For the 6th edition of the Duesseldorf Photo Weekend more than 70 galleries, museums, institutions and off-spaces will be presenting a varied programme about the medium of photography. The exhibitions will range from classic photography to current trends with the new media. Following the great success of recent years, the Duesseldorf Photo Weekend has become a popular feature of Düsseldorf’s arts and cultural scene and also attracts more and more international interest.
The Duesseldorf Photo Weekend traditionally opens at the NRW-Forum Düsseldorf. This year, the Forum will host three exhibitions:
- Peter Lindbergh & Garry Winogrand’s Women on Street, with rare colour photographs taken by Garry Winogrand from the 1950s and 1960s.
- Thomas Mailaender’s The Fun Archive – the Germany’s first retrospective of the artist. Thomas Mailaender collects artefacts of cyber culture – anonymous amateur photographs, Internet memes and cyber trash – which he archives, processes and channels into the world of high culture. During the exhibition, Thomas will also construct spectacular room installations such as the Fun Archive Headquarter and the Chicken Museum.
- Perfect Storm, an exhibition summarising the 5th edition of the Portfolio Review section. It will include presentations of the 15 short-listed artists plus works by nine artists from the previous editions of the Portfolio Review. The exhibition will showcase the current themes and approaches that are influencing the young generation of photographers. The works will be united by the idea of posing the question regarding the limitation and legitimisation of the expansion of image space and the productivity that ensues from this floating state.
The Benrath Palace and Park Foundation will present the works of Marcus Schwier -> Photography. His multifaceted work comprises series from the fields of architectural and landscape photography. The thematic blocks in the exhibition include, in particular, a series of night-time images from North and South American cities in which the light spaces have been artistically arranged by Schwier. The theme for another series is the greenhouse as a model of industrialised agriculture. Two groups of works are based on the use of a long tripod that makes it possible to take voyeuristic photographs of people and, by the same token, reflects the images of the world that are generated through surveillance technology.
The Philara Collection, with its new premises in Flingern, will show works by Sabine Dusend and Alex Grein, two young graduates of the Kunstakademie Düsseldorf, -> Stille Kammer. Both of the artists use photography to draw closer to the essential features of traditional picture production, the difference between man and machine as well as between an object and its representation.
In Number Thirteen, two exhibition concepts, will be combined in the Julia Stoschek Collection in Düsseldorf. At the hub of the presentation will stand the large-format video installation Factory of The Sun by Hito Steyerl. In parallel to this, but in a separate space on the first floor, will be the Missed Connections, a group exhibition curated by Jennifer Chan at the invitation of Hito Steyerl and in cooperation with the Julia Stoschek Collection.
The Mahn- und Gedenkstätte Düsseldorf (a memorial site to the victims of the Nazi regime) will present an exhibition dedicated to the artist and lawyer Fred Stein -> Auf dem Weg. Dresden Paris New York. In 1933, as a socialist and a Jew, he had to flee from the National Socialists in Dresden. As an exile in Paris, out of necessity, he turned his hobby into a profession. He opened a photo studio and, in the course of this, revealed his outstanding talent. He turned out to be a master of portraiture and spontaneous street photography.
At the Haus der Universität, the Open Loop exhibition will present unpublished documents and photographs – from the estate of the Berlin film-maker Hansjürgen Pohland – of Will McBride, Michael Marton and Jean-Gil Chodziesner-Bonne.
As previously, this year’s edition of the Duesseldorf Photo Weekend will be accompanied by Photo Book Salon, which will take place in the historic library on the newly built campus of the Hochschule Düsseldorf (HSD). In addition to an exhibition of the short list for the Paris Photo-Aperture Foundation PhotoBook Awards, an invitation to participate in the Salon has also be extended to European book publishers (including us ) that focus mainly on the production of photo books.
The 2017 Duesseldorf Photo Weekend schedule also includes lectures, symposiums, discussion rounds and film screenings at the Haus der Universität and at the Hochschule Düsseldorf.
