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| weekly news | | 29 June - 5 July 2016 | |
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| | | |  | | | Chema Madoz, Sans titre, 2012
courtesy galerie Esther Woerdehoff
© ADAGP, Paris, 2016 |
| | | | | | | | | | | Wed 29 Jun 18:30
30 Jun – 2 Oct 2016 | | | | | | |
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| | | Arena New York Times, Miami 1978 © Helmut Newton Estate / Maconochie Photography | | | | Foam presents spectacular exhibition of work by Helmut Newton | | | | | | | – 4 September 2016 | | | | Simultaneously Foam 3h is exhibiting three young photographers who are working at the cutting edge of fashion, portrait and glamour photography. | | | | | | | – 4 September 2016 | | | | Selected artists each demonstrate a strong, unconventional visual language in both their commercial and autonomous work, reminiscent in various ways of certain Helmut Newton influences. | | | | |  | | | | | | | | | | | |
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| | | |  | | | | CHARLES FRÉGER: ONEONDE NO ODORIKO, Aritate, Fukuejima, Nagasaki Prefecture. Courtesy of the artist. |
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| | | |  | | | | Toni Meneguzzo: L.A. Style, 1992 © Toni Meneguzzo |
| | | | | | | | | | | Wed 29 Jun 18:00
30 Jun – 10 Sep 2016 | | | | | | |
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| | | Xochimilco, 2014, Video (video still) © Katya Gardea Browne | | | NatureCultures | | | | | | | 2 July – 4 September 2016 | | | Curated by Regine Rapp & Christian de Lutz
Opening: Friday, 1 July, 7 pm | | | | | | | | | | | | | | The exhibition "NatureCultures" explores the interwoven fabric of both the human and nonhuman in the 21st century. The exhibition title refers to a term coined by the American scholar Donna Haraway, which seeks to overcome the unproductive dichotomy of nature and culture. The side effects of human technology intrude into every environment, altering the balance, and even the make up of what we once called nature. While ecological disaster repeatedly threatens, there is a surprising resiliency in the myriad of life forms on this planet. The exhibition presents three artists who explore a realm between science and artistic research as well as between natural and cultural forms of inquiry. | | |
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| | | |  | | | | © Asghar Khamseh, Iran, Photographer of the Year, Professional, Contemporary Issues, 2016 |
| | | | | | | | | | | Tue 5 Jul 19:30
6 Jul – 25 Sep 2016 | | | | | | |
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| | Portrait #1, Rwanda, 2014
C-print, © Pieter Hugo, Stevenson Cape Town | | | | | | | – 16 Jul 2016 | | | | | | | | | | | | | STEVENSON is pleased to present 1994, a new series of photographs by Pieter Hugo. This is his sixth solo show with the gallery.
1994 comprises portraits of children born after 1994 in two countries, South Africa and Rwanda. Major historical events took place in both these countries in 1994, and this series depicts a generation of children growing up in a post-revolutionary era, when the possibility of change was definite while its realisation remains uncertain. | | |
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| | | |  | | | | Ursula Arnold: Husemannstraße. Berlin 1965 © Ostdeutsche Sparkassenstiftung |
| | | | | | | | | | | Sat 2 Jul 18:00
3 Jul – 3 Oct 2016 | | | For the first time in a museum exhibition, the three photographers Ursula Arnold (1929-2012), Arno Fischer (1927-2011) and Evelyn Richter (*1930) are being presented together, with a representative selection of their extensive bodies of work displayed in relation to one another. Commonalities and differences become apparent, together with the respectively specific approaches. In this exhibition three oeuvres and vitae of the leading exponents of socio-artistic photography can be discovered, each of whom chose their own path to escape the prevailing imagery of the GDR. | | |
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| | | © Izumi Miyazaki | | | | | | | 30 June - 30 July, 2016 | | | | Opening: Thursday, 30 June 2016 6pm | | | | | | | | | | | | | Izumi Miyazaki is a young Japanese photographer who captivates her fans on the web by her self-portraits that seem to come out of another world. Story of a phenomenon.
Japan is a country full of paradoxes, that does not stop surprising by its traditions and by its hybrid culture that ranges from "Kawai" to excess. It is fascinating to observe its ability to get out of the most dramatic events as two atomic bombs, a major economic and identity crisis, repeated earthquakes and tsunamis with the irreversible damage we know.
When you are in your twenties in Japan, it is unlike anything comparable. When your name is Izumi Miyazaki, even the people of Tokyo are faced with a kind of alien. | | | | |
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| | | Brooklyn Bridge Park Construction, Brooklyn, New York © Lynn Saville | | | | | | Dark City, Urban America at Night | | | Montgomery Museum of Fine Arts, Montgomery, Alabama | July 2 - September 25, 2016
Galerie Baudoin Lebon, Paris, France | September 14 - October 31, 2016
Florida Museum of Photographic Arts, Tampa, Florida | October 5 - December 15, 2016. | | | " ... [Lynn Saville is] the Atget of vanishing New York, prowling her city at the other end of the day, picking up pieces of the past in the present, just before it is swallowed in shadows."
