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| PHOTOGRAPHY INTERNATIONAL | | 3 - 10 April 2024 | |
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| | Hajja in her garden from the series The Longing Of The Stranger Whose Path Has Been Broken, 2022
© Rehab Eldalil. | | | | | | | | | | | | | ... until 22 May 2024 | | | The 20 portfolios are also on view in the digital exhibition Foam Talent Digital. Discover the work in a truly multi-medial way, inviting you to look, listen and interact with the inspiring stories of Foam Talent 2024-2025.
www.foam.org/talent-2024 » | | |  | | | | | | | | | | Foam is excited to present twenty exceptional artists in the Talent 2024 - 2025 group exhibition. The artists’ works signify a bold, new direction in photographic art. The talents were selected during the biennial Foam Talent Call, for which an astounding 2,500 photographers from over 106 countries submitted their work. The exhibition emphasizes the role of photography as a powerful medium for storytelling, cultural critique, and personal expression. In a time of increasing polarization, this year’s talents challenge the viewer to reflect on the viewpoints of others and invite empathy.
At the heart of the exhibition lies the exploration of urgent societal issues, where artists introspectively examine both themselves and the world. The topics of interest range from migration to the danger of internet algorithms, and from questioning gender roles to a reflection on the impact of colonialism. Looking to broaden the medium of photography, this year’s talents present us with innovative approaches, from embroideries on photos and the use of photogrammetry to the use of Artificial Intelligence. The selection celebrates photographers who dare to push the boundaries of creative expression.
In addition to the physical exhibition, Talent 2024-2025 is accompanied by a digital exhibition on the online platform Foam Explore, as well as Foam Magazine #65 TALENT which will be entirely devoted to this new generation of talents. In 2025, the exhibition will travel internationally. As part of the Talent program, the selected artists are invited to participate in various networking activities, mentoring, with the opportunity to have their work added to the prestigious collection of the Deutsche Börse Photography Foundation. | | |
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| | Jan Schoonhoven
Delft, 1969
Silbergelatine Abzug
100 x 100 cm
© Lothar Wolleh Estate, Berlin | | | Jan Schoonhoven & Lothar Wolleh
A Gaze upon Delft | | | | 5 April - 22 December 2024 | | | Opening: Friday, 5 April, 6:30 pm
Introduction: Antoon Melissen
Gallery Weekend Berlin 2024
26 – 28 April: 12 – 6 pm | | | | | | | | | | | | | In 1968, Lothar Wolleh embarked upon a project centered around the preeminent Dutch representative of the "Null" group, Jan Schoonhoven. Schoonhoven garnered international acclaim for his white reliefs crafted from paper and cardboard. Wolleh held Schoonhoven's work in high esteem, making regular visits to Delft to immerse himself in its artistic milieu. They both regarded each other as kindred spirits in the realm of artistry.
Wolleh captured the essence of the artist and his methodology, elucidating what rendered Delft captivating to Schoonhoven, and how the brickwork and cobblestones found their expression in Schoonhoven's abstract drawings and reliefs.
After more than half a century, the Lothar Wolleh Estate unveils, for the first time, the artist's book, a testament to their enduring collaboration and creative legacy. | | |
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| | | Gerry Johansson: Western Matsuyama, Japan, 1999 © Gerry Johansson | | | being human, being material | | | | | | | ... until 20 April 2024 | | | | | | | | | | | | | What is human, what is material? Materiality is a fundamental dimension of human existence. We, as living bodies, are worldly creatures interacting with our surroundings in profound ways that shape the whole of material reality. In turn, we are constantly constructed and shaped by everything to which we are connected. Being human, being material, featuring artworks from Gerry Johansson and Andreas Johnen, is a dialogue between the two artists within and across photography, works on paper and sculpture.
Gerry Johansson is known for capturing towns scattered across the globe, particularly in the United States, Sweden, and Germany. His primary objective is to showcase the influence individuals have on their surrounding environments and how cities evolve over time. His independent, layered visual language is the central thread that connects the places aesthetically with each other. At the same time, it allows the viewer to decode deep cultural differences down to the slightest material detail of what is shown, be it the outline of a hill or a roof’s construction line.
In his series "Ehime", he focuses his creative energy on unveiling the environment surrounding the Japanese people, as opposed to the people themselves. He works with three natural elements – rock, water, and foliage – to mirror the exceptional beauty of the region. He takes his camera to the rocks and mountain streams of Nametoko Valley, deep inside forests teeming with life, and to the waters of the Seto Inland Sea. Metropolitan scenes also captivate him. He turns his lens toward encapsulating urban harshness, ironically contrasting it with the unexpected relief brought by the green and foliage.