More info and detailed programme @ www.duesseldorfphotoweekend.de
Duesseldorf Photo Weekend 2017
February 3 – 5, 2017
@ Düsseldorf (Germany)
Official opening @ NRW-Forum Düsseldorf on February 2 at 7.00 PM
Opening hours of the exhibitions:
February 3 – 6.00 PM – 9.00 PM
February 4 – 12.00 PM – 8.00 PM
February 5 – 12.00 PM – 6.00 PM
The Lumière Brothers Centre for Photography presents the Victoria Ivleva’s In the Footsteps of ‘The Sacrifice.’ In Memory of Andrey Tarkovsky exhibition. The exhibition is based on photos and interviews made this summer on the Swedish island Gotland, where The Sacrifice, the last Andrey Tarkovsky’s film, was shot 30 years ago.
“Our exhibition is a tribute to one of the greatest directors in the history of Russian cinema 30 years after his death, as well as homage to the Gotlanders who took part in the shooting of the film,” - says Victoria Ivleva.
Three decades after The Sacrifice had received the Grand Prix at the Cannes Film Festival, photographer Victoria Ivleva and researcher Ulla Tillgren managed to find the inhabitants of Gotland who worked on the film alongside the film crew and who contributed to the success of the film.
“In Närsholmen we found the place where the famous house in the film stood and the field where the ambulance drivers caught Erland Josephson. We were lucky enough to find the overgrown path that Allan Edwall rode his bicycle on. We saw the place where Sven Nykvist’s camera stood during the first house fire. Most of the people we met had not been there for more than 30 years, and no one had ever asked them about the film the Russian director shot on Gotland. They were all invited to the premier and many thought the film was convoluted and hard to understand. One remembered falling asleep and another one remembered having left the cinema hall. Others loved the dreamy atmosphere of the film. Now, after 30 years, they all wanted to see the film again,” – Ivleva recalls.
Victoria Ivleva | based in Moscow (Russia) | photographer and journalist | studied Journalism at the Moscow State University | has worked in many conflict zones and cooperated with Russian and foreign outlets | winner of the 1992 World Press Photo’s Science & Technology – series category | also won German Gerd Bucerius Prize and Russian Union of Journalists Prize | nominated for Andrei Sakharov’s Prize.
Victoria Ivleva – IN THE FOOTSTEPS OF THE SACRIFICE. IN MEMORY OF ANDREY TARKOVSKY
@ The Lumière Brothers Centre for Photography (Bolotnaya emb. 3, b.1, Moscow, Russia)
The exhibition is open to the public until January 22, 2017
The Victoria Ivleva exhibition is organised under doc! photo magazine patronage.
Borys Makary is an exploring artist. It seems that he hasn’t found his favourite form of expression yet. Thus so many intriguing forms of depicting and methods of presenting topics. No matter if it is an attempt to discover links between a man and nature, putting him into the landscape, or Man-Ray’s like presenting the reality using negatives and numerological describing of man, Makary’s photographs are a journey through the corners of human mind, an attempt to catch that what is ephemeral and simultaneously – a set of his own photographic path. During this journey, Makary proves he is an unusually talented artist able to break cliches and replace them with his own original observations and associations.
Borys Makary’s photographs are like opium: addictive and unforgivable. Once seen, they come back to the recipient repeatedly like a boomerang thrown in the Australian bush. They tempt. They hypnotise. They addict. Through his pictures, Borys plays an endless game with a viewer, a game in which he establishes the rules, and during which he is both, the demiurge and an active participant. The unconscious of anything recipient gets caught up in this game as easily as the insect lured by the carnivorous sundew. Each Makary’s exhibition reveals another scene of this peculiar game and the key to the understanding of its principles is total immersion in the magic of his images.
There are two trends noticeable in Makary’s work. On the one hand it is a fascination with the human body, especially the female body and femininity in general; on the other hand, it is admiration for the beauty and power of nature. Both threads are led parallelly, although it happens to them to enter together into an invisible dialogue. Such a dialogue is the latest presentation of Makary’s works, that consists of works from the artist’s archives that have never been displayed publicly before as well as the photographs made specially for the Cracow exhibition.
Why Unseen Dialogues? Because they are not obvious, one must look for them in the game of the pictures, in their associations. Seemingly simple, they can make a mess in one’s head. To understand them properly can cause some trouble. In addition, Makary doesn’t help us in this task. He makes us analyse them carefully picture by picture in order to find their connection, to hear their dialogues. What they are talking about? What they want to tell us? Come and listen to them.
