and collectivity are key aspects highlighted by the artistic direction, emphasizing the multidisciplinary and kaleidoscopic nature of Exposed. Diverse visions, approaches, ideas, and projects make the festival—and consequently, the city of Turin—an in… | | |
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| | | | | | Triennial Exhibition | | | | | | | – 28 Jul 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 | | | | | | | | 20 April – 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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© 22 May 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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