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| PHOTOGRAPHY INTERNATIONAL | | 31 May - 7 June 2017 | |
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| | | | | For the eighth successive year, Copenhagen Photo Festival pays tribute to the photography in its many aspects when the festival takes over areas of the city both known and unknown, with a full programme of exhibitions all focusing on the medium of photography.
Copenhagen Photo Festival is the biggest photo event in Scandinavia aiming at strengthening our ability to take a stand on the photography as a way of expression by presenting some of the latest and most thought-provoking works within art and documentary photography all over the city and combining exhibitions with debates, workshops, artist talks and much more.
www.copenhagenphotofestival.com |
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Kiên Hoàng Lê (VN/GER) Bà Nôi Thiêu Thi Sâm | | | | | | | |
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© Koto Bolofo | 
© Koto Bolofo |
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| | | | | | | | | – 1 July 2017 | | |  | | | | | | | | | | Koto Bolofo, the London-based fashion photographer, has reached the top of his craft despite a turbulent upbringing. A refugee, born in Lesotho, South Africa in 1959, Bolofo fled the country with his family after his father was wrongly accused of promoting anti-governmental propaganda in the school at which he was teaching. After briefly seeking refuge in Switzerland, Bolofo and his family nally settled in London to forge a new life for themselves.
An interest in the visual blossomed during Bolofo’s time in London and he quickly decided that a camera was the best medium to express himself. He has since gone from strength to strength and is now internationally renowned for his fashion images, appearing in high-end editorial and fashion magazines such as Vogue and GQ. Furthermore, Bolofo’s versatility as a photographer brought him to the commercial market and he has now shot campaigns for giant international brands such as Nike and Levi’s. Not only does Bolofo boast an impressive list of clients but he is also the rst photographer to have ever received a ‘carte blanche’ from the Hermes Maison workshops. | | |
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| | | |  | | | | © World Press Photo 17: First Prize Contemporary Issues, Jonathan Bachman, Reuters. Taking A Stand In Baton Rouge, USA ("Black Lives Matters"-Proteste in Baton Rouge/Louisiana) |
| | | | | | | | | | | Thu 1 Jun 19:30
2 Jun – 25 Jun 2017 | | | | | |
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| | Mario Testino
Vogue Italia, Paris, 2000
© Mario Testino | | | | | | | | 3 June – 19 November 2017 | | | Opening reception: Friday 2 June 19:00
Upon establishing his foundation in Berlin in 2003, Helmut Newton expressed his wish to provide a forum not only for his own works, but for that of other photographers as well. His wish continues to be fulfilled posthumously, now with two unique projects by two of Helmut Newton’s friends and colleagues. | | | | | | | | | | | | | "Undressed" by Mario Testino is a site-specific installation comprising fashion and nude photos, with numerous unpublished studio portraits. With the installation "Undressed" which was conceived exclusively for the Helmut Newton Foundation, Mario Testino explores the physical notion of undressing through work that analyses the boundaries between fashion, eroticism, anatomy and art, as well as a metaphorical undressing of Mario Testino that goes beyond the public perception and delves deeper into his archive and his working practice. 50 larger-than-life images are affixed directly to the walls in three of the foundation’s exhibition halls, reaching into the corners of the room and up to the ceiling. This presentation form is unique to both Testino’s work as well as the exhibition history of the Helmut Newton Foundation, filling the rooms with bodies and emotions to create an imposing human landscape. Some of the images depict individual women and men in their twenties and thirties who are often unclothed, some extensively tattooed; the natural way in which their nudity is expressed both surprises and fascinates. In other images, the models just barely cover their skin, with an overcoat, bathing suit, or underwear. Despite the underlying sensuality that Testino conveys in his male-female or same-sex group photos, their amorous play never slips into the obscene or pornography. Testino has elevated fashion photography into the realm of art. Consistent with his wider practice, the origins of the body of work lie in older master paintings as much as the history of photography. Accompanying this exhibition is the catalogue "Mario Testino. Undressed" published by TASCHEN. | | |
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| | Jean Pigozzi
Naomi Campbell with Mick and Bono (the dogs) Antibes, 1993
© Jean Pigozzi | | | | | | | | 3 June – 19 November 2017 | | | | Opening reception: Friday 2 June 19:00 | | | | | | | | | | | | | "Undressed" by Mario Testino is a site-specific installation comprising fashion and nude photos, with numerous unpublished studio portraits.