Borys Makary (b. 1977) | based in Cracow (Poland) | visual artist dealing with conceptual, creative and commenting reality art | mainly uses photography, but also installations and video | graduate of the Academy of Fine Arts’ Faculty of Multimedia Communications in Poznań (Poland) | learnt photography from Miles Aldridge and at the International Centre of Photography in New York City (NY, USA) | former assistant to Richard Warren, a fashion photographer | has presented his works in Poland and abroad at individual exhibitions in based in Paris NUE and Claude-Samuel galleries, and at collective exhibition FOTOFEVER at the Louvre Museum, among others | has participated in the WeArt (Barcelona, Span) and Photo Independent (Los Angeles, CA, USA) festivals | has received many awards of international photography contests in the USA and in Europe, including two medals at the 2013 Prix de la Photographie Paris | has published in many photographic magazines, including Secret Behaviour and contra doc! (cd! #6).
Borys Makary – UNSEEN DIALOGUES
@ andel’s Hotel Cracow (3 Pawia St., Cracow, Poland)
Opening reception: January 12, 2017 at 7.00 PM
The exhibition will be open to the public between January 13 and February 12, 2017
The Borys Makary exhibition is organised under doc! photo magazine patronage.
The Leica Gallery Warsaw closes 2016 with Piotr Zbierski’s (doc! #8 & cd! #5) exhibition that is a photographic journey to the sources of nature, a common tradition of symbols and cultural codes. The Push the Sky Away exhibition is a triptych including his latest project – Stones Were Lost from the Base and his two earlier series: White Elephants and Love Has to Be Reinvented. Work over the whole took him 9 years.
Piotr Zbierski’s photographs are very personal. They don’t tell about the world but rather about its structure. Like an anthropologist, Zbierski rewers to the roots, to that what was before the image.
“I am most ineterested in the dialogue between the mental time and the common one, relationships with the past,” - says Piotr Zbierski. - “We live in a specific time, in which the contact with the causes of the occurrence of linguistic, logical, cultural and religious structures is either repeatedly broken or displaced by current hybrids. I am interested in the overlap and erosion of these spaces, the desire to extract the structure that asks where it came from. It exists now but it is the result of the march through centuries. It is breathing now but it is all covered with dust of the ancestors. I choose places that were important for previous civilisations, as the medieval astronomical observatory in Lithuania or mysterious creatures created by the nature itself.”
The essential part of Zbierski’s exhibition is his latest project – Stones Were Lost from the Base. It is a journey through the centuries searching for the essence and a common link of human emotions. Zbierski searches for things that are constant and stable, for formulas and bases, what the human spieces and human imagination confronting with nature are. In this way he tries to limit the message in the pictures to a necessary minimum: to leave the everlasting, bluring the “momentary” states of things.
The exhibition is accompanied by an identically titled book containing about 150 photographs by Piotr Zbierski as well as insired by his work poem by Patti Smith, a legendary American singer and poetess, written for this book, and essay by Prof. Eleonora Jedlińska.
Piotr Zbierski (b. 1987) | based in Łódź (Poland) | graduated from Photography at the Łódź Film School | author of award-winning and highly respected series: White Elephants, Here, Love Has to Be Reinvented and Childhood Dreams | has presented his works internationally at individual and collective exhibitions | his series have been published by Shots Magazine, Ninja Mag, Archivo Zine, dienacht, GUP, doc! photo magazine (doc! #8) and contra doc! (cd! #5), among others | winner of the 2012 Leica Oskar Barnack Newcomer Award | author of the book Push the Sky Away (Łódź Film School, 2016).
Piotr Zbierski – PUSH THE SKY AWAY
@ Leica Gallery Warsaw (3 Mysia St., Warsaw, Poland)
Opening reception: December 15 at 7.00 PM
The exhibition will be open to the public between December 16, 2016 and January 29, 2017
The Piotr Zbierski’s exhibition is organised under doc! photo magazine patronage.
The next exhibition at the NEY Gallery&Prints – Wild Years of the 1980s – will be about Tomasz Stańko, one of “the most original and innovative jazz trumpeters in the world” (as The New Yorker weekly writes about him). The exhibition will present photographs by Krzysztof Gierałtowski, Ryszard Horowitz, Andrzej Tyszko and Wojciech Kukla.
