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| PHOTOGRAPHY INTERNATIONAL | | 24 April - 1 May 2019 | |
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| | During the Gallery Weekend Berlin is opening and showing approximately 100 exhibitions with photography and videoart. |
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| | PHOTOVILLE the largest photographic event in NYC is now coming to Los Angeles for the first time. |
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| | art fairs with photography take place: artmonte-carlo 2019 in Monaco, Art Brussels 2019, Art Market San Francisco 2019 and two photo (book) fairs: PGH Photo Fair Pittsburgh 2019 and PHOTOBOOKS SWITZERLAND in Biel Bienne. |
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| | | Boys of Walthamstow, 2018 © Tyler Mitchell | | | | | | | | 20 April – 5 June 2019 | | |  | | | | | | | | | | This spring, Foam Fotografiemuseum Amsterdam proudly presents I Can Make You Feel Good, photographer and filmmaker Tyler Mitchell’s (1995, US) first solo exhibition. Alongside a selection of images from the artist’s personal and commissioned work, Foam is also premiering two of Mitchell’s video works: Idyllic Space and Chasing Pink, Found Red.
Tyler Mitchell’s work visualises a black utopia. Making use of candy colour palettes and natural light, Mitchell captures young black people in gardens, parks or in front of idyllic studio backdrops where they appear as free, expressive, effortless, sensitive and proud. He produces holistic imagery of individuals from his community and brings their humanity to the forefront. In 2018, Mitchell wrote history with his photographs of Beyoncé gracing the cover of two different editions of American Vogue’s ‘September Issue’. Only 23 at the time, he became the first black photographer to make the cover in the 126-year existence of the prominent magazine. This along with many other accomplishments has made him one of the most closely watched up-and-coming talents in photography today.
As a teenager, Mitchell spent a lot of time on Tumblr, a social media platform utilised by young photographers as a space to share their work. It’s a period of time which would become heavily influential on his vision, as Mitchell explained, “I would very often come across sensual, young, attractive white models running around being free and having so much fun – the kind of stuff Larry Clark and Ryan McGinley would make. I very seldom saw the same for black people in images – or at least in the photography I knew of then.” | | |
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| | | Maximilian Klawitter, Untitled (private collector 5), framed photography, 9 x 6 cm, 40 x 50 cm, 2018 © Maximilian Klawitter | | | SEEN BY #12 | | | | | | | 26 April – 2 June, 2019 | | | | Opening: Thursday, 25 April, 7pm | | | | | | | | | | | | | In Allan Sekula’s 1999 work "Dear Bill Gates," the artist documents having swam within spitting distance of the private lake-side house of Bill Gates, the Microsoft founder and owner of the Corbis photo agency at the time . In the open letter, written on a typewriter, Sekula comments on Gates' 30-million-dollar purchase of a painting by Winslow Homer, depicting two doomed fishermen lost at sea ("Lost on the Grand Banks", 1885). The painting, although hung in the private residence of the billionaire, could not be found anywhere on the net. Sekula here undoes Bill Gates’ status as a pioneer of the paradigm of the global archivist, and shows that Gates in fact sought to control the streams of images through their digital reproduction. Contrary to the promise of it's being "the archive of everything for everybody," Gates forced the traffic in images to wear a licensing corset, and so ultimately declared it as private property.
Taking Sekula's letter as a point of departure, the exhibition "When you're on the Net, are you lost? Or found? And the rest of us—lost or found—are we on it, or in it?" explores the ambivalent dynamics that underlie the post-photographic reservoir of images; and, in particular, the palpable shift from a storage-oriented to transmission-oriented culture. This digital archive offers the possibility of continuous additive inclusion of appropriated and discarded image material, and the potential to engender alternative distribution cycles, to elude orders of commercial or institutional servitude. At the same time this reservoir, in the act of preserving and exposing, also has the capacity to keep out of sight, and to cast the undesirable into oblivion. | | |
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| | David Batchelder
Untitled
Inkjet Print on Epson Enhanced Matte
43.2 x 64.8 cm
© David Batchelder | | | | 100 years of bauhaus II | | | DAS WATT (The Tidelands) | | | | | | | 27 April – 7 July, 2019 | | | | Opening: Friday, 26 April, 7–9 pm | | | | | | | | | | | | | Alfred Ehrhardt’s first major photographic work "DAS WATT (The Tidelands)" (1933–1936) is an ode to nature. It is among the most outstanding visual achievements of the avant-garde photography of the 1930s and represents the crème de la crème of his photographic oeuvre. The artistic quality of this series remains unequalled, even among the masters of New Objectivity photography. Created during Josef Albers’s preliminary course at the Bauhaus in Dessau, the work reveals Ehrhardt’s fascination with the structures in the sand that emerged every day anew, formed by wind and water. These reminded him of his teachings on the nature of materials, in which his students were required to learn to discern the “structure, texture, and consistency” of materials. Ehrhardt’s concept for the image series was to look for the natural laws in the synergy of nature’s forces by comparing the form variations created anew each day. His typology of sandy-reef formations suggests a conscious connection between microcosm and macrocosm.
