| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | July 2023 | |
|
| |
 |
| |
| |
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | Jean-Vincent Simonet
Heirloom no. 07, 2022
Inkjet on plastic, fingertip intervention, handmade lead frame with museum glass
31 x 42 cm
Unique piece | | | | | | | | ... until 31 July 2023 | | | | In our series 'In conversation with' we present the latest interview with Jean-Vincent Simonet. | | |  | | | | | | | | | | The Ravestijn Gallery is delighted to present "The Keys to the Factory", a solo exhibition combining works from three overlapping projects by French visual artist Jean-Vincent Simonet (b. 1991).
The featured bodies of work each take cues from the artist's personal history; his family owns a printing factory near Lyon, passed down from generation to generation. Over the course of a childhood spent on site, Simonet became accustomed to the familiar choreography of the factory's fluctuating output; used principally for the production of 'poor materials', such as commercial flyers or product labels. In a youth steeped in printed matter, Simonet could not help but absorb the influences of the factory's various graphic and visual codes.
For his most recent creative ventures, Simonet returns to the factory 'as it sleeps' – by night or during holiday periods – honing in on overlooked details, observing the changes that have occurred through time, and reimagining the site as an experimental artistic laboratory. With the factory as both subject and staging post for Simonet's artistic explorations, his work marks an attempt to renegotiate his complex relationship with the family business. Mirroring the sliding scale of image typographies that emerge from production lines, the projects Simonet develops here both zoom in and pan out; reflecting the experience of being within the factory, his results occasionally evoke the heady fumes of ink and industry. | | |
| |
|
|
| |
| |
|
| | | |  | | | | China 1981, 1982 © Ryoji Akiyama |
| | | | | | | | | |
|
| |
| |
|
| |
 |
| | Orri
Þingvellir, 2013
Archival Pigment Print 2018
15 x 22,5 cm
© Orri | | | | | | | People and Landscape in Photography | | | | | | | | 15 July – 10 September, 2023 | | | Curated by Dr. Marie Christine Jádi
Opening: Friday, 14 July, 2023, 7–9pm | | | | | | | | | | | | | This exhibition presents previously unknown portraits by Alfred Ehrhardt (1901–84) created on photo trips during the same period as his landscape photographs. These historical images are being shown for the first time alongside photographs by Ellen Auerbach (1906–2004), Orri Jónsson (b. 1970), Aino Kannisto (b. 1973), Anne Lass (b. 1978) and Christa Mayer (b. 1945).
The photographers’ points of departure may vary widely, but all of the images show how the intimacy of portraiture influences the perception of the landscape photographically. And vice versa, how the specific qualities of a landscape, all of its imponderables and charm, determine and shape the people in it. In short: how the outside is manifested on the inside and the inside is manifested on the outside.
The image of a landscape is, in the words of Alfred Ehrhardt, "more than the sum of individual geographical phenomena, it is a living being." Alfred Ehrhardt, known for his brilliant photographs of nature, had a special interest in the people inhabiting a landscape and their living conditions. During his travels to northern Germany, Italy, Portugal, and the US in the 1930s and 1950s, he created compelling images of people in their familiar surroundings, which are now on view in the exhibition. Ehrhardt’s images capture the specific emotional bonds between people and spaces and depict familiarity, safety, and security.
Ellen Auerbach also connects a feeling of home to those around her. After emigrating to the US in 1933, she created remarkable photographs of personalities from her circle of friends and acquaintances. Among these is the 1954 photograph of her roommate and dancer Renate Schottelius leaping ov… | | |
| |
|
|
| |
| |
| |
|
| |
 |
| | 11v151131_M06:
U1VC41V1V1_003, 2022
AI. Generated video 3:54 min | | | | | | | | | | | | | ... until 22 July 2023 | | | | | | | | | | | | | Technological advancements increasingly blur the line between the digital and the analogue world actively altering the human experience. As new inventions seep into the public as well as the private sphere, the structures and frameworks we once relied upon to understand reality feel inadequate. Our presence now extends beyond what lies within our physical reach, with our devices enabling a simultaneous presence in the digital realm. Thus we now have a dual existence, splitting our focus and engagement between the two.
These innumerable gadgets have also inundated us with an overwhelming amount of information. This content overload has created a culture of superficial engagement, where we skim the surface without ever delving into depths of understanding. The effect of these new habits does not only influence our interactions in the digital world but likewise impacts our behavior on a broader scale, modifying our engagement online as well as offline.