“The exhibition is devoted to the wild years of the 1980s. That was the time of freedom, jazz, moments of oblivion. Wojciech Kukla was a colleague of Lakis (Anthimos Apostolis). We were together in Kraków then and spent time talking on art, exchanging views, playing and having a great time together. Wojtek really accurately illustrated those days in his photos – very personal and romantic. He recorded those wild days of my life,” – says Tomasz Stańko.
While the photographers recall him saying:
“I took a picture of Tomasz Stańko in the middle of the 1980s for a poster of PAGART. Apparently he liked the poster because he asked for more photographs. If I had only been physically strong enough, I should have taken pictures of him from the perspective of sounds coming out from his instrument, while hanging over him,” - Krzysztof Gierałtowski.
“Tomasz Stańko is one of the few European jazz musicians accepted in the USA. No matter where he is from, what matters is how he plays – and he plays brilliantly. He has made his name a tremendous success in the world as a jazz musician, which confirms his universal talent,” - Ryszard Horowitz.
“I got to know Tomasz Stańko and took the first picture of him in 1982. Since then we have had a countless number of individual sessions. Each of them was a challenge for me. I always tried to take a unique picture, different from the previous ones. Tomasz is a very interesting and pleasant ‘object’ for photographing and his understanding of the world and reality is extremely inspiring. I am proud and happy that Tomasz gave me his trust and friendship that had and still have an impact on my work and life,” – Andrzej Tyszko.
WILD YEARS OF THE 1980S
Tomasz Stańko in the lens of Krzysztof Gierałtowski, Ryszard Horowitz, Wojciech Kukla and Andrzej Tyszko
@ NEY Gallery&Prints (5 Spokojna St., Warsaw, Poland)
Opening reception: December 3 at 7.00 PM
The exhibition will be open to the public until February 19, 2017
The Wild Years of the 1980s exhibition is organised under doc! photo magazine patronage.
The Single Shot exhibition, presenting works of thirty Polish contemporary photographers, aims to show the relationship between the photographer, picture and its description. All photographs have only one thing in common – there is a story behind each of them, a story on the photographer and on what is in front of him – what is in front of the camera. The exhibition reveals contexts and the stories hidden behind the pictures. How did they come into being? What was hidden? What inspired the creation of this photo? What is in the photo?
“There may appear a tension, dissonance between the picture and the text, which demands solution,” - says Krzysztof Miękus, curator of the exhibition. – “But the text and the picture belong to different records and it is not easy to solve this dissonance. When there is a conflict between them, we start to juggle with included in them meanings and hidden symbols to set them in one line in order to harmonise them. Such an attempt is often destined to fail.”
The Single Shot exhibition opens the Institute of Photography Fort’s Gallery located in a renovated industrial building from the 1950s. The gallery goal is to present the works of established artists as well as introduce new talents and support their artistic development.
“We want this space to meet the expectations of both, collectors of photography and those for whom photography is still unfathomable field of art,” – says Olga Łacna, President of the IFF Foundation acting to support and promote Polish photography.
Artists: Anita Andrzejewska (cd! #1), Robby Cyron (doc! #10), Kuba Dąbrowski, Przemek Dzienis, Paweł Fabjański, Mariusz Forecki, Jacek Fota, Dominika Gęsicka (doc! #26), Paweł Jaszczuk (doc! #29/30), Monika Kmita, Jacek Kołodziejski, Zuza Krajewska, Adam Lach (doc! #18), Diana Lelonek, Michał Łuczak, Igor Omulecki, Maciej Nabrdalik (doc! #15), Chris Niedenthal (doc! #6), Adam Pańczuk (doc! #15), Jacek Piotrowski, Bart Pogoda, Jacek Poremba (doc! #8), Maksymilian Rigamonti (doc! #1), Michał Siarek, Filip Skrońc (doc! #22), Ilona Szwarc (doc! #7), Michał Szlaga, Tomasz Tomaszewski (doc! #21), Magda Wunsche and Łukasz Ziętek.
The gallery opening will be accompanied by photographic workshops for children aged from 7 to 13. Their detailed programme and more information on the foundation is available on instytutfotografiifort.org.pl.