In contrast to Alfred Ehrhardt, US photographer David Batchelder (b. 1939) purposely uses a digital camera to coax astounding sand formations out of the coastlines of the Isle of Palms near his hometown of Charleston, South Carolina. Batchelder asserts these would have remained hidden to him using analog technology: "My ability to see has grown because I have been able to make and see many thousands of photographs. My vision has grown as a result. I see so many interesting things in the sand now that were there before, but beyond my vision." Batchelder purposely addresses human perception: the abstracting of the nature motif, reduced to a minute amount of information, generates inner visions. It seems … | | |
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| | | |  | | | Lothar Wolleh: René Magritte, 1967, Brüssel
© Oliver Wolleh, Berlin |
| | | | | | | | Menschen, Farbe, Licht | | | Fri 26 Apr 18:30
27 Apr – 1 Jul 2019 | | | | | |
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| | | |  | | | | © Susann Tischendorf from the series Ident.i.gration |
| | | | Home and identity in a globalized world | | | | | | | Fri 26 Apr 19:00
27 Apr – 6 Jun 2019 | | | | | |
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| | Triomphe III, 140 x 90 cm, Archival Pigment Print, Ed. 5
© Winfried Muthesius | | | | | | | | 30 April – 28 June, 2019 | | | | Opening: Saturday, 27 April, 1–6pm | | | | | | | | | | | | | After the first exhibition in 2016, Galerie Springer Berlin is delighted to present two new series by the artist Winfried Muthesius. True to his style, he is again working with a cross-border approach, layering several tiers of painting and photography on top of each other, so that the different image elements become intertwined and create completely new realities in which parts of the photographic element almost completely withdraw or largely recede into the background.
Galerie Springer Berlin is presenting two series in the current exhibition. The first, Genius Loci, which gives the exhibition its name, emerged in Berlin at "non-places", such as former industrial sites on the edge of the Moabit district and around Zoo Station. In complete contrast is the Triomphe series, which originated in Paris at monumental and central locations such as the Arc de Triomphe, the Eiffel Tower and the Seine, close to the Place Concorde. In both series’ works, the clichés that we associate with these locations interestingly disappear. The glamour of Paris and the dirt, stench and inhospitality of the "Berlin non-places" merge, creating space for a new quality that can be poetic, violent, destructive and fascinating, and which sometimes comes very close to abstraction.
The exhibition is complemented with some of the artist’s pioneering works: a selection from the golden field (gold leaf on wood) series, a large-format piece from the Schädelbilder (oil paint on wood) series and a short succession of ink drawings from the Stadtlandschaften series. | | |
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| | | |  | | | André Kirchner: Süd, Schönefeld, Teich nördlich des Bahnhofs. Aus der Serie: Stadtrand Berlin 1993/94
© André Kirchner |
| | | | | | | | The City's Edge | | | 1 May – 29 Jul 2019 | | | | | |
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| | | My aunt Juliette © Denis Dailleux / Agence VU’ | | | | | | | SAISON 2018/2019 – Portrait, hors cadre Part II | | | | 12 April, 2019 – 10 April, 2020 | | | | | | | | | | | | | In his series "My aunt Juliette", Denis Dailleux sees his gaze returned in a unique and playful way by his great-aunt. The dialogue between the two protagonists is a constant exchange, making the series appear like a power play. This aunt Juliette is a strong character: she plays the queen, poses as a peasant, appears as grandmother, defies her age which shows her fragility, all the while maintaining her rebellious gaze. She confronts the photographer and claims the camera's visual field as rightfully hers.
"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)
Denis Dailleux was born in 1958 in Angers, France. He lives in Cairo.
More information:
www.denisdailleux.com
www.agencevu.com | | |
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| | | |  | | | | 12/07/2014 Colonia Alicia, Misiones province. Lucas Techeira is five years old and was born with an incurable disease called ichthyosis lamellar, caused by a gene mutation. His parents worked in a tobacco field and other plantations in the area where agrochemicals such as glyphosate and 2,4-D, one of the components of Agent Orange, are sprayed. © Pablo E. Piovano |
| | | | | | | | | | | | The Human Cost | | | Wed 1 May 11:00
1 May – 20 May 2019 | | | | | |
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| | Mark Ruwedel
LA River/Sepulveda Basin #85, 2018
© Mark Ruwedel | | | | | | | 26 April – 5 July 2019 | | | | Opening: Thursday, 25 April, 6-9pm | | | | | | | | | | | | | Large Glass is delighted to present the work of American photographer Mark Ruwedel and Italian photographer Cesare Fabbri.
