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| PHOTOGRAPHY INTERNATIONAL | | 27 March - 3 April 2019 | |
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| | Art Basel's Hong Kong show features premier galleries from Asia and beyond, half of them with exhibition spaces in Asia and Asia-Pacific, showing more than 300 photographic artworks. Private View: Wednesday, March 27; Thursday, March 28
Public Days: Friday, March 29 to Sunday, March 31, 2019. |
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| | In New York six photography auctions take place:
Christie’s presents three on Tuesday 2 April (Preview begins 28 March); PHILLIPS one on Thursday 4 April (27 March)
Sotheby's on Friday 5 April (29 March), and
Bonhams on Friday 5 April (30 March). |
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| | Vincent Fournier
THE SPACE PROJECT - Ergol #12, Arianespace, Guiana Space Center [CGS], Kourou, French Guiana, 2007
130 x 100 cm / 200 x 150 cm / 235 x 180 cm
Ink jet on Hahnemühle Baryta paper / Edition of 10 | | | | | | | | 30 March – 11 May 2019 | | | | | | | | | | | | | The Ravestijn Gallery is proud to present the return of Vincent Fournier and his series Space Utopia in its new gallery.
Space Utopia collects over a decade of Fournier’s work surrounding space exploration on earth. Evoking a tenacious nostalgia toward the science fiction of the twentieth century, his photographs reflect on international space travel over generations. His latest work consists of several NASA Space Centers (including Houston and Cape Canaveral) and presents the world’s most powerful rocket, SLS, which will launch astronauts in the agency’s Orion spacecraft on missions to an asteroid and eventually to Mars.
Such images remind us of a time when space was still an unknown territory; a time when the race for discovery was broadcasted worldwide in black and white. Through his eerie perspective, and sometimes humorous approach, Fournier connects these romanticised memories of the past to both the present and the possibilities of the near future - exactly 50 years after ‘one small step for man’ landed on the moon.
Fournier has had unparralled access to various NASA space and research centers alongside facilities such as the European Space Agency (ESA), the Russian space agency (Roscosmos) and the European Southern Observatory (ESO). Thus, Space Utopia not only reflects his own artistic interpretation of these space programs, but also acts as a documentation of the way humans approach outer space and adds a question mark to our utopian view on space travel as real life science fiction.
Vincent Fournier is a French fine art photographer exploring significant utopian and futuristic stories. Fournier was born in 1971 in Ouagadougou, Burkina Faso, where he spent the first five years of his life before moving to France. He earned degrees in sociology and visual arts before studying photography at the National School of Photography in Arles. | | |
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| | | | | | | "Rockstar K.", 2018, 60 x 80 cm, Fine Art Museo Max Print, Auflage 3 (+2)
© Katja Flint, courtesy: Semjon Contemporary |
| | | | | | | | | | | | Fri 29 Mar 19:00
30 Mar – 4 May 2019 | | | | | |
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| | | | | | Abschlussausstellung #25 der Klassen Eva Bertram, Eva Maria Ocherbauer und Marc Volk | | | | | | | Fri 29 Mar 19:00
30 Mar – 5 May 2019 | | | | | |
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| | | | | | | | | | | | | | Fri 29 Mar 19:30
30 Mar – 12 May 2019 | | | | | |
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| | | | | | Photographs on Brexit
Ostkreuzschule für Fotografie | | | | | | | Fri 29 Mar 19:30
30 Mar – 12 May 2019 | | | | | |
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| | | | | | | | Tish Murtha, Elswick Kids, 1978 © Ella Murtha, All rights reserved. |
| | | | | | | | | | | | Fri 29 Mar 19:30
30 Mar – 12 May 2019 | | | | | |
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| | Christopher Thomas
Elbphilharmonie, 2019
Pigment-Print auf Büttenpapier
103 x 135 cm, Auflage 25
© Christopher Thomas / Courtesy Persiehl & Heine, Galerie für Fotografie | | | | | | | | 28 March – 4 May 2019 | | | | | | | | | | | | | Christopher Thomas, born in Munich in 1961, a graduate of the Bavarian State School of Photography, has become very popular with his city portraits. His cityscapes are recorded with the large-format camera and printed on handmade paper. The footage is a Polaroid type 55 black and white film.
The city views were opened by the series "Münchner Elegien" (1999 – 2017), followed by the collection "New York Sleeps", which was produced between 2001 and 2009. Other city portraits followed: "Venice. The Invisible" (2012), "Paris in the Light" (2014), "Lost in L.A." (2017) and most recently "Hamburg" (2019). His series "Eternity" was exhibited in 2017 at the Kallmann Museum in Ismaning.
The work of Christopher Thomas is featured in prestigious photo galleries around the world at exhibitions and fairs, and is exposed in important private and institutional collections such as the Francois Pinault Collection, the Sir Elton John Photography Collection, the SØR Rusche Collection, and the German Bundestag Art Collection. | | |
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| | Lauren Greenfield: China Rich 2005 Xue Qiwen, 43, in her Shanghai apartment,
decorated with furniture from her favorite brand, Versace, 2005.
Lauren Greenfield/INSTITUTE © Lauren Greenfield | | | | | | | | 30 March — 23 June 2019 | | | Opening: Friday, 29 March 2019, 7 p.m.
Lauren Greenfield will be present | | | | | | | | | | | | | The exhibition GENERATION WEALTH by award-winning filmmaker and photographer Lauren Greenfield shows today’s ubiquitous quest for status, beauty, and wealth. The show will be presented for the first time in Germany in the House of Photography at the Deichtorhallen.
The documentary photographer Lauren Greenfield grew up in Venice, a rough neighborhood in Los Angeles, in the 1970s and ’80s. In the early 1990s, she began photographing children from private schools, where the social customs of privately educated Hollywood teenagers were defined and shaped by lavish parties, expensive cars, and designer handbags. Ultimately she realized that the desire for money, fame, beauty, and sexual capital has become an all-encompassing obsession for people of all ages and classes, regardless of nationality.
The exhibition GENERATION WEALTH is the result of more than 25 years of work and offers a unique view of how the search for material goods and sexual capital has evolved over time around the world. The exhibition was produced and first shown at the Annenberg Space for Photography in Los Angeles. The international tour will now take it to Hamburg after stops at the International Center of Photography in New York, the Nobel Peace Center in Oslo, and the Fotomuseum Den Haag.
The exhibition catalog Generation Wealth, published by Phaidon in the spring of 2017, garnered rave reviews and was selected as »Photography Book of the Year« by Creative Review and the London Times. | | |
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| | | | | | | | Johannes Huwe: Flag Girl from The Race of Gentlemen, 2015 |
| | | | | | | | | | | | Thu 28 Mar 18:30
28 Mar – 3 Apr 2019 | | | | | |
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| | | | | | | | Roland Iselin: Orton Street Daggett, California |
| | | | | | | | Twentysix Gasoline Stations & Troubled Land, 2017 – 19 | | | Wed 27 Mar 19:00
28 Mar – 17 Apr 2019 | | | | | |
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| | FLORENCE HENRI
Portrait Composition (Nude with Comb), 1930
Gelatin silver print, printed 1977
© Martini & Ronchetti, courtesy Archives Florence Henri | | | Florence Henri »
REFLECTING BAUHAUS: Photographs & Paintings | | | | 28 March – 18 May 2019 | | | | | | | | | | | | | Atlas Gallery is pleased to present an exhibition of photographs and paintings by Bauhaus artist and photographer Florence Henri (1893-1982). Florence Henri’s work has featured in major institutional exhibitions worldwide, but this is the first time in many years that such a large body of the artist’s work is available for sale.
Despite enjoying considerable popularity in the 1920s and 1930s, Henri’s work was forgotten until it resurfaced through a fortuitous series of discoveries in the mid-1970s that led to a thorough study of her work and the creation of her archive.
Henri trained first as a pianist in Rome and then as a painter under Fernand Léger, from whom she adopted the visual language of Cubism. At the Bauhaus in Weimar in 1924, she was also taught by Paul Klee and Wassily Kandinsky. Henri enrolled at the Bauhaus school of art, design and architecture in Dessau in 1927 at which point she turned solely to photography. With the encouragement of Hungarian constructivist artist László Moholy-Nagy (1895-1946) and his wife, Lucia Moholy (1894-1989), she explored the latest art movements – Constructivism, Surrealism, Dadaism and De Stjil. Henri experimented with ‘New Vision’ photography as practised by Moholy-Nagy, Man Ray and Aleksander Rodchenko. The influence of her association with El Lissitzky and Piet Mondrian was also significant and is reflected her grid-like compositions of this period (1928-29).
Henri quickly became one of the most celebrated photographers associated with the Bauhaus, appearing in seminal exhibitions such as Film und Foto at Stuttgart in 1929. Displayed among other of her remarkable contemporaries including: Moholoy-Nagy, Kurt Schwitters, Hans Richter… | | |
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| | | Ruth Van Beek, Rehearsal 1, 2014 © Ruth van Beek and The Ravestijn Gallery | | | | | | How to do the Flowers, Act 2 / Rehearsal 1 | | | | 28 March - 27 April 2019 | | | | Opening: Wednesday March 27th, 2019 from from 18.30 onwards | | | | | | | | | | | | | The Ravestijn Gallery Amsterdam, in cooperation with Claudio Composti and Ncontemporary, are proud to present 'How to do the Flowers, Act 2 / Rehearsal 1', a solo show by Dutch artist Ruth van Beek at Ncontemporary Project Room in Milan.
Ruth van Beek’s work originates in her ever-growing image archive. The images, mainly from old photo books, are her tools, source material and context. Van Beek physically intervenes within the pictures. By folding, cutting, or adding pieces of painted paper, she rearranges and manipulates the image until her interventions reveal the universe that lies within them.
In a series of exhibitions Ruth investigates the role of her latest artist book How to do the Flowers as a manual, connector and generator for new work. Hereby bringing the viewer closer to the origins of her work. The same risks will be taken as in the artist’s studio. Circumstances are created in which playing, searching, intuition and humour can play the leading role.
This exhibition, hosted by Claudio Composti and NContemporary Project Room, will be on show during Salone del Mobile. | | |
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| | | | | | | Blue Boy from Pink Narcissus (Bobby Kendall), mid to late 1960s
© James Bidgood |
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| | | | | | | | Toby, at rest after a long shoot. She was the opening act for the drag performer Ethyl Eichelberger, 1990 © Mariette Pathy Allen |
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| | Handrail and balustrade, main entrance staircase, Bauhaus Dessau, 2005
© photography Stefan Berg / Building design Walter Gropius VG Bildkunst | | | | | | bauhaus – seen by stefan berg | | | | Curator: Harald Theiss | | | | 5 April – 17 May 2019 | | | Opening: Thursday, 4 April, 6pm
RSVP by 29 March: here For security reasons, it is imperative to register in advance.
An early registration is recommended due to a limited number of places.
A valid identification document is required for entry. | | | | | | | | | | | | | As a contribution to this year’s 100 years of Bauhaus retrospective, Stefan Berg uses contemporary imagery that has been liberated from the common discourse on cultural history and architecture to bring to the fore and into the present what "thinking the Bauhaus" can mean. The artist’s aim is to illustrate the idea of the Bauhaus – reflecting and making tangible the modernisation and design of a society.
With a focussed photographer’s eye, Berg examines whether and how the underlying concept of the Bauhaus is manifest in the building in Dessau. The photographic works prompt viewers to reapproach the question of "what exactly is the Bauhaus?" and possibly make new discoveries. (Curator Harald Theiss)
Stefan Berg is a photographer and worked as a lecturer in photography at the Anhalt University of Applied Sciences in Dessau, In this time he realized the Bauhaus Series. Photographic works by Stefan Berg have been shown in Germany, France and Belgium like the Goethe-Institut Lyon and the Goethe-Institut Nancy. He has taught at universities such as the University of Arts Berlin, the Anhalt University of Applied Sciences in Dessau and the University of Applied Sciences in Potsdam. Stefan Berg lives and works in Berlin as a freelance photographer and lecturer.
bergwerke.net/portfolio/fotoprojekte/bauhaus/
Harald Theiss is art historian, curator and writer. He organizes i.a. exhibitions on socially relevant issues, takes care of private art collections and art in architecture and public space projects. Harald Theiss lives and works in Berlin. | | |
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| | | | | | | | | | | | | | Thu 28 Mar 19:00
29 Mar – 25 May 2019 | | | | | |
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| | | Willy Spiller: Hildegard Schwaninger in the last public bathhouse, Zurich 1972 | Willy Spiller: backyard in district number 4, Zurich 1970 |
| | | | | | | | | | | | 28 March - 11 May 2019 | | | Opening: Thursday, 28 March, 6-9pm
Guest speaker: Stefan Zweifel / Both artists will be present.
The photo book ZÜRICH 1967-1976 by Willy Spiller (Edition Bildhalle) will be released at the opening.
The exhibition presents the city of Zurich and its people as they lived and worked during the tumultuous times between 1967 and 1976, when youthful rebellion and sexual revolution confronted bourgeois morality and order. The two photographers Willy Spiller and Fred Mayer will exhibit some of their best-known works at Bildhalle, images that are visually intense, absurd and a witty testimony to the zeitgeist of that time. | | | | | | | | | | | | | Willy Spiller (*1947, Zurich) has become well known as a photojournalist far beyond Switzerland. In his unmistakable artistic style and with his precise eye, he has photographed Swiss and international celebrities in historically eventful years, amongst them people like Alfred Hitchcock, Paul Nizon, Federico Fellini, Hildegard Schwaninger, Lady Shiva, Walter Pfeiffer and David Weiss.
Willy Spiller is not only a fine art photographer but also specialises in cultural reporting and corporate communication. He is also the only Swiss contributor to the famous GettyImages, USA.
After receiving his master's degree from the Zurich University of Art and Design (ZHDK), Willy Spiller gained further experience in Milan in a wide variety of photographic disciplines. The majority of his subsequent work was strongly rooted in photojournalism. Travelling on his own or with various writers, Willy Spiller has visited all five continents on his many assignments. His images have appeared in numerous leading European newspapers and magazines.
Willy Spiller's signature style involves capturing images that re-tell everyday stories, utilising techniques characteristic of fine art and documentary photography. | | |
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| | Fred Mayer: Jumble siblings Melvi, Zurich, 1971
signed Baryta Print, 50 x 35 cm | Fred Mayer: Aja Iskander Schmidlin, painter, Zurich, 1971
signed Baryta Print, 50 x 35 cm |
| | | Fred Mayer shows vintage prints from his three-part series «Zürcher Panoptikum», originally published in the weekend edition of the Neue Zürcher Zeitung in 1972, accompanied by a text by Hugo Loetscher. Whether publishers, artists, street sweepers or loiterers, they all appeared in front of Mayer's camera. Following the principle of US photographer Irving Penn, Fred Mayer did not portray his protagonists posing within their familiar milieu, but rather with their guard down against a neutral background in his studio. The resulting portraits of around 90 Zurich residents are intimate and timeless, and include celebrities such as Ueli Prager, Max Bill, Hugo Lötscher, Sigmund Widmer and the painter Varlin.
The exhibition presents the city of Zurich and its people as they lived and worked during the tumultuous times between 1967 and 1976, when youthful rebellion and sexual revolution confronted bourgeois morality and order. The two photographers Willy Spiller and Fred Mayer will exhibit some of their best-known works at Bildhalle, images that are visually intense, absurd and a witty testimony to the zeitgeist of that time.
Fred Mayer is a Swiss photographer, photojournalist, publicist and author. He was born in 1933 in Lucerne, Switzerland, where he attended school followed by a three year apprenticeship with the photographer Otto Pfeifer.
In 1950 he moved to Zurich where he worked as a photographer for more than six years for international press agencies like ATP, DPA, AFP and UPI, producing daily news and reportages. In 1956 he married the Keystone photographer Ilse Günther and began to work as an independent photographer for Swiss press publications such as Neue Zürcher Zeitung, Schweizer Illustrierte an… | | |
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| | | | | | | | Art Basel in Hong Kong 2018 © Art Basel |
| | | | | | | | | | | | Thu 28 Mar 17:00
29 – 31 Mar 2019 | | | | | |
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| | | | | | Sound + Vision | | | | | | | Wed 3 Apr 18:00
1 Apr – 30 Apr 2019 | | | | | |
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| | | | | | Art Gallery of New South Wales / Carriageworks/ Museum of Contemporary Art | | | | | | | 30 Mar – 23 Jun 2019 | | | | | |
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| | | | | | | | | | | | | | Wed 3 Apr 19:00
3 Apr – 30 Apr 2019 | | | | | |
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| | | The Ball © Ingvar Kenne | | | | | | | FOREVER//NOW | | | | | | | | until 14 April 2019 | | | | | | | | | | | | | In Derby’s museums, art galleries and historic, pop-up and renovated spaces and buildings the festival will present over 50 exhibitions, including portraits of Elvis impersonators and off grid Siberian communities; documentary projects on the tribes of native Indians and the post conflict and wartime landscape of North Africa; a French treasure hunt for buried gold and the search for the truth behind the exclusive Bohemian Club in America. These are just a few of the many extraordinary photography stories visitors to Derby will discover at FORMAT19. The new generation of photographic artists rush towards the new, embracing the rapid transformation that technology and cultural exchanges bring to it. It is such new approaches to photography that FORMAT19: FOREVER//NOW will address during the festival. Forever is an idea built into the very nature of the photograph that records the moment and immediately presents us with a visual memory of the past. Forever touches upon our obsession to record and share the continuous moments of our lives. Yet forever is an illusion and the immortality photography proffers can quickly sour when digital anonymity becomes virtually impossible to obtain. The eruption of selfies and Instagram is contradicted by campaigns around the right to be forgotten or opt out. Now is the new photography orthodoxy, in which the message is all, the product of an era that is seen as "post truth", regardless of whether it is a fictionalised story or a factual narrative or an aesthetic mixture of the two. The challenge for the photographer is how to establish their message in the now and stop it being transitory. In this era of Trump’s fake news, where truths, lies and myths are easily interchanged, we need to find a new structure to realign our perception of reality and provide a frame of reference for identifying where the truth really resides. FORMAT19 will look at how photography is evolving and moving ever forward, while keeping a curatorial eye on its past and how it is being constantly reinterpreted. Even as we endeavour to extend subjects through photography, time and material can never be endless, it is a difficult concept to pin down and the immortality that photography seems to offer is always just out of reach. Alongside the mass production of pictures and our seemingly endless desire to be seen, there are calls for digital anonymity and campaigns around the right to be forgotten or to opt out. FOREVER//NOW is a contested idea that we invite you to think widely about, there are many ways to perceive it. | | |
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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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| | | | | | L’abîme du temps | | | | | | | – 14 Apr 2019 | | | | | |
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| | | | | | | | Zanele Muholi, 2018, installation view, Kochi-Muziris Biennale. Courtesy: Kochi Biennale Foundation |
| | | | Possibilities for a Non-Alienated Life | | | | | | – 29 Mar 2019 | | | | | |
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| | | | | | | | | | 11th Moscow International Biennale | | | | | | | Feb – April 2019 | | | | | |
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| | | | | | Leaving the Echo Chamber | | | | | | | – 10 Jun 2019 | | | | | |
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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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