@ IFF Gallery (Fort Mokotów, 99 Racławicka St., Warsaw, Poland)
Opening reception: November 25 at 7.00 PM
The exhibition will be open to the public between November 26 and January 22, 2017
Once again, Collector’s Photography is set to provide a feast of Polish photography with unique photographs and a diversity of techniques, styles and epochs as well as great names, including Witkacy, Lewczyński, Rydet, Niedenthal, Althamer, to name a few.
The artworks exhibited as part of the Collector’s Photography project are both, preeminent in artistic terms and highly desirable as collectible items. This was proven during the previous auctions. This year’s autumn’s event will feature such valuable items too.
The images to be shown at the exhibition span nearly 140 years, thus becoming a record of how photography has changed over the decades. This time, the oldest piece is a portrait of Konrad Brandel’s son, made by the distinguished photographer in 1879. It was awarded with a medal at the Royal Photographic Society exhibition in London, making Brandel the first Polish photographer to win the distinction.
Pre-war artists, such as Jan Bułhak, Zofia Chomętowska and Stanisław Ignacy Witkiewicz (Witkacy), will be featured too. Of Witkacy’s work, which is highly regarded by collectors, viewers will see The Monster of Düsseldorf, which is one of his most famous pictures. Made in collaboration with Władysław Jan Grabski in 1932, it depicts the artist in an improvised scene with Janina Turowska.
The upcoming edition of the Collector’s Photography will also present works by Witold Romer, including one made in 1933 by means of izohelia, a technique invented by the artist himself. Some of the other photographic techniques to be presented, include gum bichromate, as used by Witold Dederko and Marek Gardulski, photosynthesis, a creative technique characteristic of Krzysztof Pruszkowski, and the photographic collage, which was so masterfully used by Jan Dziaczkowski. Rare examples of a printing technique will be the heliogravures by Awit Szubert, Stanisław and Władysław Bizański, which date back to the early years of the 20th century.
Among the most outstanding examples of portraiture will be the pictures of Jan Bułhak by Benedykt Jerzy Dorys and of Andrzej Wajda by Edward Hartwig and Bogdan Łopieński. A portrait of Edward Hartwig made by his wife Helena in Lublin in the 1940s will be complemented by his self-portrait – a photomontage with a scene depicting female models – dating back to the turn of the 1950s.
The developments and transformations taking place in the present-day world will be mirrored in the photographs by documentary photographers representing various generations. Chris Niedenthal will present Poland in the communist time, while Wojciech Wilczyk, with his Life after Life series, and Michał Szlaga, with his Gdańsk Shipyard photograph, will show the Polish reality after 1989. A somewhat different type of document will be the photographic record of Paweł Althamer’s artistic action UFO, during which Althamer constructed a spaceship in Toporów in 2004.
Conceptual art will be represented by the works of Natalia LL, with her Artificial Photography series (1976), and by Zygmunt Rytka, Jolanta Marcolla and Jan Berdyszak.
Such photography classics as Zofia Rydet, Zbigniew Dłubak, Jerzy Lewczyński and Bronisław Schlabs will also make their appearance. The youngest generation of award-winning artists will be represented by Weronika Gęsicka, Marta Zgierska and Patrycja Orzechowska, among others.
The list of photographers featured this year includes: Paweł Althamer, Krystyna Andryszkiewicz, Ewa Andrzejewska, Jan Berdyszak, Stanisław Bizański, Władysław Bizański, Konrad Brandel, Jan Bułhak, Michał Cała, Zofia Chomętowska, Maria Chrząszczowa, Kuba Dąbrowski, Witold Dederko, Zbigniew Dłubak, Benedykt Jerzy Dorys, Jan Dziaczkowski, Marek Gardulski, Weronika Gęsicka, Maurycy Gomulicki, Aneta Grzeszykowska, Edward Hartwig, Helena Hartwig, Henryk Hermanowicz, Krzysztof Kamiński, Jan Kosidowski, Kacper Kowalski, Andrzej Kramarz (cd! #4), Ewa Kuryluk, Zbigniew Libera, Jerzy Lewczyński, Natalia LL, Bogdan Łopieński, Łódź Kaliska, Jolanta Marcolla, Andrzej Mroczek, Zofia Nasierowska, Chris Niedenthal (doc! #6), Patrycja Orzechowska, Krzysztof Pająk, Marek Piasecki, Paweł Pierściński, Henryk Poddębski, Krzysztof Pruszkowski (cd! #1), Konrad Pustoła, Witold Romer, Eva Rubinstein, Sławomir Rumiak, Tadeusz Rydet, Zofia Rydet, Zygmunt Rytka, Bronisław Schlabs, Leonard Sempoliński, Mikołaj Smoczyński, Michał Szlaga, Awit Szubert, Zbigniew Tomaszczuk, Jerzy Wierzbicki, Wojciech Wilczyk, Stanisław Ignacy Witkiewicz (Witkacy), Stanisław J. Woś, Wojciech Zawadzki, Piotr Zbierski (doc! #8 & cd! #5), Marta Zgierska, Wiesław Mariusz Zieliński, Zorka Project and Paweł Żak (cd! #1 & #6).