Mark Ruwedel will show a series photographs, which document the Los Angeles River. For over two decades, he has been photographing American deserts or the remains of abandoned railway lines in the western United States and Canada - epic places with evidence of human intervention. "His photographs of the channelized LA River, and of similar stretches of Californian hinterland, show a place overwritten by industry, irrigation, urban planning and abiding fantasies about authentic wilderness."
Cesare Fabbri’s landscapes of Sardegna, reveal the remains of ancient cultures amidst geographical features, still relatively undisturbed by industrialisation. "Here are ruins both geological – a brutal promontory juts out of an eroded landscape of softer rock – and man-made: a vast cube of quarried stone has the aspect of a classical temple." (Quotes from a short essay by Brian Dillon). | | |
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| | | Pink_Para_1stchoice © Petra Cortright | | | | | | | | 1 – 31 May 2019 | | | | | | | | | | | | | Petra Cortright’s core practice is the creation and distribution of digital and physical images using consumer or corporate software. Whether she is manipulating digital files into two-dimensional paintings in Photoshop or uploading videos to online platforms, the Internet is deeply ingrained in Cortright’s work. She became renowned for making self-portrait videos that use her computer’s webcam and default effects tools, which she would upload to YouTube and caption with spam text.
In Pink_Para_1stchoice (2013), Cortright performs a fragmented self-portrait, playing with the relationship between the computer screen and voyeurism, and the Internet’s effect on how we perceive subjectivity. The artist watches herself in the computer screen while singing along to a song we cannot hear. Through the webcam, Cortright presents herself as both subject and object, independent of any male or female gaze. In the context of a public screening, the work becomes a statement about the way women engage with the propagation of images on the Internet, both their own and those intended to represent or appeal to them.
“We are pleased to partner with Times Square Arts to further recontextualize Cortright’s webcam work beyond the YouTube platform as part of the Midnight Moment series.”
—Michael Connor, Artistic Director, Rhizome
Pink_Para_1stchoice is presented in partnership with Rhizome, which celebrates a seminal work by Cortright, VVEBCAM (2007), in Net Art Anthology, Rhizome’s online exhibition charting the history of net art through 100 key artworks. Learn more at anthology.rhizome.org/vvebcam. | | |
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| | | |  | | | | Laurenz Berges: aus der Serie "Cloppenburg", 1989 © Laurenz Berges VG Bild-Kunst, Bonn 2019 |
| | | | | | | | | | | | Cloppenburg and current works from the Ruhrgebiet | | | Fri 26 Apr 19:00
27 Apr – 30 Jun 2019 | | | | | |
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| | | |  | | | | Flowers 1, 1950s © Claire Aho |
| | | | Anna Atkins, Colour Photography and Those Struck by Light | | | | | | | Thu 25 Apr 18:00
26 Apr – 15 Jun 2019 | | | | | |
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| | Chema Madoz, Untitled, 2007
Gelatin silver print, 16 x 26 cm
Edition of 25
© Chema Madoz, Courtesy Galerie Esther Woerdehoff | | | | | | | 26 April – 29 May 2019 | | | | Friday 26 April 2019, 6 pm - 9 pm, the artist will be present | | | | | | | | | | | | | Born in Madrid in 1958, Chema Madoz began self-taught photography and printing in the early 1980s, in the creative effervescence of Movida. He began exhibiting his work in 1983 while working as a bank clerk. In the early 1990s, he decided to stop photographing people and landscapes to focus exclusively on objects. The photographer picks them up in flea markets, shops or even garbage bins, randomly from his street errands.
He says, “With photography, I discovered the possibility of highlighting all the images that come into my head. By its brevity and intensity, photography is close to poetry. ». With the fragility of a cloud, a thread or a butterfly, Chema Madoz’s pictures sometimes plunge us into a waking dream, a frozen moment thanks to the magic of photography. Like the Japanese haikus, their simplicity is only superficial and invites us to meditate on existence and impermanence. | | |
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| | | Francesco Bosso: Over the Cliff, Portugal, 2018 | | | | | | | | 18 April – 26 May 2019 | | | | | | | | | | | | | Water, with its constant flow and its strength, models, transforms and creates, in this continual and eternal act of becoming, where everything stems from water and everything returns to it.
"WATERHEAVEN" is a journey across the captivating creative power of Water, between vision and reality, a sequence of evocations and fragments of memories.
Bosso with his photographs creates particular suggestions and atmospheres, with a vision of places that represent not only a praise of Nature, but an invitation to reflect on the theme of conservation with a particular attention to the liquid element, "Water as primordial liquid it is a source of life". | | |
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 | Fairs |
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| | | | | | | | | | Photobook Fair | Panels & presentations | Portfolio reviews & screenings | | | Fri 26 Apr 12:00
26 – 27 Apr 2019 | | |
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| | | | | | | | | | | | | | Thu 25 Apr 18:00
26 – 28 Apr 2019 | | | | | |
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| Festivals |
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| Upcoming |
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| | | | | | | | | | | | | | Fri 26 Apr 18:00
26 – 28 Apr 2019 | | | | | |
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| | | | | | the largest photographic event in NYC is now coming to Los Angeles for the first time | | | | | | | 26-28 April + 2-5 May 2019 | | | | | |
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| | | | | | | | | | | | | | Wed 1 May 19:00
1 – 31 May 2019 | | | | | |
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| | | | | | | | | | | | | | Thu 2 May 18:00
1 May – 31 May 2019 | | | | | |
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| | | Pixy Liao - It's never been easy to carry you. 2013 | | | FOTOGRAFIA EUROPEA 2019 - REGGIO EMILIA | | | | | | | Opening days 12, 13 & 14 April | exhibitions open through 9 June, 2019. | | | | 24 festival exhibitions, 10 exhibition venues across the city, 6 regional partners, over 120 artists, 85 events and OFF Circuit, an extended collective event and creative showcase for professionals, amateurs and upcoming artists that includes over 300 exhibitions. | | | | | | | | | | | | | From April 12th to June 9th, Reggio Emilia will host the XIV edition of FOTOGRAFIA EUROPEA, the festival organised by Fondazione Palazzo Magnani in collaboration with the Comune of Reggio Emilia and the Region of Emilia-Romagna, with support from the Ministry of Cultural Heritage and Activities. The festival explores all spheres of photography, the art form that best interprets the complexities of contemporary society.
Exhibitions, talks, performances and workshops are highlights of Fotografia Europea, an event never before so rich, which is populated by key figures in photography, culture and knowledge, and hosted across the city's main cultural institutions and exhibition spaces.
Conceived and designed by the Scientific Committee of Fondazione Palazzo Magnani – composed of Marco Belpoliti, Vanni Codeluppi, Marina Dacci, Marzia Faietti and Gerhard Wolf, under the artistic direction of Walter Guadagnini – FOTOGRAFIA EUROPEA 2019 is built around the theme of BONDING: Intimacy, Relationships, New Worlds, which will run like a fil rouge through all the exhibitions in the programme. | | |
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| | | |  | | | | MAO ISHIKAWA, Red Flower: The Women of Okinawa, 1975–1977, gelatin silver print, 15.4 x 20.1 cm. © MAO ISHIKAWA / Nap gallery, Tokyo |
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| | | |  | | | | Timeshifts / Before the Content © Kurt Laurenz Theinert |
| | | | Sound + Vision | | | | | | | – 30 Apr 2019 | | | | | |
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| | | |  | | | | © Rip Hopkins, Galerie Le Réverbère / Agence VU’ |
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| | | |  | | | | Kris Graves, The Murder of Eric Gardener |
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| | | | | | | | | | 11th Moscow International Biennale | | | | | | | Feb – April 2019 | | | | | |
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| | | |  | | | | © Francesco Morandin, sans titre - 1997 |
| | | | Rencontres de la jeune photographie internationale 2019 - 200 artists | | | | | | | – 11 May 2019 | | | | | |
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| | | |  | | | Construct 32, 1986. Cibachrome; 94 x 74.5 cm.
Courtesy of the artist and Bortolami. © Barbara Kasten |
| | | | Leaving the Echo Chamber | | | | | | | – 10 Jun 2019 | | | | | |
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| | | |  | | | | © Cecilia Del Gatto |
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| | | |  | | | | Hannah Bronte FUTCHA ANCIENT (detail) 2018 lightboxes, photographic prints, textiles, ink, shell Photograph: Mia Forrest |
| | | | Art Gallery of New South Wales / Carriageworks/ Museum of Contemporary Art | | | | | | | – 23 Jun 2019 | | | | | |
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| | | |  | | | Pushpamala N
Sunhere Sapne (Golden Dreams) 1998
hand-tinted black and white photograph
Shumita and Arani Bose Collection, NY |
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© 27 Mar 2019 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photo-index.art . T +49.30.24 34 27 80 |
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