ALTERED EMOTIONS examines how these developments have transformed the way we see and immerse ourselves with the world around us. Arguably, we have never been able to grasp the full scope of reality, yet we can now directly engage with ways that warp the experience in real-time. The exhibition seeks to highlight the distortion by including artworks inhabiting a paradoxical nature that exposes how we cannot blindly trust the instant conclusions of our first impressions. However, as we move beyond compelling juxtapositions, the question remains of how these new ways of seeing affect us rudimentary. Because as our engagement becomes more superficial, we disrupt how we empathize and the ways we discern meaning.
ALTERED EMOTIONS offers the audience a platform to examine how our emotional capacities have transformed by allowing interaction with a wide range of mediums. The featured works highlight how superficial components are imperative to our interpretation of what we see. Yet by utilizing the visual allure as a gateway, the pieces stimulate critical dialogue about prevailing issues and make us reflect upon the new landscape we find ourselves in. | | |
| |
|
|
| |
| |
| |
|
| |
 |
| | | Rodney Smith, Erin in Green, Snedens Landing, New York, 2014 | | | | | | | | ... extended until 18 August 2023 | | | | | | | | | | | | | Elegant, charming, and stunningly beautiful, Rodney Smith’s fashion photography is a delightful revelation.
Mystery and manners, romance and fun—the sophisticated compositions and stylish characters in the extraordinary pictures of fashion photographer Rodney Smith (1947–2016) exist in a timeless world of his imagination. Born in New York City, Smith started out as a photo-essayist, turned to portrait photography, and found his niche, and greatest success, in fashion photography. Inspired by W. Eugene Smith, taught by Walker Evans, and devoted to the techniques of Ansel Adams, Smith was driven by the dual ideals of technical mastery and pure beauty. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | Ellen Korth
from the Series "WALKS"
42 x 30 cm
Printed on double layered washi-kozo paper | | | | | | | | ... until 17 September 2023 | | | | | | | | | | | | | Early summer 2020, in full Covid lockdown, Ellen Korth took the same walk for seven weeks, seven days a week, with her camera capturing plant life as she was going from one day to the next.
The same round. Silence. Repetition. Slowness. A dullness being anything but dull. And then back in her studio a series of repetitive actions, performed as the equivalent of a Japanese tea ceremony: printing the photos, soaking the prints, splitting the paper, ironing, crumpling, ironing them. Awagami paper, wafer-thin, becoming almost immaterial, the print a sea of subtle grays where the vegetation quite obviously simply is. Forty-nine prints, bound in seven folios, with an itinerary added stacked in a cardboard box. The delicacy of the paper forces the reader to turn the pages with utmost care, a visual meditative journey enfolding without words.
In the corresponding museum presentation, Ellen Korth has covered the floor space of a large hall with an endless handwritten repetition of the word "and", without beginning and without end. As visitors come and go, feet will wear these words out, until hardly a trace will be left – allowing us to literally read the passage of time. | | |
| |
|
|
| |
| |
| |
|
| |
 |
| | Ciaran Dunbar
The Hagan-Kavanagh Family, Blackrock, Dublin, 2023, from the series Family Law, 2023 | | | | | | | The Domestic in Irish Photography | | | | | | | | 20 July – 2 September 2023 | | | | | | | | | | | | | As a people with a long history of migration and dispossession, the notion of home is a deeply emotional one in Ireland. Although evoking a nostalgic sense of warmth and security, the lived reality of domestic life is often at odds with idealised representations. This exhibition considers what 'home' looks like in Ireland today and how it reflects wider societal changes.
"No Place Like Home" brings together work by leading established and early career artists who take us beyond the front door to reveal their experiences of home and domestic life, offering diverse perspectives on family, migration, mental health and economic disparity in Ireland. | | |
| |
|
|
| |
 |
| | Hanna Hrabrarska
from the series My Mom Wants To Go Back Home | | | | | | | | 20 July – 2 September 2023 | | | | | | | | | | | | | "I’m curious, how were people feeling and what were they doing the day before the Second World War?" I thought about it for a moment. "Well, I don’t know," I told my friend. "Probably, the same as us".
We finished the dinner and took a walk around Kyiv city centre. We sat in a small cafe to drink cappuccinos and gossip. I went home early, feeling a wave of anxiety.
Early the next morning, I was lying in bed in complete darkness. Suddenly, I heard the sound of an explosion. I turned on my phone. The news declared: "Putin Invades Ukraine."
