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| PHOTOGRAPHY INTERNATIONAL | | 7 — 14 March 2018 | |
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| | | | | INDIA Contemporary Photographic and New Media Art MARCH 10-April 22, 2018 / OPENING: Fri March 9, 8-11pm The FotoFest 2018 Biennial focuses on India, a nation of more than 1.3 billion people. The exhibition features 47 leading or emerging artists of Indian origin, working both in India and in the global diaspora. Exhibited in four Houston venues, and a new collaboration with Asia Society Texas Center, the exhibition is ambitious, presenting a diverse range of approaches and ideas. |
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| | | | | From 9-12 March 2018, The Mall in the Porta Nuova district, Milan, will once again host to Italy’s international art photography fair, now in its 8th edition. MIA Photo Fair will be showcasing a series of interesting new developments and projects presented by the exhibitors, that will be a total of 130 this year, including 90 galleries (37 from outside Italy).
www.miafair.it |
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| | | | | Starting today on Wed March 7 The Armory Show » present 200 exhibiting galleries from 8-11 March - parallel are a lot more art fairs in New York: |
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Courtesy of The Armory Show | | | | | | | |
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| | | Esme Swimming, Parkroyal on Pickering, Singapore, 2017 © Lucas Foglia / Courtesy of Michael Hoppen Gallery | | | | | | | | until 15 April 2018 | | |  | | | | | | | | | | Human Nature is a series of interconnected stories about nature, people, government, and the science of our relationship to wilderness. Lucas Foglia (b. 1983, US) deftly navigates the strange conceptual territory, where wild nature is both a quenching oasis and a shimmering mirage. His photographs show people gazing at nature, touching it, submerging themselves in it, studying it, nursing it, killing it, profiting off it, and, often just barely, surviving upon it. Lucas Foglia grew up on a small family farm surrounded by forest, just outside New York City. The starting point for his latest project Human Nature is Hurricane Sandy. In 2012, this hurricane flooded his family’s fields and blew down the oldest trees in the woods. On the news, scientists linked the storm to climate change caused by human activity. Foglia realised that if humans are changing the weather, then there is no place on earth unaltered by people. Human Nature begins in cities and moves through forests, farms, deserts, ice fields, and oceans, towards wilderness. At a time when the average American spends 93% of their life indoors, Foglia photographed government programmes that connect people to nature, neuroscientists measuring how spending time in the wild benefits us; and climate scientists measuring how human activity is changing the air. | | |
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| | | |  | | | | Heike Steinweg: A. + Enana, 2016/2017 |
| | | | | | | | Women in Exile | | Thu 8 Mar 18:00
9 Mar – 15 Jul 2018 | | | | | |
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| | | © Patrick Galbats | | | | | | | | 10 March ‐ 29 April, 2018 | | | | Opening, Saturday March 10th at 11.00 am | | | | | | | | | | | | | In recent years, Patrick Galbats undertook a series of trips to Hungary, travelling the length and breadth of the country to weave a narrative with multiple points of entry. One starting point was his Hungarian grandfather, Imre Miklos Galbats, who was forced to flee his native land in 1944, to become a stateless refugee who even scribbled the Hungarian national anthem into his passport. For Patrick Galbats this was the beginning of an immersive exploration of his Hungarian family roots, an enterprise that would rapidly come face to face with the complex history of a country in constant transition and with the gradual resurgence of nationalism since the fall of the Berlin Wall.
Adopting a long-term approach, nourished with Hungarian poetry and literature, Patrick Galbats has criss-crossed this multi-layered topography to build - through the prism of his own history - a visual narrative that comprises three sections.
The opening sequence is a series of infamous landscapes along the Serbo-Hungarian border, which, with the building of a 175 kilometre-long fence, embody Hungary's political refusal to welcome refugees onto its soil. Contrary to the often stigmatizing images shown by the media, here the migrant crisis is evoked not by showing the faces of refugees, but by showing the instruments of this political violence: surveillance cameras, barbed wire fences, observation posts, border checkpoints...