Collector’s Photography is the only regular auctioning event dedicated exclusively to photography. Since its first edition in 2007, the project has offered collectors a diversity of works by leading Polish artists. The event is accompanied by a Polish-English catalogue with the artists’ bios, photo descriptions and reproductions of all the works.
17th Collector’s Photography
@ Mysia 3 (3 Mysia St., Warsaw, Poland)
Grand opening: November 5 at 7.00 PM
Auction: November 15 at 7.00 PM
The exhibition will be open to the public between November 6 and 15, 2016
- Expositions Vol. 1 – The first edition of a series of meetings devoted to the history of Polish photography. The series is intended to accompany each future edition of the Collector’s Photography -> November 8 at 7.00 PM
- Which way to the market? - An innovative guide for those who want to function professionally on the art market ->November 13 at 5.00 PM (to 9.00 PM)
- Collector’s Tour to Paris Photo fairs -> November 10-12, 2016
Read more about the 17th edition of Collector’s Photography and all accompanying events @ www.fotografiakolekcjonerska.pl (website in Polish language version only).
The 17th Collector’s Photography is organised under doc! photo magazine patronage.
The Lumière Brothers Centre for Photography presents the first complete retrospective of the Soviet photography classic – Yakov Khalip. His name is famous far beyond the Russian museum world and photographic collections. The exhibition of Yakov Khalip’s work, as well as the serious scope of publishing efforts, should have been available in Russia years ago. However, the body of work of one of the Soviet photography classics had remained unstudied for over last 35 years. The Lumière Centre for Photography strives to fill the gap and unveils the archive of the master.
Retrospective exhibition of Yakov Khalip (1908-1980) gives an insight into the evolution of Soviet photography – from the avant-garde 1920s to the stagnant 1970s – through the body of work of one great photographer. The exposition is built around five key milestones:
- Yakov Khalip’s work at Soviet film studios in the company of legendary directors and actors, such as Boris Barnet, Nikolai Okhlopkov, Sergei Eisenstein etc (1927-1930s);
- bold avant-garde experiments together with Alexander Rodchenko and magazine USSR in Construction (1930s);
- heroic series of the Arctic rescue expedition of Ivan Papanin’s team (1938);
- war reports with poet Konstantin Simonov (1941-1945);
- photo stories for major Soviet magazines (1950-1970s).
Apart from Khalip’s well-known classical images, the exhibition features for the first time photographs, shot at the film set of early Soviet films, that have just been attributed. These are: Moscow in October (1927), Forced Labor Camp (1928), Ingenuous Hearts (1928), The Iron Brigade (1930) and Enthusiasts’ Way (1930). The exhibition also includes advertising shoot for the major Soviet tourist agency Intourist, new images of the 1930-1960s. Over 100 vintage and modern prints will present “a master of genre photo-essay with his own style, which combined avant-garde photography and cinematographic trickery.”
The archive of the Khalip family reveals unique artefacts introducing the epoch: documents of the Arctic expedition; original expedition maps; trip permits and assignments; postcards sets of the 1930s; rare books and booklets featuring Khalip’s work; handmade thematic photo albums, created by the photographer and many more.
Presentation of the first photo book of Yakov Khalip and extensive lecture programme are planned within the framework of the exhibition.