Meanwhile, "Pool Party" by Jean Pigozzi is presented in June’s Room. This installation features small-format, snapshot-like images taken around Pigozzi’s swimming pool in Cap d’Antibes, where Helmut and June Newton, among other A-listers, came to unwind or frolic in glamour. Jean Pigozzi, a photographer, art collector, and international businessman, was previously featured at the Helmut Newton Foundation with his portraits and selfportraits in the “Paparazzi” group exhibition in 2008. Here once again, we encounter spontaneous, surprising, and very private images of Pigozzi’s friends, united around the pool at Villa Dorane, which was built for his father Henri in 1953 by Ettore Sottsass. The photographs feature the likes of Mick Jagger and Bono, Liz Taylor and Naomi Campbell – many of the same VIPs that Newton portrayed in his work.
The book "Johnny Pigozzi. Pool Party" was published in 2016 by Rizzoli in New York. | | |
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| | Helmut Newton
Yves Saint Laurent in his atelier, Paris, 1991
© Helmut Newton Estate | | | | | | | | 3 June – 19 November 2017 | | | | Opening reception: Friday 2 June 19:00 | | | | | | | | | | | | | | Helmut Newton is represented by original prints in various formats from the three key genres of fashion, portraiture, and nudes. Selected from the foundation’s archive, they have for the most part not been previously shown. These complement Newton’s well-known work and include portraits of Jeremy Irons at the Ritz Hotel in London, Michael Gross at a swimming pool in Dortmund, as well as nudes taken at an Italian wine estate and for a ballet by Jan Fabre. Newton famously and subtly combined nudity and fashion – and to this day invariably turns those of us who view his work into voyeurs. Newton’s photographs thus document and comment on the shifting role of women in Western society at the time. This aspect applies to all of his work in its timeless elegance – and the same can be said of Mario Testino. | | |
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| | | |  | | | | © Michaela Booth |
| | | | Freie Klasse Eva Bertram | | | | | | Fri 2 Jun 19:00
3 Jun – 2 Jul 2017 | | | |
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| | | Martin Errichiello & Filippo Menichetti: In Fourth Person | | | | | | | Inside Understationen and Outside at Gasværksgrunden | | | | | | | 1 – 11 June 2017 | | | | Opening reception: Thursday 1 June 2017 | | | | | | | | | | | | | Photo City focuses on young, international photography The centre of this year’s festival will be both an indoor and outdoor exhibition experience focusing on young, contemporary photography. Gasværksgrunden and Understationen have not been used for exhibitions before, nevertheless these two areas in Østerbro will be the centre of this year’s festival. The festival centre is called Photo City, and through the years, Photo City has been located on several unusual areas in Copenhagen. “We wish to give the audience a different exhibition experience combining exciting visual content and a surprising context. This year Copenhagen Photo Festival is pleased about creating an even bigger exhibition located around the beautiful and old transformer station “Understationen” “
- Managing Director of Copenhagen Photo Festival, Maja Dyrehauge Gregersen, says. Inside Understationen: Christian Vium | Ida Arentoft & Simon McAuley (GB) | Ingi Joensen (FO) | Jana Romanova (RUS) | Kiên Hoàng Lê (VN/DE) | Mario Wezel (DE) and The Censored Exhibition | Outside at Gasværksgrunden: Filippo Menichetti (IT) & Martin Errichiello (IT) | Hannes Jung (DE) | Sanne Vils Axelsen & Josee Schryer (CA) The 11 exhibitions give an insight into what young photographers across countries are interested in – from art photography to landscape pictures and portraits to documentary and photojournalism and hybrid forms containing video and interactivity as a part of the experience. The themes of the exhibitions give an impression of our time – from USA road trips to anthropological studies in the Amazon – personal stories from Vietnam and The Faroe Islands as well as political photographs. | | |
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| | | |  | | | | © Nikos Economopoulos / Magnum Photos |
| | | | | | | | | | | Thu 1 Jun 19:00
1 Jun – 10 Sep 2017 | | | | | |
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| | | |  | | | Bill Viola: Tristan’s Ascension (The Sound of a Mountain Under a Waterfall), 2005
Color High-Definition video projection
Performer: John Hay
© Kira Perov, courtesy of Bill Viola Studio |
| | | | | | | | | | | Thu 1 Jun 19:00
2 Jun – 10 Sep 2017 | | | | | |
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| | Herbert Döring-Spengler, Diazetta - crises, 2016
C-Print on Aludibond with UV protection, 38,5 x 60 cm, Edition of 12 | | | | | | | | – 8 July 2017 | | | | | | | | | | | | | For many years and through his work, the photo artist Döring-Spengler has dealt with the topic of the human being and its interaction with the world and society. In his latest work, photography is an artistic tool which is constantly altered through overlapping and editing with different techniques in order to create artistic-picturesque statements. These latest developments are implemented in the so-called "Diazetten".
This technique creates collages of pictures through overlapping, which also reflect on certain situations and historic-political events. Those Diazetten are confronted by the artists well-known Polaroid-works, in which Döring-Spengler alters the uniqueness of both the Polaroids themselves and artistic composition. Döring-Spengler creates images of humans in situations which are taken out of the documentation's context and brought into a timeless quality.
In those Diazetta-motifs, one witnesses Herbert Döring-Spengler as a politically-thinking artist focused on everyday life who expresses opinions on various events of the late world history in his works. Be it the successful choice of a "loudspeaker" in the United States or the Brexit with its consequences on the stock-market which eventually entails consequences for the people. The Diazetten are created through similar structures in overlapping and editing we know from his Polaroid-works and show a world in the same way as we are confronted by it, in which everything is connected, everything is overlapped by everything and therefore creates a diversity and polychromatism which might exacerbate one's vista. (Dr. Gabriele Uelsberg, director of the LVR-LandesMuseum Bonn.) | | |
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| | | Angelo Musco: Ovum (Cortex Project), 2013 | | | | | | | | 2 June – 22 July and 30 August – 23 September, 2017 | | | | Opening reception: Thursday 1 June 18:00 | | | | | | | | | | | | | Mainly known for his surreal and monumental photographies built by thousands of naked bodies, Angelo Musco has developed a universe where the natural architectures and visionary landscapes are filled with the haunting mysticism of his own origins. The human body holds a primordial place in his work. It is often imbricated and cumulated in a complex mosaic, that creates literal or symbolic representations of eggs, nests, amniotic fluid and all kind of forms inspired by the miracle of life and procreation.
The work of Angelo Musco is a story in making, where each new chapter is written in relation to the previous one.
Moving from an underwater world (Tehom) to a subterrean universe (Cortex) before reaching out to the sky (Aves), the artist connects the elements of life. While in some series, the bodies seem to be floating, suspended and free, other works are constructed around an architectural structure, combining stories of tension and mystery, obscurity and light, isolation and community.
The language created by Musco, with the meticulous manipulation of bodies at such a large scale, connects very visceral aspects with the subconscious. His forests refer to the Garden of Delights by Hieronimus Bosch, who populates his compositions by thousands of people as well. The symbolism of trees and their various parts has been used to communicate many aspects of life – strength, fertility, community, security, interconnection, historical roots, and ancestry. Trees convey the idea of being rooted and an ongoing relationship with nature. Man’s interconnectivity is made tangible in the Cortex Project as each body is literally interwoven with another, thus creating not only the bark, branches and tree trunks but also an emotional cortex that f… | | |
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| | | Untitled from the series Matemáticas 2011-2016 © Peter Fraser | | | | | | | | 1 June – 31 July 2017 | | | | | | | | | | | | | In this new work Mathematics, Peter Fraser draws inspiration from an idea which fascinated Aristotle and Pythagoras in the fourth century BC, and Galileo nineteen centuries later, that at the deepest level, reality is mathematical in nature. More recently, Massachusetts Institute of Technology (MIT) professor of physics Max Tegmark has proposed that at the most fundamental level “not only does maths describe the world we live in, it is the world we live in. If you grant that both space and everything in space is mathematical, then it begins to sound less insane that everything in mathematical.” This exhibition puts us in contact with and expounds the following notion: that mathematics can explain the world, or at least describe it in a way that approaches an explanation. With these photographs Fraser invites us to give form to everything we see, and thereby to provide an answer to the initial question. Peter Fraser
Born 1953 Cardiff, Wales, and attended schools in Cardiff, Glamorgan and the Rhondda Valley. He acquired his first camera at the age of 7, and after a false start studying Civil Engineering, at 18, began studying photography at Manchester Polytechnic the following year. In the summer of 1974 he lived in New York and worked at the Laurel Photography Bookstore at 32nd St and 6th Avenue which significantly expanded his sense of photography’s expressive possibilities. He graduated in 1976 after repeating his 3rd year due to major illness while photographing in West Africa. | | |
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| | © Sara Cwynar, Tracy (Grid 1), 2017
Pigment print mounted on Dibond | | | | | | | Part of Malmö Fotobiennal 2017. | | | | | | | 3 June – 10 September 2017 | | | | Opening reception: Friday 2 June 18:00 | | | | | | | | | | | | | This exhibition, entitled Subjektiv, is curated by the editorial board of the Scandinavian art journal Objektiv. Its point of departure is potential relations between art, politics and subjectivity in a time when the basis of democratic subjecthood is called into question. In this context, the usual title of the magazine, Objektiv, simply would not do, hence the temporary rebranding as Subjektiv. While there is a sense that the shared public space of politics is being overwhelmed by affective content, we are simultaneously witnessing a reinvigoration of the power of the collective and the resolve of community. The exhibition and accompanying journal issue explore questions of what subjektiv might mean in this context. The exhibition brings together artworks from the last years that speak to the current political situation through their strategic staging of subjectivity and its political potential or impotence. All the works are camera-based photographs and films, collages and a poster project and span from straight documentary to a post-internet aesthetics of the interface. While radically different in strategies and aesthetics, these works all investigate the friction between the subjective, the collective, and the political. The exhibition is made in collaboration with Kunstnernes Hus in Oslo, where it will be presented this autumn. It will be accompanied by a two-part issue of the magazine Objektiv, renamed Subjektiv, one featuring solo presentations of the artists, and the other presenting recent critical perspectives on the issues at stake. Objektivs editorial board/curatorial team consists of: Lucas Blalock (artist, US), Ida Kierulf (curator, NO), Brian Sholis (writer/director, US), Susanne Ø. Sæther (researcher and curator, NO), and Nina Strand (artist and editor in chief, Objektiv, NO). | | |
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| | | |  | | | | Lackierte Karosserien auf Transportgestellen, VW-Werk Wolfsburg 1953 © Nachlass Peter Keetman / Stiftung F.C. Gundlach |
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The Life’s Work of a Photographer. | | 31 May – 10 Sep 2017 | | | | | |
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| | | 2016 single-channel video, color (video still), courtesy of Alex Prager and Lehmann Maupin. | | | | | | | | 1 – 30 June 2017 | | | This eerily endless loop gives the Times Square audience a performer’s viewpoint,
with their very own round of applause. | | | | | | | | | | | | |
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| | | |  | | | Karsten Thormaehlen: Milène Lichtwarck, aus der Serie Beuys & Girls, Frankfurt a. M. 2016
Inkjet auf Leinen, 75 x 105 cm © Karsten Thormaehlen |
| | | | | | | | | | | Thu 1 Jun 18:30
2 Jun – 31 Dec 2017 | | | | | |
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| | | |  | | | | Artist: Xosé Manuel Buxán Bran |
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| | Nan Goldin
Matt and Lewis in the Tub; Heart-Shaped Ass, Cambridge, 1988
Cibachrome Print, Edition of 25, 85 x 117 cm | | | | | | | | – 11 June 2017 | | | | | | | | | | | | | The Galerie Fabian & Claude Walter is pleased to announce an exhibition in cooperation with Daniel Blochwitz that is showcasing a selection of photographs by Nan Goldin taken between 1980 and 2001 from an extraordinary private collection. The photography collector and former dancer had a long-standing personal relationship to the artist. Some of the images for The Ballade of Sexual Dependency were taken in his Boston house at the time; others show him later as a guest of a leather bed & breakfast in Berlin - one of those photographs even ended up on the cover of Berlin’s Zitty magazine. Due to his insistent intervention, Nan Goldin was the first woman granted access to this gay establishment. For that reason, too, Nan Goldin’s oeuvre has been enriched by some wonderful motifs.
Nan Goldin’s uncompromising and intimate images were groundbreaking for entire generations of younger photographers. Initially only edited into slide shows to be presented at local night clubs, Nan Goldin’s photographic impressions of her not so ordinary everyday life shows a parallel world on the glittery edge of society between identity search and intoxication, lust and loss, love and pain. After publishing the book "The Ballade of Sexual Dependency", a reference to a song of the same title from Berthold Brecht’s and Kurt Weill’s Three Penny Opera, her work was exhibited at a number of museums and galleries. Most recently the Museum of Modern Art in New York was showing a selection of 700 images from "The Ballade of Sexual Dependency". | | |
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 | Fairs |
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| Auctions |
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| | | El Lissitzky. Untitled (Factory Hall), from: "USSR im Bau". Circa 1937 Vintage. Gelatin silver print of a photomontage. Estimate EUR 5,000–7,000 | | | Modern and contemporary photography | | | | | | Auction: Wednesday 31 May 2017, 18:00
All catalogues and auction details online at www.grisebach.com | | | | | | | | | | | | | On Wednesday 31 May over 200 lots of modern and contemporary photography will be auctioned at Grisebach in Berlin.
One star lot in this season’s sale is an vintage or early gelatine silver print by Albert Renger-Patzsch, "Bäumchen" ("Little Tree”) of 1929 (38.4 x 27.8 cm). This is a piece of the highest rank: thanks to its powerful presence, a sophisticated composition, and the undoubted technical and artistic virtuosity of the photographer (estimate €40,000 / 60.000). The systematic botanical photographs of Karl Blossfeldt also occupy an important place in the history of photography. In these works Blossfeldt emphasised both the physicality and the graphic quality of the individual plants. A rare vintage print of a leaf of the "Crysanthemum segetum” (1915/25) is offered in the sale with an estimate price of €25,000/30,000. | | | | |
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| | Ulrike Rosenbach
Art is a Criminal Action (Elvis II) 1969
C-Print auf Kunststoffplatte unter Plexiglas (Diasec) 2016. 150 x 185 cm (151,5 x 187 cm) | | | Contemporary Art + Photography | | | | Auction 1091: Thursday, 1st June 2017 14:00 | | | | | | | | | | | | | | | | | The Düsseldorf School makes up the majority of the photographic works on offer in this spring’s Contemporary Art sale. Thomas Struth’s large format C-print "Paradies 5, Daintree, Australien" is among the artist’s earliest works from this series (lot 545, €35/40,000). Also featured are three exceptionally fine and well-preserved industrial motifs by Bernd and Hilla Becher (lot 590-592, €5/6,000 - €8/10,000). Isa Genzken followed a conceptual approach in her large-format work "Ohr" from 1980, which was exhibited at the Venice Biennale in 1982 and is here offered under lot 602, estimated at €4/5,000. | | |
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| | Lot 9
Paulo Nozolino, Untitled (Detail)
Polyptych (4 pieces)
Gelatin silver prints mounted on aluminium
Signed, dated Macau 1999 and numbered 1/1 on the reverse
58,5x88,5 cm | | | Modern & Contemporary Art | | | | | | Auction: Wednesday | 7 June 2017 | 21H00
Exhibition: 2 to 3 June | 10H00 - 22H30 + 4 to 6 June | 10H00 - 21H00
Catalogue: veritasleiloes.com | | | | | | | | | | | | | Lot 8 Vik Muniz » Binoculars € 7.000 - 10.000
Lot 9 Paulo Nozolino » Untitled € 18.000 - 25.000
Lot 10 Set of 25 photographs € 1.500 - 2.000
Lot 11 Set of 26 photographs € 1.500 - 2.000
Lot 12 Eurico Lino do Vale » Sem título, 2000 € 1.200 - 1.800
Lot 13 Luigi Ghirri » Untitled, 1970-73 € 2.500 - 3.500
Lot 14 Antonio Julio Duarte » Zoo € 400 - 600
Lot 15 Carla Cabanas » 4'16'', 2010 € 400 - 600
Lot 16 Carla Cabanas » 1'01, 2010 € 400 - 600
Lot 17 Javier Núñez Gasco » Teatro Camões (Lisboa,... € 400 - 600
Lot 18 Luis Nobre » Contra Campo #6, 2009 € 400 - 600
Lot 19 Isabel Brison » Estudos com escultura p... € 300 - 500
Lot 20 Isabel Brison » Estudos com escultura p... € 300 - 500
Lot 21 Luís Palma » No Man's Land € 1.200 - 1.600
Lot 22 Luís Palma » No Man's Land € 1.200 - 1.600
Lot 23 Fernando Tropa » Untitled € 4.000 - 6.000 | | |
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| | Alphonse Davanne (1824-1912)
Arles, c. 1850-1855. Théâtre antique.
Négatif papier ciré rehaussé à la gouache.
17,5 x 23,5 cm | | | Photographs | | | | | | | Auction: Thursday June, 8th 2017 2:00 p.m. | | | 19th century photographs | Lots 1 to 124
Photographer’s posters | Lots 125 to 159
Bernard Binesti’s collection (former director of Publimod’s photo lab) | Lots 160 to 185
Modern and contemporary photographs | Lots 186 to 375
Viewing: Tuesday June 6th, 11.00 am to 06.00 pm | Wednesday June 7th, 11.00 am to 06.00 pm | Thursday June 8th, 11:00 am to 12:00 pm
Online catalogue : www.ader-paris.fr | | | | | | | | | | | | | | |
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| Festivals |
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| Upcoming |
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| | | | | | 20th edition | | | | | | 31 May – 27 Aug 2017 | | |
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| | | The Wild Within | Mathias Svold Maagaard & Ulrik Hasemann (DK) | | | Copenhagen Photo Festival 2017 | | | | | | | 1 – 11 June 2017 | | | | | | | | | | | | | Copenhagen Photo Festival is an annual event, which takes place in June. The festival co-operates with galleries, museums and cultural institutions around Copenhagen and Southern Sweden and has exhibitions in public spaces including all Metro trains and at the Metro Fence. The festival centre is called Photo City providing the setting for 13 exhibitions, and Photo Stage is the stage for artist talks, workshops and debates. The exhibition committee of the festival consists of curator, Jens Erdman Rasmussen, post.doc. at The University of Southern Denmark, Charlotte Præstegaard Schwartz, and head of the department of the education of photo journalism at The Danish School of Media and Journalism, Søren Pagter, and Managing Director of Copenhagen Photo Festival, Maja Dyrehauge Gregersen. Copenhagen Photo Festival had 47,602 visitors in 2016 and 55 exhibitions in collaboration with 50 different exhibition sites, including Photographic Centre and The National Museum of Photography. Every year 3-400 Danish and foreign photographers contribute to the festival programme. The programme is out now
This year’s programme paying tribute to the photography in its many aspects by presenting some of the latest and most thought-provoking works within art and documentary photography. The programme gives everyone a chance to gain an extensive knowledge about the photographic medium by looking, listening, learning and being an active participant. Last year the festival launched a new format of the programme in a pocket-size consisting of both the full exhibition programme as well as all the events during the festival. This year the festival has chosen to use the pocket-size once again. Read the full programme of the festival here:
copenhagenphotofestival.com/en/copenhagen-photo-festival-programme/ | | |
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| | | Eileen Quinlan - Viva Arte Viva. 57th Venice Biennial curated by Christine Macel - Installation view | | | | | | | | | | | | – 26 November 2017 | | | | | | | | | | | | | The 57th International Art Exhibition, titled VIVA ARTE VIVA and curated by Christine Macel, is organized by La Biennale di Venezia chaired by Paolo Baratta. The Exhibition will be open to the public from Saturday May 13th to Sunday November 26th 2017, at the Giardini and the Arsenale venues. The preview will take place on May 10th, 11th and 12th, the awards ceremony and inauguration will be held on Saturday May 13th 2017. The Exhibition will also include 85 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the historic city centre of Venice. Also for this edition, selected Collateral Events by non-profit national and international institutions, present exhibitions and initiatives. Detailed information can be found on www.labiennale.org/en/art/ | | |
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| | | |  | | | | aus "Copacabana Palace" © Peter Bauza |
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© 31 May 2017 photography-now.com
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