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| PHOTOGRAPHY INTERNATIONAL | | 28 Nov - 5 Dec 2018 | |
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| | | | | On Tuesday Dec 4 ART MIAMI, UNTITLED, SCOPE
and Context are starting the Art Week 2018,
ART BASEL Miami Beach on Wednesday Dec 5 and
PULSE on Thurs Dec 6. More than 500 exhibitors will exhibit more than
1,000 artworks in photography and videoart. The Miami Street Photography Festival 2018 is presenting from 6 - 9 Dec the best of contemporary street and documentary photography. |
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| | | © Koto Bolofo | | | IT'S PERSONAL | | | | 30 November 2018 – 18 January 2019 | | | | Opening reception: Friday 30 November 17:30 | | | | | | | | | | | | | | |
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Saul Leiter
Untitled, New York, ca. 1950
© Saul Leiter Foundation
Courtesy Howard Greenberg Gallery |
David Lynch
Untitled
Los Angeles, 1990s
© David Lynch |
Helmut Newton
Jenny Capitain, Pension Florian
Berlin 1977
© Helmut Newton Estate |
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| | | | | | | Nudes | | | | 1 December 2018 – 19 May 2019 | | | | Opening: Friday, 30 November, 8 pm | | | | | | | | | | | | | The three-part exhibition "Saul Leiter. David Lynch. Helmut Newton: Nudes" will open at the Helmut Newton Foundation on 30 November 2018. It marks the first time in the history of the Berlin institution that an exhibition will be dedicated exclusively to the genre of nude photography.
Saul Leiter, parallel to his fashion photography for Harper’s Bazaar and the colorful abstractions he captured on the streets of New York from the late 1940s onwards, also photographed nudes in the studio. These pictures remained virtually under lock and key during his lifetime; only a few of his friends knew his quiet, intimate black-and-white images. While Leiter had his color film processed by photo labs in New York, he developed the nudes himself in his own darkroom. His female models were friends or lovers, whom the artist portrayed in his New York apartment.
Following Leiter’s death in 2013, Margit Erb, the director of the Saul Leiter Foundation, has worked to re-examine, publish, and publicize his multifaceted artistic legacy. In 2018, a book on Leiter’s nudes, "In My Room", was published by Steidl Books, and Howard Greenberg Gallery in New York exhibited a new selection of his nudes. The Helmut Newton Foundation now presents for the first time more than 200 vintage and late prints. While half of the selection is framed and on the wall, the other half is presented in an exhibition vitrine as snippets, fragmented by Leiter himself. His small-format nudes depict women together or alone as they recline on sofas, become silhouettes against the light, seem lost in thought while smoking a cigarette, or smile and pose for Leiter’s camera; not all models are entirely undressed. The images are subtle, sensitiv… | | |
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| | | | | | | | Mailand 2018 © Ingar Krauss |
| | | | | | | | | | | | Milan - Winter Light | | | Thu 29 Nov 19:00
30 Nov 2018 – 26 Jan 2019 | | | | | |
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| | | | | | | | © Nan Goldin, The Ballad of Sexual Dependence |
| | | | | | | | | | | Wed 5 Dec 19:00
6 Dec 2018 – 10 Feb 2019 | | | | | |
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| | | Our Writing Tools Take Part In The Forming Of Our Thoughts, 2017 (Detail) © Lilly Lulay | | | RECOMMENDED OLYMPUS FELLOWSHIP | | | | | | | 1 December, 2018 – 10 February, 2019 | | | | Opening: Friday, 30 November, 7pm | | | | | | | | | | | | | What relevance does photography have today? Is it self-reflective or does it influence our perception and shape our view of the world? Questions like these are the focus of the first fellowship recommended which Olympus initiated in 2017 together with the Fotografie Forum Frankfurt (FFF), the House of Photography /Deichtorhallen Hamburg and Foam Fotografiemuseum Amsterdam. The inquiry of the medium guides us through the works of Lilly Lulay, Thomas Albdorf and Nadja Bournonville: For one year the first three recipients worked on projects dealing with the significance of creative photography and were also individually mentored by the institutions’ curators. Under the title "RECOMMENDED OLYMPUS FELLOWSHIP" Fotografie Forum Frankfurt is now exhibiting the new works.