CONQUEST. YAKOV KHALIP, HEIR TO THE RUSSIAN AVANT-GARDE
@ The Lumière Brothers Centre for Photography (Bolotnaya emb. 3, b.1, Moscow, Russia)
Opening reception: November 2 at 7.00 PM
The exhibition will be open to the public between November 3 and December 11, 2016
The Yakov Khalip’s exhibition is organised under doc! photo magazine patronage.
In her latest project – I am a Woman and I Feast on Memory – Ilona Szwarc is both, the subject and the object of directed by herself narrative. She reaches the tools of performance and simultaneously makes photographic documentation of the show.
In all parts of the triptych, Ilona Szwarc step by step manipulates her own image, using her stand-in, an actress from Boston selected in casting. These carefully constructed photographs complicate the notion of portrait and self-portrait. At first, by film close-ups on drawings and paintings on the face of the model, she presents her as an old woman, and then – by a few colourful and abstract strokes – transforms her into a swollen lady. The series of photos ends with an androgynous and grotesque view of the model face, resulting in something like a contemporary veraicon of the artist double.
The exhibition is accompanied by a set of three books by Ilona Szwarc.
Ilona Szwarc (b.1984) | based in Los Angeles (CA, USA) | graduate of Photography at the Yale University in New Haven (CT, USA) and School of Visual Arts in New York City (NY, USA) | her work focuses on problems of female identity in the contemporary cultural context | laureate of the 2013 World Press Photo contest and participant of the Joop Swart Masterclass (2014) | her pictures have been presented at individual and group exhibitions (in France, Germany, Holland, Poland, Spain, United Kingdom and in the USA) and published all over the world by The New York Times Magazine, The New Yorker, The Telegraph Magazine and doc! photo magazine (doc! #7), among others.
Ilona Szwarc – I AM A WOMAN AND I FEAST ON MEMORY
@ Leica Gallery Warsaw (3 Mysia st., Warsaw, Poland)
Grand opening: October 28 at 7.00 PM
Artist talk: November 3 at 6.30 PM
The exhibition will be open to the public between October 29 and December 11, 2016
The Ilona Szwarc’s exhibition is organised under doc! photo magazine patronage.
This autumn, FOMU is presenting a retrospective of the work of Saul Leiter (1923 – 2013), a pioneer of colour photography. Leiter was already using colour film in 1946 at the time when only black and white photography was accepted as an artistic medium. This fact negates the commonly-held assumption that colour images were only used from the 1970s onwards, with the advent of the New Color Photography movement led by Stephen Shore and William Eggleston. Saul Leiter only gained recognition for his pioneering role late in his life; since then, his permanent place in the history of photography has been secure.
Saul Leiter considered himself to be a painter as well as a photographer. His work in both disciplines is linked by a common visual style: abstraction and flatness. He mainly photographed the streets of New York, where he lived for over sixty years. The compositions depict mirrors, windows, road signs, buildings and passers-by. The urban elements blur into amorphous colours that form an important feature of each image.
This exhibition is displaying both, Leiter’s colour and his black-and-white photographs, as well as a selection of his paintings and work that has never been shown before.
The exhibition is accompanying by the book Saul Leiter – Retrospektive (Kehrer Verlag, 2016).
Herman Selleslags (b. 1938) is one of Belgium’s most famous photographers. In 2015, he donated his archive, and that of his father Rik, to FOMU. Over the course of half a century, Selleslags built up an incredible photo archive. Hundreds of thousands of photographs, glass plates, slides, negatives, press prints, pocket diaries, contact sheets and cameras were relocated to the FOMU depots. The multitudinous archive boxes are literally and figuratively the heart of the exhibition Selleslags Unpacks.
The exhibition shows the diversity of Rik and Herman Selleslags’ work: from assignments for HUMO, family albums and product photography for Grand Bazar to street photography, Jewish weddings, the 1943 winter and the 1953 floods. Less iconic and less known images by Herman Selleslags were also unearthed from the archive boxes: pictures of The Beatles, The Rolling Stones and of his friend the actor Julien Schoenaerts. The FOMU is offering its public the first and behind-the-scenes glimpse of the richness of this acquisition.
Saul Leiter – RETROSPECTIVE
Grand opening: October 28, 2016
The exhibition will be open to the public until January 29, 2017
Future exhibitions @ FOMU: