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| PHOTOGRAPHY INTERNATIONAL | | 18 — 25 April 2018 | |
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| | | | | The Scotiabank CONTACT Photography Festival is the largest photography event in the world, and a premiere cultural experience in Canada, with over 200 exhibitions and happenings throughout the month of May in the Greater Toronto Area.
scotiabankcontactphoto.com |
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| | | | | From the 27th to the 29th of April, almost fifty galleries will officially participate in the Gallery Weekend Berlin, the event with new exhibitions lasting all spring.
www.gallery-weekend-berlin.de/ |
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| | Inge Morath
Mrs. Eveleigh Nash, London, 1953
© Magnum Photos / Inge Morath Foundation / Fotohof archiv | | | Inge Morath » From a photographic cosmos | | | | 26 April – 26 August 2018 | | | | Opening reception: Wednesday 25 April 19:00 | | | | | | | | | | | | | When Inge Morath met the war photographer Robert Capa at the photo agency Magnum in Paris in July 1949, the life of the 26-year-old Austrian journalist took a new turn. It would still take a few years before Inge Morath felt so at ease with the Leica that she began working for Magnum as a photographer in 1953 and joined as a full member in 1956.
In January 1954, Robert Capa sent Inge Morath to Spain on her first reportage commission. Her constant companions were two Leica cameras (one for black and white and one for colour), a viewfinder and a selection of lenses. She spent several weeks in Madrid documenting the private and professional life of the lawyer Mercedes Formica, who campaigned successfully for women’s rights under the Franco regime. And she made it an iron rule to record her experiences in detailed written notes.
On her first assignment as a stills photographer, Inge Morath drove across the United States with Henry Cartier-Bresson to Reno, Nevada for the shoot of the film "The Misfits" based on the book by Arthur Miller, starring Marilyn Monroe, the most famous actress of the day. The following year she met Miller again, and the year after that they were married.
Das Verborgene Museum is also displaying pictures of Inge Morath’s studio in Roxbury (USA) by the Austrian photographer Kurt Kaindl. These insights into her personal world are shown alongside her portraits of artists and travel impressions from countries including Italy, China, Russia, Iran and Spain. | | |
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| | | Rosemarie Zens: The Sea Remembers, 2014 | | | | | | | | 25 April – 10 June 2018 | | | | | | | | | | | | | Decades after World War II, Rosemarie Zens returned for the first time to the town in today’s Poland where she was born. In 1945, when she was just a young child, her mother, like many other refugees, had been forced to flee with her. She embarked on a search for clues about her early life, a quest for the meaning of origins and memory, for the first formative experiences. With her camera, she captured the things that drew her attention: the expanses of meadow, the paths into the unknown, the silhouettes of night-time shadows. Mysterious and ethereal landscape photographs mingle with photos from family albums, intertwining fragmentary memories with pictorial inventions.
Before she began working on her free-lance photography projects, Rosemarie Zens worked as a teacher, psychotherapist and writer and this background is recognizable in all her works. In The Sea Remembers, the artist pursues the link to the blind spots of early childhood, which are difficult to connect with concrete places. Thus the houses in the mist, the frost-covered meadows or the hollow forest paths become inner landscapes rhythmically interwoven with photographs from her family archive to make up non-linear narrative strands. This results mainly in open pictorial works that enable the viewer to sense far-distant mental states and connect them with his or her own experiences.
"It is said that there is a cellular memory, that cell water is laden with meaningful powers, that traces of memory, measured and mapped and reaching far back into the past, are stored in it and are seeking the way to physical experience. But our place of origin eludes us when we try to pin it down. Then it changes like the sea, which invents nothing yet takes on different forms. Just as our consciousness and memory strive to constantly reassure us, to re-orient us through memories and to temporarily establish for us an order of things and images," Rosemarie Zens writes in her essay in the book published at Kehrer Verlag, Heidelberg 2014 | | |
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| | | | | | | NUUNU - THE ONE TO BE BORN
© Stella Polaris 2013 Sven Neider & Nomi Baumgartl |
| | | | Das leuchtende Gedächtnis der Erde | | | | | | Thu 26 Apr 19:00
27 Apr – 1 Jul 2018 | | | | | |
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| | | | | | | | Amélie Losier: Nadia Ali Abdala in ihrer Wohnung, Sadat City, 2014 |
| | | | | | | | | | | Thu 26 Apr 19:00
27 Apr – 29 Jul 2018 | | | | | |
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| | | | | | | "Dutschke-Attentat"
Blick auf den Tatort: Am 11. April 1968 schießt Josef Bachmann den Studentenführer Rudi Dutschke dreimal auf offener Straße an.