Lilly Lulay (*1985, Frankfurt/Germany) examines the transitional use of photography in our living spaces and in the virtual spaces of smartphones. The extended levels of imagery and symbols are visualised in her final artworks when she uses laser-cutting technology to “write” over original photographic documentation. Additional installations with printed photographs on fabrics or porcelain engage viewers to experience photographs as three-dimensional objects.
Thomas Albdorf (*1982, Linz/Austria) is concerned with our perception and the effect of artificially created images. At the first glance the viewer is confronted with cliché motifs and cultural subject matter ironically leaving one to doubt their meaning. Albdorf cleverly uses image recognition technologies and software to create new images, to question how automatic digitally rendered visuals influence meaning and interpretation.
Nadja Bournonville (*1983, Vimmerby/Sweden) uses photography to follow traces of biographical tipping points and failed adventures. She draws from a family history: the aunt of Bournonville’s grandmother was a spy for Germany in World War I and was arrested only two weeks into her mission. Through a selection of different processes, sizes and materials inspired by the biographical story Bournonville produces a rich constellation of photographic associations and emotions of universal meaning.
"Photography is a key factor of the digital era", says Celina Lunsford, artistic director of the FFF, curator of the exhibition and the fellowship. Pictures can be produced, reproduced and disseminated more quickly now than ever before; photographs communicate fragments of reality and at the same time question what is in the image. "A stage for unique challenges has been created through recommended Olympus Fellowship. Experience has shown that art plays a major role in the development of the photographic medium."
"recommended" is a fellowship, founded in 2017, that is characterised by its unique partnership between the institutions Foam Fotografiemuseum Amsterdam, Haus der Photographie / Deichtorhallen Hamburg, Fotografie Forum Frankfurt and Olympus. Olympus’ goal is to support emerging photographic artists. The exhibition houses have contributed their expertise to the development of the fellowship. "recommended" allows the fellowship holders to freely create a photographic work, provides 10.000 €, personal consulting by an experienced curator, exhibition opportunities and top-quality camera equipment. The fellowship is granted biennially. | | |
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| | | | | | | | Tono Stano: waiting for a stroke, 1993 |
| | | | joint exhibition with Sparkasse Vorpommern | | | | | | Fri 30 Nov 19:00
30 Nov 2018 – 26 Jan 2019 | | | | | |
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| | | | | | | | | | | | | Feminine | | Fri 30 Nov 18:00 30 Nov 2018 – 2 Feb 2019 | | | | | | | |
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| | | Rosalind Solomon: Untitled, 1980, Gelatin Silver Print, 17.6 x 17.6 cm | | | | | | | | November 16th – January 13th 2018 | | | | | | | | | | | | | The gallery Julian Sander is very pleased to show the series Carnival 1980 of American photographer Rosalind Fox Solomon. These works are a compelling example of her humanistic-documentary work as well as a visual manifestation of her seen reality with all its consequences.
Rosalind Fox Solomon was born in 1930 in Highland Park, Illinois and currently lives in New York City. She is celebrated for her portraits and her understanding of human suffering, ritual, survival and struggle, which is repeatedly visible in her work. The photographs move back and forth between the personal and the universal. Her talent lies in her ability to interpret and photograph both the social elements of the places she travels to and the obsessions and fears that travel with her.
Rosalind Fox Solomon has been associated with the Sander family for decades. Already in 1978, Gerd Sander showed her work in his Washington gallery. She lived in Washington DC for a period in time around 1977, while her husband was an Administrator of the General Services Administration. She photographed artists and politicians there, including Louise Nevelson, Eva Le Gallienne, William Christenberry and Tony Smith.
Solomon sees photography as a medium and not just as an art form: object and content play an equal role. The gallery Julian Sander picks up on this essential aspect of her work by presenting the photographs as a space-consuming installation, which makes the works tangible in their front and back. | | |
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Untitled, ca. 1987 © The Irving Penn Foundation |
Rooftops, 2003 © The Irving Penn Foundation |
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| | | | | | | | | 28th November 2018 – 25th January 2019 | | | | | | | | | | | | | Hamiltons presents the first-ever UK exhibition of paintings by Irving Penn. Although Penn is internationally renowned for his work as a photographer, he initially set out to be a painter and worked in the medium at the beginning and end of his career. Focused on Penn’s paintings from the artist’s final two decades, Hamiltons’ exhibition will be on view until 25thJanuary 2019.
Encompassing multiple works drawn from the collection of The Irving Penn Foundation, the exhibition will showcase Penn’s mixed-media paintings from the late 1980s through the early 2000s, highlighting the artist’s experimentation with materials, form, and colour. Drawing inspiration from leading 20th century figures such as Henri Matisse, Giorgio Morandi, and Fernand Léger, Penn’s textured, primarily abstract, paintings deviate from the striking style of his photographs yet share in similar techniques and bold character. Penn’s paintings comprise successive layers, resembling collages. In an evolution of his platinum-palladium printing technique for photography, many of Penn’s paintings commenced with the artist creating a drawing in graphite or ink of subjects ranging from mushrooms to mythical creatures, which he would then photograph, enlarge, and print to emphasize his lines’ graphic style. The printed form served as the painting’s design, over which Penn would apply combinations of watercolour, ink, dry colour pigments and gum arabic, sometimes adding sand to achieve greater texture. As this practice evolved in the early 2000s, Penn began to forego the printing step, painting more directly and freely. By surveying the full range of Penn’s painting, the exhibition reveals how his style grew increasingly gestural and fluid over time, embracing all that the medium offers. | | |
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| | ANSEL ADAMS
Pinnacles, Alabama Hills, Owens Valley, California From Portfolio V, 1945
Silver print mounted to Strathmore board | | | Ansel Adams » Landscapes of the American West | | | | 30 November 2018 – 2 February 2019 | | | | Opening reception: Thursday 29 November 18:30 | | | | | | | | | | | | | | |
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| | | Naoya Hatakeyama, Blast #05070, 1998 | | | LAND__SCOPE | | | | Photographic Works from Roni Horn to Thomas Ruff in the DZ BANK Art Collection | | | | | | | 30 November, 2018 – 31 March, 2019 | | | | Opening: Thursday, November 29, 7pm | | | | | | | | | | | | | This exhibition is dedicated to landscape photography in contemporary art. The works from the DZ BANK Art Collection offer a broad overview of different themes to show that nature photography is not merely another version of traditional painting but is governed by new representational conventions. The exhibition examines images from the last five decades right up to the digital age to explore the ways in which the specific medium of photography has depicted the world. Photographic landscapes, both analog and digital, often address public debates and political discourses, and this will be a further focus of the exhibition.
Landscapes, as aesthetic phenomena and as the product of cultural associations, have always served as signifiers of a great variety of projections, world views, and narratives. They promote identification or use abstraction to create alienation. Current debate about our new geological age – the anthropocene period, an epoch in which human activity has been the dominant influence on geology, climate and the environment – has provided the stimulus to take a new look at the artistic appropriation of landscapes, and to pose questions, as asking, for example, what these depictions tell us about the relationship between humans and nature. Or, indeed, what landscapes represent at the present time, in a world determined by globalization and technological change; and with what kind of philosophical, environmental, and economic significance are they freighted. Finally, how (trans)historical, (trans)cultural, geopolitical, and hegemonic systems determine how we perceive nature and terrain.
The exhibition title references the theme of the project. It combines "landscape" with "scope", taken from the Greek "… | | |
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| | Campo Méridiens, Palladium print on Japanese paper, 9,6 x 12 cm, edition of 3, 990€
© Thibaud Yevnine | | | MEMORIES | | | | | | | 15 November – 22 December 2018 | | | | | | | | | | | | | For its first group show, Galerie Thierry Bigaignon decided to showcase three unique photographic approaches, through the works of three French artists: Thierry Urban, Fabien Dettori and Thibaud Yevnine.
"Experience is a memory, but the opposite is true," wrote Albert Camus! The exhibition "Memories" came to Thierry Bigaignon’s mind when he discovered the different styles of these three artists. Each of them creates singular images, but yet, when you have a closer look at the images, you soon realize that they have one particular thing in common. They all have the power to take you to a kind of mental journey through a period in time that is gone, that seems familiar to us without us knowing it! These photographs, by their dreamlike nature, are loaded with imaginary memories.
The three artists have a particular relationship with the photographic medium: whereas Thierry Urbain plays with textures, applying different layers to his photographs and bringing out a notion of mystery, Fabien Dettori does not hesitate to tear up his Polaroids to better sublimate them as he reconstitutes them with gold leaf, following the example of the Kintsugi philosophy that inspires him. Thibaud Yevnine, for his part, opts for the palladium to give his images a tone that perfectly highlights this idea of mental journey, of dream, of memory in short. And Thierry Bigaignon added: "I was willing to organize a group show for the end of the year with, if possible, small formats, presented as ‘jewels'. When I discovered the work of these artists, I was instantly seduced by their respective approaches. They each have a unique signature but I saw in their work a common form of poetry”. | | |
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| | Lisl Ponger
Untitled, 2013
From the series La Catrina or another Mexican Afternoon
Chromogenic print
© Lisl Ponger / Bildrecht, Vienna, 2018 | | | | | | | | Otto Breicha Prize for Artistic Photography | | | | 1 December 2018 – 24 March 2019 | | | | Opening: Friday, 30 November, 7pm | | | | | | | | | | | | | Photography, experimental film, media art—Lisl Ponger’s oeuvre is unusually variegated. Her work insistently probes the relationship between the foreign and the native and familiar. The Museum der Moderne Salzburg now surveys the art of the 2017 Otto Breicha Prize for Artistic Photography honoree in a comprehensive exhibition on two gallery floors at the Rupertinum.
Lisl Ponger (b. Nuremberg, DE, 1947) launched her career as a film and photography artist in the early 1970s. In staged photographic pieces such as La Catrina (2013) and Teilnehmende Beobachterin (2016), Ponger pinpoints the ways in which stereotypes, racist ideas, and scopic constructions that emerged in the mid-nineteenth century have persisted and even thrived in photography. She is also a collector, gathering objects of Western vernacular culture and trinkets from tourist souvenir shops that reveal the Western engagement with foreign cultures for her fictional Museum MuKul (Museum for Foreign and Familiar Cultures). Divided into three sections, her exhibition Professione: fotografa will showcase numerous major photographic tableaus and a selection of early films as well as objects and sculptures from the Museum MuKul. Also on display will be the installation The Master Narrative und Don Durito, which Ponger created for the reopening of the Weltmuseum, Vienna, in 2017.
The title she chose for her show is an allusion to Michelangelo Antonioni’s 1975 motion picture Professione: reporter, which examines epistemological problems and questions of personal responsibility as well as the relationship between the artist and his creation. "As we worked closely with Lisl Ponger to design this extensive survey exhibition, we were … | | |
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| | | | | | | Blue-black in black on brown, New York, 1981.
© JEAN-PAUL GOUDE |
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| | | | | | | | | | | | | Tue 4 Dec 16:30 | 4 – 9 Dec 2018 | | | | | |
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| | | | | | | | | | | | | Tue 4 Dec | 5 – 9 Dec 2018 | | | | | |
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| | | | | | | | | | | | | Tue 4 Dec 16:30 | 4 – 9 Dec 2018 | | | | | |
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| | | | | | | | | | | | | Tue 4 Dec | 5 Dec – 9 Dec 2018 | | | | | |
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| | | | | | | | | | | | | Wed 5 Dec | 6 – 9 Dec 2018 | | | | | |
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| | | | | | | | | | | | | Thu 6 Dec | 6 – 9 Dec 2018 | | | | | |
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| | Henry Wessel
Icons, 1968-89
Portfolio of 15 gelatin silver prints 2007
Each circa 17.8 x 26.7 cm (27.8 x 35.3 cm)
From an edition of 5
€ 25,000 – 30,000
Lot 116 / Auction 1120 Photography | | | | Auction 1120 | Photography | Friday 30 November 2018, 2 pm | | | | | | | Preview:
Wednesday 28 November, 10 am – 5.30 pm
Thursday 29 November, 10 am – 3 pm
Online Catalogue:
www.lempertz.com | |
| | | | | | Lempertz Neumarkt 3 . 50667 Cologne / Germany
Experts: Maren Klinge M.A. & Dr. Christine Nielsen
Tel: +49-(0)221-92 57 29-28 or -56
Fax: +49-(0)221-92 57 29-6
photo@lempertz.com
www.lempertz.com | |
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| | | | Thomas Ruff
Substrat 27 II, 2005
C-Print under plexi glass (diasec)
239.5 x 159.7 cm (259.8 x 181.6 cm)
€ 50,000 – 70,000
Lot 542 / Auction 1122 Contemporary Art and Photography | | | | Auction 1122 | Contemporary Art + Photography | Saturday 1 December 2018 2 pm | | | | | | | | | | | | | | Lempertz Neumarkt 3 . 50667 Cologne / Germany
Experts: Maren Klinge M.A. & Dr. Christine Nielsen
Tel: +49-(0)221-92 57 29-28 or -56
Fax: +49-(0)221-92 57 29-6
photo@lempertz.com
www.lempertz.com | |
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| | Lot 4180
Friedlander, Lee
Madonna nude in various poses (Madonna nude, reclining in chair.)