Andreas Johnen’s work is an abstract combination of thought and manual skill. With his emphasis on repetition, time, and process, he follows in the tradition of conceptual minimalists, for whom the art object coincides with the labor through which it is produced. All his artworks are reduced yet sublimated to their pure physical elements. He creates sensual sculptures made of concrete and foam to make the forces of their material interaction visible. He also uses different methods to saturate paper with color: he applies the paint until the paper can hold no more.
In his recent series, papers are dipped in color continuously over the course of several months. These black and white squares hang like handkerchiefs on the wall as though recovering from the shock of two elements, paint and paper, becoming one with time. With this technique, each color transforms into a solid material of its own, consuming the paper as if a color were a substance, or an ultimate purpose, not just a means. | | |
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| | Daniel Wagener: "opus incertum"
Exhibition view at the Chapelle de la Charité, Arles © Armand Quetsch / CNA | | | | | | | Luxembourg Photography Award 2023 | | | | ... until 16 June 2024 | | | | Exhibition organized in collaboration with Lët’z Arles a.s.b.l. | | | | | | | | | | | | | "Opus incertum" – a term borrowed from Roman masonry, which consists of building walls from small blocks, broken tiles, and a variety of bricks - is an in-situ installation created by Daniel Wagener in response to the call from Lët'z Arles for the 2023 edition of the Rencontres internationales de la photographie, in Arles' iconic Chapelle de la Charité.
The artist was confronted with a religious building, a place of worship steeped in memory, history, religious iconography, baroque workmanship, gold, stucco, fake and real marble, and symbols. He chose to react through extreme contrast and built a system of prefabricated shelves, industrial racks, crossing the main nave from left to right, filled with images of contemporary "construction sites", urban views, traces of buildings from the past and present. This modular unit for storing images obstructed the view of the altar and, by replacing the object of worship, became the artistic interface of a new cult of consumption. Through his exhibition the artist questions the nature of the icon in our contemporary society and encourages us to reflect on the place of the spiritual and its intersection with the material.
Invited by the CNA/Pomhouse for the now traditional return of the arlesian exhibitions to Luxembourg, making the work accessible to the Luxembourg public who did not have the opportunity to visit Arles, the question arose of how to install opus incertum in this new setting. The easy copy-and-paste solution was quickly abandoned. A new in-situ installation was conceived, with the generous support of the CNA, enabling us to rethink the scenography and produce new images.
Once again, we find ourselves in an emblematic location, a kind of ind… | | |
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| | | Rozafa Elshan: Point de départ 3, Arles, 2023. | | | | | | | Luxembourg Photography Award Mentorship 2023 | | | | ... until 7 July 2024 | | | | Exhibition organized in collaboration with Lët’z Arles a.s.b.l. | | | | | | | | | | | | | Today, let us take from our pocket a little piece of paper folded in two to find therein a few words of encouragement scribbled in pencil. – Approach the centre of the platform, position yourself dear guest and read aloud the invitation addressed to you.
HIC HIC SALTA! in 1 - 2 - 3 seconds; HERE NOW JUMP! on the platform set up upon the ground so that you may at last, weightless, exist in a brief present moment. Let us hush into this silence to rid ourselves of our dear personality and to create therein a poem.(1) Let us descend the rising current of all life in a single and unique inscription. The boards laid on the ground forming a horizontal invite to get as close as possible to things so as to experience, with the body, the event which, once secured, as soon escapes us.
At the scale of a tiny flake, leaning into the slope towards sensitive matter, it insists by shifting gesture upon a kind of verification. Let’s jump, let’s dance and slice this space-time so that we may populate and tighten the surface to which we cling. For the occasion of this exhibition and by means of a search through permanent passage, the guest empties once more their daily pockets so as to show to us their footholds upon this stage. By way of each leap, harried and constantly jostled, he passes the faces of a crowd to afterwards reject them outright (2). He would repeat this movement right to the bottom of the bag to weigh nothing in the end (3). Yet despite all efforts to strip away, something constantly looms in the palm of their hand.
In 1 - 2 - 3 seconds, we can try to situate this something by laying it down in the middle of the floor. Dvora’s laces, the sound of a thou… | | |
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| | Untitled 648, 2023 © Cindy Sherman Untitled 659, 2023 © Cindy Sherman
Courtesy the artist and Hauser Wirth | | | | | | | | ... until 4 August 2024 | | | | | | | | | | | | | Cindy Sherman is considered to be one of the most important American artists of her generation. Her ground-breaking photographs have interrogated themes around representation and identity in contemporary media for over four decades.
In this new body of work, the artist collages parts of her own face to construct the identities of various characters, using digital manipulation to accent the layered aspects and plasticity of the self. Sherman has removed any scenic backdrops or mise-en-scène–the focus of this series is the face. She combines a digital collaging technique using black and white and color photographs with other traditional modes of transformation, such as make-up, wigs and costumes, to create a series of unsettling characters who laugh, twist, squint and grimace in front of the camera. To create the fractured characters, Sherman has photographed isolated parts of her body–her eyes, nose, lips, skin, hair, ears–which she cuts, pastes and stretches onto a foundational image, ultimately constructing, deconstructing and then reconstructing a new face.
