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| PHOTOGRAPHY INTERNATIONAL | | 30 Jan - 6 Feb 2019 | |
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| | Don McCullin | Tate Britain London | | | Tate Britain presents a comprehensive retrospective of the legendary British photographer Don McCullin with over 250 photographs.
Tate Britain: February 5th – May 6th 2019 To coincide with this major retrospective Hamiltons, London will be celebrating Sir Don McCullin’s lifetime achievement and decades of collaboration by exhibiting rare and unseen vintage prints dating back to the 1950s.
Hamiltons: January 30th – April 24th, 2019 |
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Don McCullin : Eighty
British photographer Don McCullin gives insight into some of his most iconic pictures: hamiltonsgallery.com | | | | | | | |
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| | photo la 2019 | | | A collaborative platform that links the international photography community; World-class artists / photographers, galleries, dealers, & publishers. Thursday, January 31st - Sunday, February 3rd
Opening Night to Benefit Venice Arts:
Thursday, January 31 (6pm - 9pm) 1 Night | 3 Days 10,000 Collectors & Enthusiasts
65 Galleries | Artists | Photographers | Experts |
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| | artgenève 2019 | | | artgenève is an art exhibition, which aims to establish an artistic platform in the - French-speaking Switzerland - at the very forefront of contemporary art, modern art and contemporary design, with more than 100 artists showing photography. The Centre de la photographie Genève and the Contemporary African Art Collection are presenting Studio Africa – Collection Jean Pigozzi Thursday, January 31st - Sunday, February 3rd |
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| | | Broadway and West 42nd Street 2018 © Saskia de Brauw & Vincent van Wijngaard | | | | | | | | 1 - 10 February 2019 | | | | OFFICIAL OPENING: Thursday 31 January 2019 from 17.30 | | |  | | | | | | | | | | A journey through Manhattan, crossing many different neighborhoods, sparking observations, thoughts and memories. Foam presents the project Ghosts Don’t Walk In Straight Lines by Saskia de Brauw and Vincent van de Wijngaard. For this project Saskia de Brauw, mostly known for her international career as a top model, crossed the streets of New York by foot, walking from North to South in one full day. This slow walk along Manhattan– juxtaposing a city that is in many ways very fast moving – was documented by Vincent van de Wijngaard along with stories and encounters from 225th Street and Broadway all the way down to Battery Park. The walk took Saskia on a journey through Manhattan, crossing many different neighborhoods, sparking observations, thoughts and memories. This multifaceted project consists of an exhibition, a short film edited by Will Town featuring music by Jim Beard and costume design by Haider Ackermann, as well as an accompanying book designed by Matt Watkins. The book and the film capture New York in a very specific moment in time, where traces of the past are still visible but on the brink of disappearing. The title of the project refers to Doyers Street, which is a part of the route that Saskia walked. It is a peculiar street, situated in Chinatown and has a sharp bend in the middle. It is said that the street was designed after the zigzagging pathways the Chinese built to ward off evil spirits, who were said to travel only in straight lines and were unable to follow twisted paths. Here its meaning relates to the Manhattan grid. The grid determines our way of moving through the city. When people would choose a natural route they would never walk in straight lines, but the landscape of the city fo… | | |
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Uli with dotted dress 1, 2018
52,5 x 70 cm / 105 x 140 cm
Edition of 5 (+2AP)
Fine art print on Fiba print baryta paper
© Robin de Puy | 
Sufiyan, 2017
70 x 52,5 cm / 140 x 105 cm
Edition of 5 (+1AP)
Fine art print on Hahnemuhle Photo Rag Baryta paper
© Robin de Puy |
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| | | | | | | | | February 2 - March 16, 2019 | | | | Opening: Friday February 1st 2019 from 17:00 - 19:00 | | | | | | | | | | | | | The portraits in this exhibition have nothing in common at first glance. From a model named Birk on his way to fame to Randy, an adolescent boy who grows up in Ely, Nevada.