3 ferrotyped gelatin silver prints. 1979-80/printed 1985.
Circa 24,5 x 16 cm (25,7 x 20,2 cm) and 15,8 x 24,5 cm (20,2 x 25,7 cm).
Estimate € 9.000 | | | Bassenge Photography Auction 112 | | | | Photography from the 19th - 21st Century | | | | | | Wednesday, December 5, 2018 15:00 Erdener Str. 5a, 14193 Berlin Preview:
Rankestrasse 24, 10789 Berlin 26 November – 1 December: 10 – 18:00
3 December: 10 – 18:00
4 December: 10 – 15:00
as well as by appointment
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| | Lot 314.
Erwin OLAF
Royal Blood, Di + 1997 - 2000
Tirage couleur sous diasec
Edition de 7 exemplaires
h: 124 w: 124 cm
Estimation 8 000 - 10 000 € | | | | | Post-War & Contemporary Art II | | | | | | Auction: Wednesday, 4th December, 4pm
Public exhibitions:
Friday 30 November, 11am-7pm
Saturday 1 December, 11am-6pm
Sunday 2 December, 2pm-6pm
Monday 3 December, 10am-2pm | |
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| | RICHARD AVEDON (1923-2004)
Naomi Campbell, New York City, 2001.
Archival Pigment Print. Vintage.
Image size 37.8 x 37.4 cm; sheet size 50.2 x 40.5 cm.
Estimate: CHF 12 000 / CHF 18 000 | (€ 10 430 / € 15 650) | | | PHOTOGRAPHY | | | | | | Auction:
Tuesday 4 December 2018, 4.00 PM
Preview: 28 November – 2 December 2018 Wed 28 Nov - Sun 2 Dec 2018, 10am - 6pm
Thu 29 Nov 2018, 10am - 9pm Hardturmstrasse 102, 8031 Zurich
Online catalogue:
www.kollerauctions.com | |
| | | | | | | | | | | | | The winter photography auction at Koller Zurich features a strong selection of classic and modern photographs: Ansel Adams (lots 1706-1707), Bill Brandt (lots 1679-1684), Sabine Weiss (lots 1696-1697, 1700), William Klein (lots 1701-1703, 1716), and Geraldo de Barros (lots 1668. 1670-1673) are just a few of the artists in this diverse group.
Particularly noteworthy is an early and rare street view of New York made by Albert Stieglitz (lot 1631) for the review Camera Work (cf. lots 1620-1631). Alongside two very interesting and extremely rare daguerreotypes by Jean-Gabriel Eynard (lots 1601-1602) are an early image of the moon by Lewis Rutherford (lot 1603) and photos by the Bisson brothers (lots 1604-1605). Among the Swiss landscape views, a rare image by Albert Steiner (lot 1615) poses existential questions on the sublimity of nature.
The cover image of the catalogue is an iconic fashion photo by Erwin Blumenfeld (lot 1738), made for Dior in 1946. Among the numerous portraits in this auction are images of Marilyn Monroe by Bert Stern (lots 1730, 1732, 1733), Douglas Kirkland (lot 1731) and Milton H. Green (lot 1729). In Koller’s December 2017 Photography auction featured the entire Black Series by Richard Avedon, made for Winterthur International. In this auction, a selection of large-format portraits (ca. 120 x 120 cm) from the same series will be offered: Elle Macpherson, Giovanni Agnelli, Naomi Campbell as well as a self-portrait (lots 1740-1743).