© Ludwig Binder/Stiftung Haus der Geschichte |
| | | | | | | | | | | Thu 26 Apr 19:00
27 Apr – 7 Oct 2018 | | | | | |
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| | | | | | | Tobias Kruse: Aus der Serie "Die Klasse"
© Tobias Kruse / Ostkreuz |
| | | | | | | | | | | Thu 26 Apr 19:00
27 Apr – 26 May 2018 | | | | | |
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| | | | | | | Guy Bourdin: Charles Jourdan, Spring 1976
© Guy Bourdin Estate, 2017 / Courtesy Louise Alexander Gallery |
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| | | | | | | Sigrid Neubert: Karl Schwanzer, BMW-Hauptverwaltung, München, Museum, 1972
© Staatliche Museen zu Berlin, Kunstbibliothek / Sigrid Neubert |
| | | | | | | | Fotografien: Architektur und Natur | | – 3 Jun 2018 | | | | | |
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| | | | | | | | Olivier Richon - The Lobster, 2008, C Type analogue, 45 cm x 56 cm, Edition 4/5 |
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| | | | | | | | Irving Penn: Pablo Picasso at La Californie, Cannes, 1957 © The Irving Penn Foundation |
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| | | | | | | | © 2018 Guido Guidi & Fondation Le Corbusier/VG Bild-Kunst, Bonn |
| | | | | | | | | | | Fri 27 Apr 18:00
27 Apr – 7 Jul 2018 | | | | | |
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| | | | | | | Stephen Gill: aus der Serie "Talking to Ants", 2009-2013/2013, Archival pigment print
© Stephen Gill / Courtesy Christophe Guye Galerie, Zürich |
| | | | | | | | Fotografien, Projektionen, Bücher, Objekte | | Fri 27 Apr 19:00
28 Apr – 24 Jun 2018 | | | | | |
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| | | | | | | | © Stephen Gill: Coexistence 2012 |
| | | | | | | | & Young PhotoBook | | Sat 28 Apr 19:00
29 Apr – 27 May 2018 | | | | | |
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| | Sanlé Sory » | | | | | | | | | | | | Volta Photo Starring Sanlé Sory and the People of Bobo-Dioulasso in the Small but Musically Mighty Country of Burkina Faso | | 27 Apr – 19 Aug 2018 | | | | | | | |
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| | | | | | | | | | | | | Wed 2 May 19:00
3 May – 26 May 2018 | | | | | |
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| | Gisèle Freund: Frida Kahlo, Mexico City, circa 1951
Courtesy Collection of Dr. Marita Ruiter, Galerie Clairefontaine Luxembourg © Gisèle Freund/IMEC/Fonds MCC | | | | | | | | 26 April – 2 June 2018 | | | | Opening reception: Thursday 26 Apr 17:00 | | | | | | | | | | | | | Gisèle Freund arrived in Mexico in 1950, where she met Frida Kahlo and Diego Rivera. She became close to the tempestuous, mythical couple and photographed them during her stay, creating the touching series on display.
An exhibition catalogue including a text by Christian Caujolle has been published and will be available at Galerie Clairefontaine. | | |
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| | | | | | | How We See/Ajak (Violet), 2015
Pigment print
70 × 48 inches (178 × 122 cm)
© Laurie Simmons |
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| | | | | | | | | | | | | Thu 26 Apr 18:00
26 Apr – 27 May 2018 | | | | | |
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| | | | | | | | Zanele Muholi, Bester I, Mayotte, 2015. Courtesy of Stevenson, Cape Town/Johannesburg and Yancey Richardson, New York |
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| | | | | | | | | | | | | Wed 25 Apr 19:30
26 Apr – 15 Jul 2018 | | | | | |
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| | | | | | | Apichatpong Weerasethakul
Production still, Synchronicity 2018
Courtesy: Kick the Machine Films |
| | | | | | | | Apichatpong Weerasethakul + Hisakado Tsuyoshi | | 25 Apr – 17 Sep 2018 | | | | | |
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| | | | | | | | Aida Muluneh, Compromise, 2017. Courtesy of Jenkins-Johnson Gallery |
| | | | | | | | The Scotiabank CONTACT Photography Festival 2018 | | 27 Apr – 29 Jun 2018 | | | | | |
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| | | | | | | | | | Los Angeles Month of Photography | | – 30 Apr 2018 | | | | | |
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| | | | PHOTOBOOKFEST 2018 | | | | exhibitions | lectures | master-classes | workshops | portfolio review | | | | | | | until June 3, 2018 | | | | | | | | | | | | | It is the second time the international festival of emerging photography PHOTOBOOKFEST takes places in Moscow gathering experts in photography and book design from all over the world. The exhibitions open on April, 20 and will run through June, 3. The exhibitions will also be followed by lectures, master-classes, workshops for photographers and a portfolio review session by experts and the results of the Photobook Dummy contest will be revealed. The main venue for the event remains the Lumiere Brothers Center for Photography.
The mission of PHOTOBOOKFEST 2018 is to look at photography in the context of modern media, to decide what it is capable of and how it can reach the audience, including the potential of the modern photobook to exist as an independent art form.
Apart from photographic exhibitions, there will also be books on display. In the Small Hall of the Center the visitors will be able to see shortlisted photobooks of the Unseen Dummy Award organized by the biggest festival pf photography in Europe, Unseen.
During the festival, an expert jury will decide on the results of the Photobook Dummy contest which took place from February till April. Photographers from all over Russia, Ukraine, Georgia and CIS countries participated in it hoping to win the main prize – getting their photobooks published.
Information about the educational programme and portfolio review will be available on the official web site photobookfest.com | | |
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| | | | | | European young photography festival | | | | | | – 6 May 2018 | | | | | |
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| | | | | | SUPERPOSITION: Equilibrium & Engagement | | | | | | – 11 Jun 2018 | | | | | |
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© 25 April 2018 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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