There are portraits of young people and of elderly people, of broken shopping trolleys and of worn out hands. Beautiful and ugly. But does ugly actually exist? Not in the images of Robin de Puy. She finds beauty in what others regard as unsightly. Unexpected, moving beauty is what links the photos in the exhibition LOVE ME. And in every image De Puy is present. As a photographer she determines who participates in her photographic world, she is the director. And in her world everyone has a very specific, undeniable beauty. De Puy selects her models based on a very personal criterion: there must be a sense of recognition between her and the person portrayed. They are not weirdos, as she says herself; she is not looking for the sensation of the deviant, like her famous predecessor Diane Arbus did. De Puy is looking for a mental or physical beauty with an edge. The vulnerability of the individual who sometimes is on the margins of society ... Or the deviant beauty of people with a disability or - sometimes literal - scars of life. Robin de Puy is searching for where pain becomes beauty. She is consistently confronting our preconceived ideas of who belongs and who does not, who meets the social norm and the prevailing ideal image. And last but not least, she is confronting herself. De Puy recognizes herself in the people she portrays. The vulnerability that you feel as an adolescent, when you are insecure and anxious and you wonder whether others will accept you. The fear that life sometimes evokes, the desire to be seen and to be loved. | | |
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| | | |  | | | At the Hair Salon c 1967
Stefan Moses
© Elsa Bechteler-Moses |
| | | | | | | | Photo Reportages by Stefan Moses | | Thu 31 Jan
1 Feb – 12 May 2019 | | | | | |
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| | Stefanie Bürkle: Studio Jonas Burgert
© Stefanie Bärkle / VG Bild-Kunst Bonn, 2019 | | | Stefanie Bürkle »
Studio + Laboratory. Workshops of Knowledge | | | | 1 February – 3 March, 2019 | | | Opening: Thursday, 31 January, 7pm An exhibition of the Kunstbibliothek and Staatliche Museen zu Berlin in cooperation with Technische Universität Berlin | | | | | | | | | | | | | In both art and science, only the results of the creative process are visible. What happens behind closed doors in labs and studios remains as invisible as it is mysterious. The Berlin-based artist and professor of visual arts Stefanie Bürkle (*1966) has taken on these sites of creation by photographing with analog large-format cameras laboratories and art studios throughout Berlin. Bürkle's photographies are space portraits that feature deserted spaces for development and thought, rooms full of materials, tools, experiments, and setups whose purposes remain hidden from the viewer but that nevertheless allow us to imagine great things. The photograph reveals links, interfaces, and parallels between the spatial constitution of laboratories and studios through which the close connection between the two sites of activity – as places for the creation of research and art – become palpable. Stefanie Bürkle’s photographs are, in a certain way, about the alchemists’ labs of the present time. She explores the analogies between experimentation and process in both the studio and the laboratory, and reveals these workshops of knowledge for the first time. | | |
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| | | |  | | | | Laurenz Berges: aus "Cloppenburg", 1989-90 © Laurenz Berges VG Bild-Kunst, Bonn 2019 |
| | | | | | | | Cloppenburg und Arbeiten aus dem Ruhrgebiet | | Fri 1 Feb 19:00
2 Feb – 31 Mar 2019 | | | | | |
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| | | |  | | | | Evelyn Hofer, Phoenix Park on a Sunday, Dublin, 1966 © The Estate of Evelyn Hofer |
| | | | 20 years of Art Collection Deutsche Börse
curated by Martin Parr | | | | | | Thu 31 Jan 18:30
1 Feb – 24 May 2019 | | | | | |
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| | Gunmen, Limassol, Cyprus, 1964
Vintage gelatin silver print © Don McCullin | | | | | | | | 30 January – 24 April 2019 | | | | | | | | | | | | | To coincide with the major retrospective at Tate Britain (5 February - 6 May 2019), Hamiltons will be celebrating Sir Don McCullin’s lifetime achievement by exhibiting rare and unseen vintage prints dating back to the 1950s. Selected from the photographer’s personal archive, they were made shortly after the photographs were first taken on assignments around the world. Intimate and physically modest, the prints provide access to events witnessed and recorded by a photojournalist working on the frontline of multiple, international flashpoints from Vietnam to Cyprus. Largely produced for a photo editor or agency in a pre-digital age, these historic prints have been visibly put to work and bear the physical marks of their use. In these pictures McCullin shares the telling details of a human face or the gestures of a hand. As he earns his subjects’ trust, he communicates their crisis. To comprehend each remarkable scene, the viewer is pulled in tight as if we are standing beside McCullin in proximity to an anxious soldier, a pointed gun or a grieving wife. | | |
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| | | © Alistair Taylor-Young | | | | | | | Smartphone - Photography - Art | | | | | | | 3 February - 3 March 2019 | | | | | | | | | | | | | | No other medium influences our everyday life as severely as the smartphone. We use it to plan our daily routine, maintain contacts and it helps us to keep ourselves constantly informed. The smartphone is also omnipresent in art. smart as photography - be an artist today! is an exhibition (3 February ‐ 3 March, 2019) and conference (28 February - 2 March, 2019) that showcases artists as smartphone users. The diversity of possibilities, ranging from the accidental appropriation of photography to quantitative analysis, from communication dynamics to pure beauty to the investigation of war crimes, is illustrated by the different positions. All exhibiting artists will give lectures at the eponymous conference. Project partners for both parts are ZEPHYR - Raum für Fotografie, the Biennale für aktuelle Fotografie and the Cultural Office of the City of Mannheim. | | |
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| | Vadim Gushchin
Books in the Box #2
2017 | | | | | | | | until 10 March 2019 | | | | | | | | | | | | | The Lumiere Brothers Center for Photography presents an exhibition of the famous Russian photographer Vadim Gushchin. Working with subject abstraction, the author creates a "poetic catalog" of the world of things around us. Each series he shot is devoted to one of the objects of everyday life — it is interesting to the artist as an idea, a sign. Sustained minimalism, apparent repeatability and compositional simplicity are recognizable features of the photographic language of Gushchin. The exhibition includes works created by the artist over the past three years. Photos of this period are a new stage in the work of Gushchin and at the same time a continuation of the cycle of minimalist still lifes. His focus is centered on the book — an object that has managed to preserve its enduring cultural significance in an era of technological revolutions and the dominance of digital information. The Lumiere Brothers Center for Photography will present the series Paintings (2016), Still Life with Books (2017), Transparent Case (2017), Books in a Box (2017), Books (2018), Still Life (2018). Each of them is based on special compositional principles and laws of the compatibility of shapes and colors. All of them are connected by a single spatial model: the strict geometry and purity of abstract forms refer us to the ideal world of Suprematist objects. By removing the function of the subject, Gushchin strips its uniform, combining everyday objects in abstract minimalist compositions. "In his aesthetics, he simultaneously revives the two-dimensional world of Malevich and creates a photographic illusion of three-dimensionality," writes art historian Mikhail Sidlin in the introduction to Gushchin's album Everyday Objects / Cultural Treasures (2013). Gushchin manages to balance on a fine line between abstract and concrete, pure form and substance, symbolic and transient. His chosen principle of catalog is more than a mere enumeration of similar objects—it is a reflection on time, memory and man. The From the Private Library exhibition will include tours led by the photographer himself. | | |
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| | | |  | | | | Kodie Harris: Why Am I Like This? |
| | | | | | | | 17 graduating seniors from the Department of Photography & Imaging class of 2019. | | Thu 31 Jan 18:00
31 Jan – 21 Mar 2019 | | | | | |
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| | | From "a Stone's Throw" Series 2008 © Tomasz Tomaszewski | | | | | | | a special 30-day section curated by Anna Gondek-Grodkiewicz | | | | | | | | until 7 February 2019 | | | | Subscribe free, YourDailyPhotograph.com | | | | | | | | | | | | | The history of Polish photography has been influenced if not shaped by political conditions in the country. In the second half of the 20th century, the challenge to all artists came from the totalitarian political regime imposed by the Communists from 1945 until 1989. Despite these conditions, Poland has a long and illustrious history of creative fine art photography. But unlike its better-known regional neighbors (Germany, Russia, Hungary, Czechoslovakia), the works of Polish photographers have been less accessible and less known outside the country’s borders. YourDailyPhotograph.com presents a special 30-day section of contemporary Polish photography, starting January 7, 2019. You will discover some terrific works to collect. | | |
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| | | Albert Steiner, Winter landscape near Samaden, undated, signed Vintage gelatin silver print toned, 16.5 x 23 cm / 6.5 x 9 in. (size print), signed and titled on recto, ©Bruno Bischofberger, Meilen-Zürich | | | | | | | | | | | | | St. Moritz: 2 – 21 February, 2019 | | | Opening: Saturday 2 February, 5:00pm
Group show curated by Mirjam Cavegn and Daniel Blochwitz | | | | | | Forum Paracelsus Plazza Paracelsus 2, (Hotel Kempinski) | St. Moritz
Mon to Sun from 4-7 pm / or by appointment
BILDHALLE Stauffacherquai 56, CH-8004 Zürich
T +41 44 552 09 18
info@bildhalle.ch
www.bildhalle.ch |  |
| | | | | | Once again the gallery Bildhalle is hosted at the Forum Paracelsus in St. Moritz this year and presents a group exhibition of important positions in classic and contemporary Swiss photography on the topic of "Winter". Winter as a photographic subject has a long tradition in Switzerland. Snow and cold almost completely transform a landscape, concealing many of its characteristics and often reducing them to contrasts, planes and textures. Winter thus invites us to look at a place in a new and different way, to surrender ourselves to the play of light on this blank canvas and to trace the fresh traces. Many artists and photographers feel inspired by this side of winter. A highlight of the exhibition are the vintage prints by Albert Steiner (1877-1965) from the Kaspar Fleischmann Collection, never shown publicly before and unmatched in their quality and uniqueness. Steiner is followed chronologically by winter pictures of important exponents of Swiss photography: Werner Bischof (1916-1954), René Burri (1933-2014), Arnold Odermatt (*1925), René Groebli (*1927) and Philipp Giegel (1927-1997) and the Swiss-French photographer Sabine Weiss (*1924), who lives in Paris. These icons of Swiss photography are juxtaposed with more recent positions: for example, Douglas Mandry's unique photographic specimens (photographic lithographs on a glacier cloth) or Sandro Diener's landscapes (*1975). The exhibition is rounded off with photographs by established Swiss photographers: Robert Bösch (*1954), Guido Baselgia (*1953), Daniel Schwartz (*1955), Willy Spiller (*1947) and Bernd Nicolaisen (*1959). They all know how to translate the breathtaking beauty and existential boundaries of alpine regions into exceptional photographs. | | |
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| | | |  | | | Ted Witek
Riverfront Bridge
Toronto, 2018 |
| | | | | | | | Thu 31 Jan 17:00
31 Jan – 1 Apr 2019 | | | | | |
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 | Fairs |
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| | | | | | | | | | | | | | Thu 31 Jan 12:00
1 Feb – 4 Feb 2019 | | | | | |
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| | | | | | | | | | | | | | Wed 30 Jan 14:00
31 Jan – 3 Feb 2019 | | | | | |
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| | | | | | | | | | | | | | Thu 31 Jan 16:00
1 – 3 Feb 2019 | | | | | |
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| Awards |
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| Festivals |
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| Upcoming |
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| | | | | | | | | | | | | | Fri 1 Feb 18:00
5 – 28 Feb 2019 | | | | | |
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| | | | | | What moves you? | | | | | | | Thu 31 Jan 19:00
31 Jan – 3 Feb 2019 | | | | | |
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| Current |
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| | | |  | | | © Lim Sokchanlina
National Road Number 5, 2015
Photography of 9; 60 x 90cm, Digital C-Print |
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| | | |  | | | | © Munem Wasif, Kheyal (still) Single channel, 23m30s, BW, Stereo, loop, 2018 |
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| | | |  | | | | Zach Blas and Jemima Wyman “im here to learn so :))))))” (2017), HD video still four-channel, HD video installation (courtesy of the artists) |
| | | | As We May Think: Feedforward | | | | | | – 10 Mar 2019 | | | | | |
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| | | |  | | | | 'Dissent and Desire' photographic installation and gathering place initiated by Sunil Gupta and Charan Singh |
| | | | Possibilities for a Non-Alienated Life | | | | | | – 29 Mar 2019 | | | | | |
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| | | |  | | | | Leigh Bowery & Trojan, 1983 © Jonny Rosza |
| | | | | | | | The Revolt Against Innocent | | | | | | | 14 exhibitions, concerts, screenings | | | – 3 Mar 2019 | | | | | |
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© 30 Jan 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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