Among the interesting selection of contemporary photographs are works by Stephen Gill (lots 1752-1754), Ryan McGinley (lot 1766), Olafur Eliasson (lot 1790), Kate Breakey (lots 1757-1758), Nobuyoshi Araki (lot 1760), Simen Johan (lots 1751 and 1777), Abelardo Morell (lot 1780) and Michael Kenna (lots 1786-1787). | | |
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| | | Han Lei : Peak Flown From Afar | | | | | | | The Wind of Time | | | | | | | | 1 December 2018 – 3 January 2019 | | | | | | | | | | | | | Lianzhou Foto Festival celebrates photography with over 60 international shows and a thematic exhibition. The theme exhibition ‘The Wind of Time’ of Lianzhou Foto Festival 2018 will gather the work of 25 local and international photographers, all investigating the ways we have shaped our world to fit our modern needs, technological ambitions, globalized and liberal ideals – and how in turn, this new modern world has shaped us, impacted labour and trade, modified the way we interact and occupy space. Curated by French curator Jérôme Sother, the theme exhibition will present artists such as Mathieu Pernot, Mohamed Abakar, Jacqueline Hassink, Yann Mingard, Oliver Sieber, Zhou Tao, Tom Wood, Salvatore Vitale, David de Beyter, Eline Benjaminsen, Lau Wai and more.
Furthermore 30 solo exhibitions are included by Paulo Coqueiro (Brazil), Erwin Blumenfeld (Germany / USA), Koji Onaka (Japan), Zhang Kechun, Zhang Er (China). | | |
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| | | | | | | | Femmes Fontaines series, 2012-2018 © Marianne Maric |
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| | | | | | | | Harit SRIKHAO, Thailand b.1995 / Heaven Gate, from the Whitewash series 2015-16 / Digital photograph / 64 x 100.3cm / © The artist / Image courtesy: Gallery VER, Bangkok |
| | | | | | | | | | | 24 Nov 2018 – 28 Apr 2019 | | | | | |
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| | | | | | | | © Natan-Dvir,-14th-St-Union-Sq1 - detail |
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| | | | | | | | © Marie Hudelot, Camouflage Aux Plumes, from the series Heritage |
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| | | | | | | Thomas Bangsted, Sopnes, 2017
Courtesy the artist & Gallery Tom Christoffersen
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| | | | Photography to end all Photography | | | | | | – 31 Dec 2018 | | | | | |
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| | | | | | Brave New World | | | | | | – 10 Feb 2019 | | | | | |
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| | Petros Efstathiadis, The bottom of the pool, 2016
From the series Gold rush. Courtesy of the artist and CAN (Christina Androulidaki Gallery) | | | | | | | 21 exhibitions, 142 artists of Greek and international photography | | | | | | | | until 19 January 2019 | | | | | | | | | | | | | The Thessaloniki PhotoBiennale 2018 presents to the public 21 exhibitions of Greek and international photography, of varying themes and photographic approaches, with the participation of 142 artists from many countries of the world. At this year's event, the central exhibition entitled Capitalist Realism is curated by Penelope Petsini and assistant curator Fotis Milionis. Structured in two large sections hosted at the Thessaloniki Museum of Photography and the Thessaloniki Contemporary Art Center, the exhibition attempts to highlight issues that contribute to the emergence or exacerbation of economic crises in the international environment, on a contemporary and historical horizon. This year's event, which marks the 30th anniversary of its founding, adopts some new ideas and practices for the festival | | |
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| | | I’m just Wan Chai girl, 2018 © Lau Wai. Jimei x Arles Discovery Award | | | | | | | | | | | | | – 2 January 2019 | | | | | | | | | | | | | Co-produced by Three Shadows Photography Art Centre and Xiamen’s Jimei District - Tianxia Jimei Media, the festival’s art direction is ensured by Bérénice Angremy and Victoria Jonathan, co-founders of cross-border art agency Doors 门艺. This year, the festival will boast 30 exhibitions and feature the work of 70 artists from the United States, France, Switzerland, Poland, Turkey, South Korea, Slovenia, and of course China.
Bringing each year to China exhibitions from one of the most renowned photo festival in the world, Rencontres d’Arles, Jimei x Arles also aims at providing a platform for new Chinese photography with several exhibitions showcasing young Chinese photographers and curators. Aside from the Jimei x Arles Discovery Award, which rewards a Chinese photography talent with 200,000 RMB and an exhibition at Rencontres d’Arles the next summer, the festival has created in 2017 a special prize for women photographers: the Jimei x Arles – Madame Figaro China Women Photographers Award, co-organized with women's magazine Madame Figaro, with the support of Women in Motion, an international programme launched in 2015 by luxury group Kering to showcase the contribution of women to the film and image industry.
Along with the exhibition program, a number of events are organized for photography professionals, art lovers and the public during the Opening Week: PhotoFolio Reviews, public discussions about photography, performances, university lectures, and exhibition tours guided by artists and curators. | | |
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© 14 November 2018 photography-now.com
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