From these cracked edges, Patrick Galbats continues his exploration across towns and villages highlighting settings that take us back and forth in time, revealing dominant beliefs and ideologies. Monuments, turuls, multinational banners, flags, religious symbols, hussars, commemoration marches, tattoos, farmsteads, and socialist-style buildings… | | |
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| | | |  | | | Helga Paris
Untitled, from: Hellersdorf, 1998
Silbergelatine Baryt, 40 x 50 cm
Courtesy Helga Paris
© Helga Paris, 2018 |
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10 Mar – 3 Jun 2018 | | | | | |
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| | | |  | | | | © Flor Garduño, Canasta de luz, Sumpango, Guatemala, 1989 |
| | | | Schlüsselwerke aus der Sammlung Michael Horbach | | | | | | Wed 7 Mar 19:00
8 Mar – 5 May 2018 | | | | | |
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| | | |  | | | Beat Presser
Fruit de la Mer
Gelatin silver print
40 x 30 cm |
| | | | | | | | | | | Sun 11 Mar 11:00
11 Mar – 26 Apr 2018 | | | | | |
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| | | |  | | | | Alfred Seiland: Tadmor, Palmyra, Syrien, 2011 © Alfred Seiland |
| | | | | | | | | | | Wed 14 Mar 19:00
15 Mar – 26 Aug 2018 | | | | | | |
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| | | Daido Moriyama, Provoke no. 2, 1969, © Daido Moriyama Photo Foundation, courtesy Michael Hoppen Gallery | | | | | | | | until 29 March 2018 | | | | | | | | | | | | | Daido Moriyama is one of the most influential Japanese photographers of his generation. His major exhibition at Tate Modern in 2013 partnered his prints with those of William Klein and was a critical success, bringing his work to a wider audience. Moriyama's work has also been exhibited in some of the world's great museums such as MOMA, The Museum of Fine Arts, Houston, SFMoMA, The Metropolitan Museum of Art, Fondation Cartier, Paris, Fotomuseum, Winterthur, Museum Folkwang, Essen, and the Tokyo Metropolitan Museum of Photography and he was awarded the prestigious Infinity Award, Lifetime Achievement category by the ICP in New York in 2003. Moriyama's reputation as one of Japans greatest living artists does not prevent him from continuing to make new challenging work.
Moriyama has also designed and published many seminal photography books - the most influential being Bye Bye Photography, which employs the characteristic printing style that has always underscored his importance as an innovator and visionary. He shoots pictures for his visual diary every day, turning his camera on streets, people, architecture and cultures as diverse as Tokyo, Hawaii and Buenos Aires. Providing a harsh, crude vision of city life and the chaos of everyday existence, strange worlds, and unusual characters, Moriyama's work occupies a unique space between the objective and the subjective, the illusory and the real. | | |
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| | | Bert Danckaert, Horizon #136 (Mexico City), 2016 | | | | | | | | 8 March – 21 April 2018 | | | | Opening reception: Thursday 8 March 2018, 6pm | | | | | | | | | | | | | A room full of Bert Danckaert photographs resembles a gallery of paintings. The works are large, and, at first glance, many of them seem to be composed of simple organic or geometric shapes of flat color classically arranged within the ubiquitous and intuitive photographic rectangle. We are reminded of Mark Rothko, rather than Walker Evans.
A closer examination reveals random remnants of human activity and its detritus with the encyclopedic detail that only photography can render. There is no doubt that these images are rooted in the real world, but their formal aesthetic power dominates, confounding the desire for information that photographs usually satisfy. (Alison Nordström, Independent Scholar/Curator of Photographs, former Senior Curator of Photographs, George Eastman House, Rochester) | | |
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| | | |  | | | | Sonia Sieff: La vie c'est comme une cigarette, Paris 2015 © Sonia Sieff + Courtesy IMMAGIS Gallery |
| | | | | | | | | | | Thu 8 Mar 19:00
9 Mar – 7 Apr 2018 | | | | | |
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| | Antonio Lopez » | | | | | | | | | | | | Instamatics photographic estate of the foremost fashion illustrator of the 1970s and 80s | | Thu 8 Mar 18:30 8 Mar – 28 Apr 2018 | | | | | | | |
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| | | |  | | | | © Khalik Allah |
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August Sander, Persecuted, c. 1938
Gelatin silver print, produced by Gerhard Sander, 1990.
© Die Photographische Sammlung/SK Stiftung Kultur
– August Sander Archiv, Cologne;
VG Bild-Kunst, Bonn; ADAGP, Paris, 2018.
Courtesy of Galerie Julian Sander, Cologne and
Hauser & Wirth, New York. | 
August Sander, National Socialist, c. 1940
Gelatin silver print, produced by Gerhard Sander, 1990.
© Die Photographische Sammlung/SK Stiftung Kultur
– August Sander Archiv, Cologne;
VG Bild-Kunst, Bonn; ADAGP, Paris, 2018.