My mom was still offline, so I decided to give her a couple more hours of peaceful rest in my native city, Kryviy Rih. When we finally spoke around 7 a.m. on February 24, I heard sounds on my mother’s end. They too were explosions. That’s how our journey started.
My mom refused to take a train ride to join me and travel west, so I went to Kryvyi Rih to pick her up.
In a course of one week I had to abandon my two homes: my little cosy apartment in Kyiv city centre, that I bought just a couple years ago and didn’t even finish renovating; and my mother’s home, where I was born and raised, and where I was coming back every month to spend time with my parents.
In the next few days we went from our hometown through Uzhgorod, Mali Selmentsi, Kosice, Budapest, Munich to finally arrive in the Netherlands to become war refugees.
Never in my life could I imagine myself as such.
In a documentary diary project My Mom Wants To Go Back Home I attempt to understand and accept this new identity through following the story of my mother.
Since we left our homes, documenting my mother's journe… | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
 |
| | Peter Bialobrzeski
Rungholt #4, 2007
Archival Pigment Print, mounted, framed
80 x 100 cm
Edition of 10 + 1 AP | | | | | | | | 15 July – 26 August 2023 | | | Opening: Friday, 14 July, 6—8 pm
Peter Bialobrzeski will be present. | | | | | | | | | | | | | Peter Bialobrzeski's photographs of the seashore allow us to experience something immediate, the presence of something sublime - the memory of an idealized notion of landscape. His images can also be read as a poetic meditation on change and disappearance — like the sinking of the legendary Rungholt, the Atlantis of the North. At the same time, they explore the relationship between humans and nature as well as formally, the interplay between figure, sea, and horizon.
Peter Bialobrzeski (b. 1961) studied politics and sociology before he became a photographer for a local paper in his native Wolfsburg/Germany. He travelled extensively in Asia before he went back to study photography at the Folkwangschule in Essen and the LCP in London. In the last nineteen years he has published thirty-one books. His work has been exhibited in Europe, USA, Asia, Africa and Australia and is held in various major public and private collections, including Museum für Kunst und Gewerbe Hamburg, Sammlung FC Gundlach Hamburg, Ruhrmuseum Essen, Fotoforum Cologne, Museo di Fotografia Contemporanea Milano, DZ Bank Frankfurt am Main, Hessische Landesbank Frankfurt am Main, Quandt Holding Frankfurt am Main, ING Bank, Netherlands, Deutsche Börse Photography Foundation, Frankfurt am Main, Museo Vaticano, Rome, and the Uni Credit Art Collection in Munich. Until 2021 Peter Bialobrzeski taught photography at the University of the Arts in Bremen/Germany. He has received various awards, including the World Press Photo Award 2003 and 2010 and the Erich Salomon Award of the German Photographic Society 2012. | | |
| |
|
|
| |
| |
| |
|
| |
 |
| | Cindy Sherman, Tabula Rasa, 1987
© Abe Frajndlich, 2023 | | | | | | | | ... until 17 September 2023 | | | | | | | | | | | | | He has portrayed luminaries from music, art and showbiz, surreally depicted the boundlessness of the big city and brought the greats of photographic history in front of the camera. With ABE FRAJNDLICH. CHAMELEON, the Fotografie Forum Frankfurt (FFF) presents the iridescent diversity in themes of the American photographer Abe Frajndlich (*1946, Frankfurt/Main).
On view are around 160 works from the 1970s onwards, including Frajndlich's earliest vintage prints from Cleveland. As a focal aspect, the FFF retrospective presents portraits of artists who influenced Abe Frajndlich's life: the performer Rosebud Conway, known as "Rosie", as well as Minor White, photographer, founder of the magazine Aperture and Frajndlich's photographic mentor. Also part of the show is the project Masters of Light – Frajndlich's first major series in colour. For this, he portrayed icons of photography who, in his view, had a decisive influence on the 20th century, including Gordon Parks, Louise Dahl-Wolfe, Berenice Abbott or Ilse Bing. Each of these staged pictures uniquely alludes to aspects of the icon’s life or work.
Frajndlich was commissioned by the FAZ Magazin to show his view of the American art scene in the 1980s and 90s. Extensive series of Cindy Sherman, Nancy Spero and David Ireland are good examples and on view for the first time. Also included: experimental street photography and the sensual associations from his book Eros Eterna (1999), without which "the chameleon" Fraijndlich would be unthinkable.