-- Arthur C. Danto | | | | |
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| | | |  | | | International Press photographers covering the Korean War. Kaesong, South Korea, 1952
© Werner Bischof / Magnum Photos |
| | | | | | | | Hommage zum 100. Geburtstag | | 29 Jun – 11 Sep 2016 | | | | | | |
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| | Carmen Having Tea, 1950
© Lillian Bassman Estate, Courtesy Edwynn Houk Gallery | | | | | | | American, 1917-2012 | | | | - 8 JULY 2016 | | | | | | | | | | | | | Edwynn Houk Gallery is pleased to announce its exclusive representation of the Estate of Lillian Bassman and its first exhibition of the artist’s photographs. On view 12 May – 8 July, the show will feature more than 30 photographs tracing the legendary fashion photographer’s stylistic development from early vintage prints to her reinterpreted prints made in the 1990s.
A seminal figure in the history of fashion photography, Lillian Bassman’s photographs appeared on the pages of Harper’s Bazaar from the 1940s through the 1960s. She trained and worked under famed art director Alexey Brodovitch, eventually becoming art director of Junior Bazaar in 1945, until the magazine’s closing in 1948. While working as art director, Bassman regularly hired photographers such as Richard Avedon, Arnold Newman, and Robert Frank. By 1946, Bassman began taking her own photographs and swiftly transitioned from art director to fashion photographer. | | |
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| | | | | Gerard P. Fieret, 1965-1975. Gemeentemusem Den Haag, Courtesy Estate of Gerard Petrus Fieret | | | | | | | – 28 August, 2016 | | | | | | | | | | | | | | "WHAT I AIM AT WITH MY PHOTOGRAPHY IS ANARCHY: IN THE CONTEXT OF A CONSERVATIVE SOCIETY, MY PHOTOGRAPHS ARE AGGRESSIVE. INTENSE LIFE, PASSION - A HEALTHY PASSION FOR LIFE - THAT IS WHAT THEY ARE ABOUT" - G. P. FIERET | | | | LE BAL is presenting a monographic exhibition devoted to Dutch artist, poet and photographer Gerard P. Fieret (1924-2009), the first to take place outside Holland. His output included some of the strangest and most subversive works produced in Europe in the 1960s and 1970s. Fieret was self-taught and, between 1965, the year he acquired his first camera (a Praktiflex) and the end of the 1970s, he was an obsessional and insatiable photographer, taking pictures of anything and everything: women, legs, children, shop windows, street scenes, himself, more women – models, students, young mothers, dancers, strangers, as well as breasts, buttocks, legs, necks and other body parts. Through his photographs, as through unsilvered mirrors, he achieved the paradox of revealing himself and asserting his presence in the world by hiding behind a camera. | | |
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| | | © Kawita Vatanajyankur Egg Holder, 2016 [digital video still]. Image courtesy of the artist and Stills Gallery, Sydney. | | | | | | | – 23 July 2016 | | | | | | | | | | | | | In Machinized, Kawita Vatanajyankur is a tool, a moving part in the machine. She transforms herself into food production equipment in performance videos that restage processes such as boxing eggs and weighing leafy greens. Like her previously celebrated works, this new series is graphic and glorious, sharing the same eye-catching allure that enamors us to ads. The confronting nature of her endurance performances, however, interrupts this seductive surface.
The repetitive and arduous tasks that Vatanajyankur performs parody a pervasive slippage between human and machine, and foreground the forgotten body within a technologically accelerating world. Beyond this literal translation, these gestures also make visible the invisible mechanisms that govern women’s everyday labour in her birthplace of Thailand. In both contexts, paring seduction and confrontation proves a powerful device in Vatanajyankur’s hands—a Trojan horse for tackling entrenched attitudes toward gender, equality and work. | | | | |
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 | Festivals |
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| | | © Carole Condé & Karl Beveridge, Multiple Exposures (2011) | | | Noorderlicht Photofestival 2016 - ARENA | | | | | | | – 3 Jul 2016 | | |
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| | JACOB APPELBAUM
Julian Assange, (Undisclosed location near Bail Mansion outside of London), 2012
C-PRINT 102 × 76 CM | | | CAMÉRA(AUTO)CONTRÔLE | | | | 50JPG - 50 Days for Photography in Geneva 2016 | | | | | | | - 31 July, 2016 | | |
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© 29 June 2016 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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