Courtesy of Galerie Julian Sander, Cologne and
Hauser & Wirth, New York. |
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| | | | | | | Persecuted / Persecutors, People of the 20th Century | | | | Persécutés / Persécuteurs, des Hommes du XXe siècle | | | | 8 March – 15 November 2018 | | | | Media opening 9:30 am to 1 pm March 8 | | | | | | | | | | | | | “We can tell from a facial expression the work someone does or does not do, if they are happy or troubled, for life leaves its trail there unavoidably. A well-known poem says that every person’s story is written plainly on their face, although not everyone can read it.”* – August Sander
From March 8 to November 15, The Shoah Memorial is holding a major exhibition dedicated to a series of portraits taken during the 3rd Reich by one of German photography’s leading figures, August Sander (1876- 1964). Internationally recognized as one of the founding fathers of the documentary style, August Sander is the man behind many iconic 20th century photographs.
Towards the end of the First World War, while working from his studio in Cologne, August Sander began what would become his life’s work: a photographic portrait of German society under the Weimar Republic.
He called this endeavor “People of the 20th Century”. While his first publication was banned from sale in 1936 by the National Socialist government, in around 1938 Sander began to take numerous identity photographs for persecuted Jews. Later, during the Second World War, he photographed migrant workers. August Sander included these images, and some taken by his son Erich from the prison where he would die in 1944, in “People of the 20th Century”, along with portraits of national socialists taken before and during the war. Sander was unable to publish his monumental work during his lifetime, but his descendants still champion his vision to this day.
These photographs are exhibited here together for the first time, along with contact prints, letters and details about the lives of those photographed. They are portraits of dignified men … | | |
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| | NASA » | | | | | | | | | | | | Astronomie Espace Profond et Objets Celestes | | Thu 8 Mar 18:00 9 Mar – 27 Apr 2018 | | | | | | | |
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| | | © Maia Flore, courtesy Galerie Esther Woerdehoff | | | | | | | | 14 March – 5 May 2018 | | | | Opening reception: Wednesday 14 March 18:00 | | | | | | | | | | | | | To open our new season of exhibitions, we are happy to present Maia Flore’s latest works, where collage and drawing come and meet her photography.
After winning the HSBC prize in 2015, she has been showing through numerous exhibitions a body of work defined by a search for bridges between reality and imaginary.In her art, she distorts, modifies or enhance the world, as to assert that she will notsubmit herself to its laws.
Since the fall of 2017, Maia Flore has been pursuing her research at the Fresnoy-Studio School of Contemporary Arts. This exceptional place of education leads her tothink about the way the body, actually her first tool, reacts with the environment in which it is placed. Starting from the reality and its limitations, she anchors her body inthe landscape she photographs, and with a thoughtful choreography, she balances thespace around her.
As part of the Circulation(s) Festival, Maia Flore presents in this exhibition situationsthat relate her beautiful and endless pursuit of the absolute moment; the one momentwhen everything is balanced and you feel a thrill that lasts a few seconds to then quicklydisappear. Now, we must start again. The photographs are quests, artistic processes fed by the artist’s wandering. She manages to get the photograph out of its frame byintervening after the shooting with collage and a mix of materials.
With this recent research, Maia Flore explores even further the relationship between body and space, and conveys with her images the sensations she herself felt: the fallingof her body, the blowing of the wind, the coldness of a block of ice, and finally, the alleviation of having escaped for a few moments from the rules of space and time. | | |
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| | © Manfred Willmann | Untitled (from the series The Land) | 1981–1989, Abzug/Print 1992 |
Österreichische Fotogalerie, Museum der Moderne Salzburg | | | | | | | | | | | | | 10 March ― 1 July 2018 | | | | Opening: Friday, 9 March, 7pm | | | | | | | | | | | | | With the exhibition "Austria. Photography 1970–2000", the Museum der Moderne Salzburg consolidates its standing as Austria’s leading center of expertise on photography. Following the original presentation at the Albertina in Vienna, the presentation in Salzburg is enhanced by additional works from the museum’s own collections. An introspective photographic survey of life in Austria, it also undertakes a probing examination of Austrian photography in the final decades of the twentieth century.
The Museum der Moderne Salzburg’s own collections and the Austrian Federal Photography Collection, which is housed at the museum, contain singular photographic documents. With more than 22,000 works, the collections are a vast national treasury of visual memories and media representations dating from 1945 to the present. In cooperation with the Albertina, Vienna, we drew on these holdings for the exhibition "Austria. Photography 1970–2000", an enlarged version of which opens in Salzburg in March.