Abe Frajndlich's central subjects – creativity, identity, hope , freedom – are closely related to his biography. He was born in a "DP camp" (D… | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
 |
| | Jacolby Satterwhite, We Are In Hell When We Hurt Each Other, 2020
© Jacolby Satterwhite / Courtesy of the artist and Mitchell-Innes & Nash, New York | | | | | | | | 27 July – 20 August 2023 | | | | | | | | | | | | | With compelling, surreal imagescapes, Jacolby Satterwhite has become one of the most distinguished digital artists of his generation. His art combines digital animation, illustration, performance, painting, sculpture, photography, writing and personal archives into immersive installations that centralize themes such as labour, consumption, the body, and healing. His fantastical worlds are informed by a Black queer perspective on modernity.
He interweaves art historical motifs with contemporary visual culture to create Afrofuturistic universes in which the boundaries around race and gender are dissolved. His digital avatars perform movements with a range of references from religious rituals to underground dance and club scenes to the choreographies of individuals like William Forsyth. In addition to collaborations with Solange, Perfume Genius, and The 1975 he has exhibited at New York's Museum of Modern Art and Munich's Haus der Kunst, among others and was commissioned to fill the renowned Great Hall of the Metropolitan Museum of Art in New York this autumn.
As part of "Diversify the Code," a collaboration between Deichtorhallen and Kampnagel, Satterwhite will show three works at the International Summer Festival. These will be shown at Deichtorhallen Hamburg and Kampnagel and will be accompanied by a supporting program of healing and motion capture workshops.
In the videoWe Are In Hell When We Hurt Each Other, the current events of our present reality permeate Satterwhite’s quasi-utopic universe. This virtual world is rooted in the expression of Satterwhite’s body movements, which are modeled and transcribed through digital bodysuits into animated fembot form. Current events permeate his virtual space that … | | |
| |
|
|
| |
 |
| | | Vanessa A. Opoku, Nichts als Solide, 2021, www.guteaussichten.org | | | | | | | New German Photography | | | | | | | | ... until 24 September 2023 | | | | | | | | | | | | | Double Feature: Two years will be presented in this year's exhibition of GUTE AUSSICHTEN - JUNGE DEUTSCHE FOTOGRAFIE at PHOXXI, the temporary House of Photography of the Deichtorhallen Hamburg. Works with a strong content by 14 winners of the renowned prize for young photographers open up thematically broad fields and show the entire spectrum of contemporary photography, from reportage to art installations.
The award winners of the 18th gute aussichten class of 2021/2022 move in their works along a timeline that embraces the present, the past and the future in equal measure. Their topics range from children growing up in precarious conditions (Tamara Eckhardt) and young people practicing and playing war (Natalia Kepesz), to threats and foreignness in their own homeland (Vanessa A. Opoku), the pitfalls of foreign cultures (Zoyeon), the (un)culture of model house parks in Germany (Fiona Körner), to 18 neatly sequenced chapters of photography (Maximilian Gessler), image testimonies through the marriage of analog and digital techniques (Alexander Kadow), and the taming of the viral as well as volatile language of Internet memes by means of "Trojan horses" (Max Dauven).
The thematic fields will be represented by the 19. gute aussichten volume 2022/2023: The arc spans from the photographic exploration of our natural environment (Jette Held), to the state and perception of a young generation in digital space (Charlotte Helwig), to the exploration of one's own ambivalent identity (Luzi), also in the fi… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | | Peter Mathis: Les Drus #1, Frankreich, 2013 |
| | | | | | | | | | | | Fri 21 Jul 19:00
22 Jul – 17 Sep 2023 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | Gala, Salle Gaveau, Paris, 1981
© Patrick Zachmann / Magnum Photos | | | | | | | | ... until 20 August 2023 | | | | | | | | | | | | | «Est-on juif quand on ignore sa religion et sa culture ? » De la fin des années 1970 au début des années 1990, le photographe français Patrick Zachmann (né en 1955) mème une enquête sur les Juifs de France, à la recherche de sa propre identité. De Paris à Marseille, des plus orthodoxes aux plus laïques, des grossistes en textile dans le quartier du Sentier au dernier typographe du quotidien communiste publié en yiddish Naye Prese , il saisit les différentes facettes de la judaïcité française alors que, à partir des années 1980, pour la première fois depuis la Seconde Guerre mondiale, se produisent en France des attentats antisémites.
Pressentant ce que l’on nommera bientôt l’« ère du témoin », il assiste au premier rassemblement de survivants de la Shoah à Jérusalem en 1981.
Membre depuis 1985 de la prestigieuse agence Magnum, il fait parallèlement de nombreux reportages hors de France. Son activité le mène ainsi en Afrique du Sud pour la libération de Nelson Mandela ; au Chili sur les traces des anciens camps de prisonniers politiques ; au Rwanda d’où, six ans après le génocide des Tutsis, il rapporte des portraits de survivants. C’est aussi l’année où il fait le voyage à Auschwitz-Birkenau, où furent assassinés ses grands-parents paternels, juifs polonais apatrides, immigrés en France dans l’après Première Guerre mondiale, arrêtés et déportés en 1942. En contrepoint, dans les années 2010, il retourne en Pologne et en Ukraine où il suit de joyeux pèlerinages hassidiques, comme autant de rites « hors du temps ». | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 |
| | RUBY RUMIÉ, JOHN NARVAEZ, 2022
C-print, mounted on Aluminum, with Matt PVC lamination.
17.71 x 11.81 in. 45 x 30 cm. Edition of 5. | RUBY RUMIÉ, MARIA ROSA BARRIOS, 2022
C-print, mounted on Aluminum, with Matt PVC lamination.
17.71 x 11.81 in. 45 x 30 cm. Edition 2/5 |
| | | | | | | | ... until 31 July 2023 | | | | | | | | | | | | | "As an artist, my work always involves people, with them and for them,I create unusual narratives around daily situations to reveal new insights to what we have become overly accustomed to seeing."
Ruby Rumié’s fourth solo exhibition at the Nohra Haime Gallery, "Nosotros 172 años después," consists of a series of 100 photographs referencing the Colombian Caribbean: its people, their diversity and its food.
"Colombia is considered a country of many regions each with its own identity and characteristics. The Colombian Caribbean is no stranger to this. I started this project from the perspective of a Colombian woman, with a desire to question, as we are now living through a very tangible social fragmentation of our identity. During this questioning process of our history. I found and researched the collection of images of The Chorographic Commission and a series of academic texts from the 19th century. This allowed me to transfer this inquisitiveness to the nearest context that I am also familiar with, which is the Caribbean."
From this encounter and confrontation with these documents, "Nosotros 172 años después," Rumié invites us to reflect through these photographic portraitures on the lack of visual representations of the historical discourses that have defined the identity of the Colombian Caribbean from the New Granada to the present. "I chose food as a vehicle to create new narratives that celebrate the cultural diversity of this territory.
"The project puts together one hundred people from the Caribbean region whose unique characteristics share the passion and commitment for their trade, and express in a special way their taste and … | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | |  | | | | Jerry Ahn: Wedding in Gravity, 2022-23 © Jerry Ahn |
| | | | Klasse Roggan zu Gast in THE GÄLLERY | | | | | | | Sat 22 Jul 18:00
23 Jul – 10 Sep 2023 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
 | Festivals |
|
| |
| Upcoming |
|
| |
|
| | | | | | International Festival on Experimental Photography | | | | | | | 19 – 23 Jul 2023 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | FUTURE PERFECT | | | | | | | Wed 12 Jul 18:00
13 Jul – 20 Aug 2023 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
|
|
| |
|
|
| |
| |
| Current |
|
| |
| |
|
| |
 |
| | Zofia Kulik. The Splendor of Myself IV
gelatin silver prints, 2005.
Courtesy of the artist / Persons Projects. | | | | | | | A STATE OF CONSCIOUSNESS | | | | | | | | ... until 24 September 2023 | | | | | | | | | | | | | In 1970, Arles photographer Lucien Clergue, writer Michel Tournier and historian Jean‑Maurice Rouquette founded the Rencontres d’Arles, an annual photography festival.
At the time, photography was still regarded as a “minor” art and had not come of age. The festival in Arles played an important role in enabling it to gain recognition from institutions. Starting out as a series of encounters between photography enthusiasts, over the years the event gained importance and much popularity, with soaring success in the early 2000s due to a growing public interest in photography.
LEADING ARTISTS
For over 50 years, photography’s greatest names have participated in the Rencontres d’Arles, a veritable breeding ground for new talent. Anticipating medium changes and technologie evolutions, offering the experience of the image to all: these are the festival’s ambitions. Its program is made rich through a diversity of perspectives, with photographers and curators hailing from different backgrounds. Occasionally a whole program section is offered to an artist, as the case for Martin Parr, Raymond Depardon, Nan Goldin and Arles’ own fashion designer Christian Lacroix. At other times, breaking down the divides, photography is made in relation with cinema, music or architecture. Year after year, the festival tries to interpret a changing world through the eyes of photographers, unquestionably the best at telling story.
ART IN THE CITY
Between early July and late September, the public is invited to explore 40 exhibitions at various heritage sites throughout the city, from 12th-century chapels and cloisters to 19th-century industrial buildings and contemporary, if not unexpected sites (such as the Monoprix and its façade, classified 20th-century heritage). | | |
| |
|
|
| |
| |
| |
|
| |
 |
| | | © Hashem Shakeri, Festival La Gacilly-Baden Photo | | | | | | | open air festival - ORIENT ! | | | | | | | Baden near Vienna:
The largest outdoor photography festival in Europe will take place
from 15 June until 15 October 2023.
festival-lagacilly-baden.photo |  |
| | | | | | | | | | | | | REBELLIOUS AND DEEPLY ROOTED IMAGES OF HOPE FROM THE ORIENT!
A PHOTOGRAPHIC JOURNEY BETWEEN LIGHT AND SHADOW.
ORIENT! focuses on photographers from Iran, Afghanistan and Pakistan. Three countries that all belong to the Persian cultural area. Three predominantly Muslim countries with Indo-European populations that remain subject to the laws of religion and obscurantism. Three countries that we know little about, although they have captured the hearts of all travellers like Marco Polo. Three countries whose photographers are the defenders of positive thinking and ambassadors of environmental awareness. Three countries that are home to a millennia-old civilisation, a unique artistic creativity and courageous authors who have chosen photography to define their place in society. Photographers from these countries have always chosen to break conventions in order to develop an innovative style and look at people and gods with a humanistic eye. Honour to whom honour is due: Abbas, Gohar Dashti and Hamed Noori, Ebrahim Noroozi, Maryam Firuzi, Hashem Shakeri, Paul Almasy, Véronique de Viguerie, Fatimah Hossaini, Shah Marai and Wakil Kohsar, Sarah Caron.
Since its inception, the festival has never wavered from its mission to show the beauty of nature as well
as to address the need to protect it. Through the prism of photography, we aim to highlight the challenges of a sustainable world without naivety. At the same time, the sometimes dramatic reality is never disregarded. All photographs are signs of our unshakeable belief in the future. The photographers at
our festival are determined to be witnesses and part of the effort to preserve our most beautiful common asset - planet Earth: Mélanie Wenger, Bernard Descamps, Gabriele Cecconi, Stephan Gladieu, Money Sharma, Reporters Without Borders, Brigitte Kössner-Skoff and Gerhard Skoff, Antonin Borgeaud, Jérôme Blin, Alisa Martynova, Maxime Taillez, Chloé Azzopardi.
This year, the bilateral photo project of the Morbihan schools in Brittany and Lower Austria is dedicated to the theme of openings. Whether in the literal or figurative sense, the concept of opening also encompasses communication and journeys to new places or people. Ultimately, it raises the question of the construction of our individual and collective identity and our relationship with others.
Photography undoubtedly remains the most incisive tool for changing public opinion and for preserving glimmers of humanity. The Austrian photographers Rudolf Koppitz and Horst Stasny also stand in this tradition. From Gregor Schörg, the festival will show the second part of his work on the wilderness area Dürrenstein-Lassingtal. The exhibition of Lower Austrian professional photographers and the exhibition of the winning photos of the world's largest photo competition, CEWE's "Our World is Beautiful", with almost 700,000 pictures from 170 countries, will round up the festival, as will the retrospective of 2021 in the pictures of the artist in residence Pascal Maitre. In addition, the Austrian photographer Cathrine Stukhard was commissioned to portray the World Heritage Site of Vichy and place it in the context of UNESCO's eleven "Great Spa Towns of Europe", which also include Baden near Vienna.
Under the guiding principle of Culture of Solidarity, the cooperation with the festival partners Garden Tulln, Celje in Slovenia and Month of Photography Bratislava will continue in 2023. | | |
| |
|
|
| |
| |
|
| | | | | | R/evolutions | | | | | | | – 27 Aug 2023 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | Groningen - Friesland - Drenthe | | | | | | | – 10 Dec 2023 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | open air festival - NATURAL HERITAGE | | | | | | | – 1 Oct 2023 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | uMoya: The Sacred Return of Lost Things | | | | | | | – 17 Sep 2023 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| |
|
| |
|
|
| |
|
|
| |
|
|
| |
| |
| |
|
| |
| |
|
| |
© 12 July 2023 photography now UG (haftungsbeschränkt) i.G.
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photography-now.com . T +49.30.24 34 27 80 |
| |