The exhibition is accompanied by a catalogue by Hauser & Wirth Publishers. | | |
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| | | | Man Ray » LIBERATING PHOTOGRAPHY | | | | ... until 4 August 2024 | | | | | | | | | | | | | "To be totally liberated from painting and its aesthetic implications" was the first avowed aim of Man Ray (United States, 1890-1976), who began his career as a painter. Photography was one of the major breakthroughs of modern art and led to a rethinking of notions of representation. In the 1920s and 30s, the photographic medium came to the forefront of the avant-garde movement, and Man Ray soon made a name for himself with his virtuosity. As a studio portraitist and fashion photographer, but also as an experimental artist who explored the potential of photography with the people around him, Man Ray was a multi-faceted figure. Considered one of the 20th century’s major artists, close to Dada and then Surrealism, he photographed Paris’ artistic milieu between the wars.
EXHIBITION
Curated from a private collection, the exhibition explores the artist’s extensive social contacts while presenting some of his most iconic works. In addition to providing a dazzling who’s who of the Parisian avant-garde, the works also highlight the innovations in photography made by Man Ray in Paris in the 1920s and 30s.
ARTIST
He took his first photographs in New York in the 1910s, but it was in Paris that his career took off. Even before opening his studio in Montparnasse in 1922, Man Ray worked for a year in his hotel room. The photographer's reputation grew, and before long, the artist's studio was flourishing. Fashion photographs alternated with portraits of the artistic figures of the day who had made Paris’ no… | | |
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| | | Phin Sallin-Mason, Puzzled, 2024 © ECAL Phin Sallin-Mason | | | | | | | | ... until 2 June 2024 | | | | | | | | | | | | | Four portraits taken by a machine and printed in just a few minutes! This is the experience offered by the photo booth since its invention in 1924. It was an immediate success, particularly with the proliferation of identity documents requiring a portrait complying with specific standards (bare head, uniform background, neutral expression, etc.).
Few people are unfamiliar with the experience of the "Photomaton", the name of the photo booth often found in train stations. Automated, self-service, available 24/7, socially neutral and, above all, less expensive than a portrait taken by a professional–and less intimidating as well–this photographic process popularized the experience of having a portrait taken, quickly, anywhere and inexpensively. The precursor of the Polaroid and the selfie, formed from the words "photo" and "automaton", this unmanned process, a veritable photographer's automaton, offering four unique prints, fascinated artists. In 1929, André Breton and his Surrealist friends were already interested in this image box.
Exhibition
Photo Elysée, which showcases a wide range of techniques from the history of photography, acquired an automated photo studio a few years back. Since then, the museum has offered the public the opportunity to photograph themselves and, if they wish, to leave their portraits, thus creating a collective archive (over 2,000 snapshots have been collected to date).
The artist, Christian Marclay, invited by the museum to immerse himself in the Photo Elysée collections in 2021, chose to explore these thousands of faces recorded by the museum's Photomaton. With him, ECAL photography students explored, scanned and metamorphosed the preserved prints. The idea of the project was to… | | |
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| | | Vues et données_2023 © HEAD | | | | | | | | ... until 2 June 2024 | | | | | | | | | | | | | The View & Data exhibition is the result of a research project revolving around the question of data, headed by artist-photographer Aurélie Pétrel and philosopher Fabien Vallos, in collaboration with two schools, the HEAD Geneva and the ENSP Arles.
This research analyzes the implications of the concept of "data" in the fields of art, contemporary photography and theory. It can be summed up in two main points: first, that data alone cannot produce any system whatsoever of representation of the world; and second, that it is preferable–according to Catherine Malabou's theories–to attempt to give it plasticity. This means granting it the possibility of a form rather than a value.
The final phase of the project is the exhibition, which brings together everything that has been produced, collected and conceived of as part of the research. It should be seen as a form and an image. As a form, it is that of a sort of "container" in which Aurélie Pétrel and Fabien Vallos have deposited works, objects and comments. As an image, it represents the plasticity of the data and the infinite number of possible links between all of the elements present.
The structure of the exhibition, conceptualized and produced by Dieudonné Cartier, includes works by Aurélie Pétrel, some 50 objects collected by Aurélie Pétrel and Fabien Vallos, and over 100 commentaries produced in collaboration with students in the Fig. Laboratory at the ENSP Arles and the Visual Arts CCC Master's Program at the HEAD Geneva. All this work has been brought together in a catalogue published for the occasion.
Exhibition with the support of the BNP Paribas Switzerland Foundation and the Federal Office of Culture (FOC). | | |
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| | | |  | | | | Cyborgian Rhapsody: Immortality, 2023, digital video [still] |
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| | | Martine Fougeron: Nicolas & Adrien | | | | | | | Documenting the individual as a social being: rules, codes and paradoxes | | | | | | | | ... until 13 April 2024 | | | | | | | | | | | | | Social bodies is the second in a series of four capsule exhibitions that celebrate Galerie Miranda's 6th birthday.
Curated across broad themes by gallery founder Miranda Salt, with both new and inventory works, this anniversary cycle reviews the gallery's choices to date and places historical photographic references in conversation with contemporary signatures.
Social bodies presents distinctive works that broach different aspects of intimacy - beauty, bodies, stereotypes, privacy, desire, love and the end of love - with staged, documented and narrated bodies of work produced from the mid 1970s to today.
Merry Alpern (1955, USA) is a contemporary American photographer known for her controversial oeuvre and utilization of surveillance photography. Born on March 15, 1955 in New York, NY, Alpern studied sociology at Grinnell College in Iowa, but returned to New York before graduating in order to pursue photography. Today, works from Dirty Windows and Shopping feature in major private and museum collections including the Whitney Museum of American Art, San Francisco Museum of Modern Art, Museum of Modern Art, National Museum of Women in the Arts and The Museum of Fine Arts, Houston. Works from the series were exhibited in 1996 at the Fondation Cartier (Paris) in a group exhibition entitled By Night; in 2010 at the Tate Modern (London) in a major exhibition entitled Exposed: Voyeurism, Surveillance and the Camera and in the 2017 exhibition at the ICP Museum (New York), for the group exhibition Public, Private, Secret.
Peggy Anderson (1964, USA) is an artist/photographer based in New York and Sweden, currently living in Paris. S… | | |
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| | | |  | | | | © Julius Deutschbauer |
| | | | | | | | Plakate 1993−2024 | | | Thu 4 Apr 19:00
5 Apr – 1 Jun 2024 | | | | | |
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| | | |  | | | | Olivia Coeln, untitled, 2021-2023 Pigmentdruck, Firnis, Blindrahmen, 50x36 cm |
| | | | | | | | | | | | Thu 4 Apr 19:00
5 Apr – 1 Jun 2024 | | | | | |
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| | | |  | | | | One or Several Tigers, video still, 2017 © Ho Tzu Nyen |
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 | Fairs |
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| | | MIA Photo Fair 2023 © Giulia Virgara | | | | | | | | | | | | | 10 – 14 April 2024 | | | | | | | | | | | | | The fair is a pivotal event for art world professionals and photography lovers. Under the new artistic direction of Francesca Malgara, it is set to take place in Milan from April 10th to 14th 2024 at the new, central location of Allianz MiCo.
The fil rouge of the 2024 edition is 'Changing'. Changing means searching an alternative to the situation of stagnation and general crisis that affect the personal, political, and economic spheres worldwide in our times.
The 2024 edition will be showcasing a variety of sections: the Main section, with a selection of leading, long-established galleries presenting their best photography perspectives; Beyond Photography - Dialogue, curated by Domenico de Chirico, dedicated to comparing photography with other media; Reportage Beyond Reportage, curated by Emanuela Mazzonis di Pralafera, highlighting the different nuances of reportage, whether documentary photography, photojournalism or street photography; a special country focus curated by Rischa Paterlini that looks into the encounter between East and West. | | |
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| Auctions |
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| Festivals |
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| Upcoming |
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| | | | | | Rencontres de la jeune photographie internationale 2024 | | | | | | | 5 Apr – 25 May 2024 | | | | | |
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| | | | | | Festival de la jeune photographie européenne | | | | | | | Sat 6 Apr 14:00
6 Apr – 2 Jun 2024 | | | | | |
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| Current |
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| | | |  | | | | Arko Datto |
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| | | | | | Critical Geography | | | | | | | – 21 Apr 2024 | | | | | |
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| | | | | | Even Better Than the Real Thing | | | | | | | – 30 Sep 2024 | | | | | |
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| | | | | | Memory is an Editing Station | | | | | | | – 28 Apr 2024 | | | | | |
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| | | | | | Ten Thousand Suns | | | | | | | – 10 Jun 2024 | | | | | |
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| | | |  | | | Noga Shadmi's series of the kidnapped penetrates the heart.
Keep sharing your images, together we will raise the global awareness and bring them back home. |
| | | | 11th International Photography Festival | | | | | | | 27 Mar – 6 Apr 2024 | | | | | |
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| | | | | | Triennial Exhibition | | | | | | | – 28 Jul 2024 | | | | | |
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© 3 April 2024 photography now UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editors: Claudia Stein & Michael Steinke
contact@photography-now.com . T +49.30.24 34 27 80 |
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