"As director of the Museum der Moderne Salzburg, I set several priorities, including a reassessment of the collections and sustained measures to strengthen the museum as a center for expertise on photography. This year, these efforts culminate in a series of exhibitions. "With Austria. Photography 1970–2000"", we embark on a photographic exploration of Austria’s inner life that also yields a critical revision of our holdings. I am delighted that this exhibition, the fruit of a successful cooperation with the Albertina and the Federal Chancellery, now comes to Salzburg," Sabine Breitwieser, director of the Museum der Moderne Salzburg, says. "I am especially pleased that our spac… | | |
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Cineposter, Tokyo 1961
© William Klein | 
Wings of the Hawk, New York 1955
© William Klein |
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| | | | | | | | William Klein and Photographers Living in the 22nd Century | | | | | | | until 10 June 2018 | | | | | | | | | | | | | 21_21 DESIGN SIGHT welcomes the photography critic and art historian, Toshiharu Ito, as the exhibition director. Ito is the author of many books about photos and art and he has also worked on the planning of exhibitions.
It will soon be two centuries since photography was invented. An astronomical number of photos have been produced in this period of nearly 200 years, along with innovations in technology and networks, drastic changes have occurred in their forms of expression, their production techniques, and the relationship between the creator and the recipient.
Leading 20th century photographer William Klein had a decisive influence on modern visual culture with his expression that went beyond genres such as photography, movies, design and fashion, and his works capturing the cities of the world, including New York, Rome, Moscow, Tokyo, Paris, etc.
In this exhibition, we introduce the city vision of Klein and the Japanese and Asian photographers trying to examine the cities and people of the 21st century with a fresh perspective and greatly transcend the frames of conventional photos. Please take a look at this new adventure in visual communication which attempts to depict the heartbeat of future photo cities toward the 22nd century. | | |
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| | | |  | | | Laurie Simmons, Walking House, 1989
Chromogenic print, 64 x 46 in.;
Collection of Dr. Dana Beth Ardi;
Photo courtesy of the artist and Salon 94, New York |
| | | | | | | | | | | Thu 8 Mar 19:30
9 Mar – 28 May 2018 | | | | | |
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 | Fairs |
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| | Agnese Purgatorio
Nella clandestinità, 2013
Digital collage Lambda print on baryt paper, mounted on Forex, framed
90 x 120, n° 1/5
Courtesy Podbielski Contemporary | | | MIA Photo Fair 2018 | 8th edition The Mall - Porta Nuova Varesine | Piazza Lina Bo Bardi 1 | 20121 Milan - Italy | | | | | | Fri 9 March 12 - 9pm | Sat 10 March Sun 11 March Mon 12 March 11am - 8pm | | | | | | | | | | | | | | rom 9-12 March 2018, The Mall in the Porta Nuova district, Milan, will once again host to Italy’s international art photography fair, devised and directed by Fabio Castelli and Lorenza Castelli, now in its 8th edition. MIA Photo Fair will be showcasing a series of interesting new developments and projects presented by the exhibitors, that will be a total of 130 this year, including 90 galleries (37 from outside Italy, double last year’s figure). | | |
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| | | | | | | | | | | | | Wed 7 Mar
8 – 11 Mar 2018 | | | | | |
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| Auctions |
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| Call for applications |
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| Festivals |
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| Upcoming |
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| | | | | | | | INDIA - Contemporary Photography and New Media Art | | | | | | | 10 March – 22 April 2018 | | | | Opening: Fri 9 March 8-11pm | | | | | | | | | | | | | The FotoFest 2018 Biennial, March 10 – April 22, 2018, is dedicated to INDIA: Contemporary Photographic and New Media Art. FotoFest 2018 speaks to a number of contemporary issues in India including gender and sexuality, land rights conflict, the environment, human settlement and migration, and caste and class divisions. The participating artists are from India and the global Indian diaspora.
Organized by Lead Curator Sunil Gupta and FotoFest Executive Director Steven Evans, FotoFest 2018 will be one of the largest exhibitions of contemporary photography by artists of Indian origin to be presented in the United States. The artists were handpicked by Mr. Gupta and Mr. Evans while journeying through multiple cities in India and across the world.
“The artists, all of Indian origin, are imagining and responding to what India means today in its myriad complexities, given its ancient culture and more recent emancipation from British colonialism,” says Biennial Lead Curator Sunil Gupta. “They were selected by a process of portfolio reviews and face-to-face meetings with nearly three times as many artists than are in the show. The final short list was arrived at by assessing the engagement of their works with both the issues and the technology that define photography in the world today.”
“It is very exciting for FotoFest to be working with this remarkable range of artists,” says Steven Evans, FotoFest Executive Director and Biennial Co-Curator. “Some are well known to those familiar with the international world of contemporary art, while others will be new discoveries, as they are exhibiting internationally for the first time. We are looking forward to bringing this work together under the rubric of the … | | |
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© 7 March 2017 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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