Friedrich Seidenstücker

Entre ruines et passé - Photographies de Berlin 1945 - 1950

2 octobre - 23 novembre 2007

Vernissage : mardi le 2 octobre à 18h30

Goethe-Institut Nancy
39 rue de la Ravinelle
CS 35225
54052 NANCY Cedex
Tél.: + 33 383 354436
Fax : + 33 383 324345
bonnardel@nancy.goethe.org
www.goethe.de/nancy
du lundi au vendredi de 10h30 à 18h00

Vernissage mardi le 2 octobre 2007 à 18h30 en présence d'Antje Schunke, historienne d'art.

Fasciné par la métamorphose de Berlin après 1945, Friedrich Seidenstücker (1882-1966) parcourt la ville, muni de son appareil photo, et réalise ainsi, dans des conditions souvent périlleuses, plusieurs centaines de clichés d'un quotidien où les ruines jouent un rôle particulier, et qui surprennent par leur beauté inattendue et leur humour.

Aujourd'hui, ses photographies nous montrent un regard étonnamment différent sur un passé que nous pensions connaître.

Une exposition du Goethe-Institut Paris.
Avec le soutien du Bildarchiv Preußischer Kulturbesitz de Berlin
Catalogue disponible. (allemand, français anglais)

Cycle de films "Spécial Berlin" dans le cadre de Kinoche.

Sur le même thème
Bildarchiv Preußischer Kulturbesitz Berlin  
Friedrich Seidenstücker  
Goethe-Institut Paris  

Imprint / Impressum:

Torstr. 218
10115 Berlin

Editor: Claudia Stein

T +49.30.24 34 27 80
F +49.30.24 34 27 89
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© 02.10.2007 Photography-now
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Eyes of an Island

Japanese Photography 1945-2007

Shomei Tomatsu | Daido Moriyama | Nobuyoshi Araki | Toshio Shibata | Hiroshi Hamaya | Shigeichi Nagano | Hiromi Tsuchida | Eikoh Hosoe |
Hiroshi Sugimoto | Ryuji Miyamoto | Naoya Hatakeyama | Shoji Ueda | Takeyoshi Tanuma | and others...



Michael Hoppen Gallery London
5^th October - 1^st December 2007

3 Jubilee Place, London SW3 3TD
Tel: +44 (0)20 7352 3649
Fax: +44 (0)20 7352 3669
gallery@michaelhoppengallery.com
www.michaelhoppengallery.com
Tues-Fri 12noon - 6 pm . Sat 10:30am - 4pm

The Michael Hoppen Gallery, in collaboration with Studio Equis, is delighted to announce a major exhibition of influential Japanese photography dating from 1945 to the present day.

This exhibition will bring together some of the most important and iconic images by recognised masters including Shomei Tomatsu, Daido Moriyama, Hiroshi Hamaya, Shigeichi Nagano, Hiromi Tsuchida, and Eikoh Hosoe. Whilst much of this work has been exhibited at major museums worldwide: this exhibition is a rare opportunity for this work to be re-examined face to face. Eyes of an Island also integrates more recent work by well-known photographers such as Hiroshi Sugimoto, Ryuji Miyamoto, Naoya Hatakeyama and Nobuyoshi Araki amongst others.

We will chart three stages of development in this period of Japanese photography: from post-war documentary bearing witness to the destruction of war; turning inward to personal and subjective interpretations of the rapid changes in Japanese society; to a contemporary movement which consistently pushes the boundaries of the photographic medium. These photographers illustrate the diversity and virtuosity of the unique Japanese visual language.

Japan has been at the forefront of photography throughout the 20th century: photography was both a product of and a driving force in modernisation. With the post WWII economic boom Japan began to mass-produce the highest quality equipment and film in the world leading to a staggering photographic output. However, the main platforms for Japanese photography were magazines and books, and as a result very few exhibition quality vintage prints have survived. This, coupled with cultural and political distance and the time taken to assemble photographic histories within Japan, means that much of the work produced in the decades immediately following WWII has not previously been seen in Europe and the US.

Imprint/Impressum:

Torstr. 218, 10115 Berlin

Editor/Herausgeberin: Claudia Stein

T +49 (0)30 24 34 27 80
F +49 (0)30 24 34 27 89
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© 04.10.2007 Photography-now
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Roswitha Hecke   Secret Views

Photos from 1964 to the present
5 October 2007 - 6 January 2008

Organizer: Berliner Festspiele
Sponsored by the Culture Fund of the German Association of Savings and Clearing Banks (DSGV)

Martin-Gropius-Bau
Niederkirchnerstraße 7, Corner Stresemannstr. 110, 10963 Berlin
Phone +49 (0)30 254 86-0
Fax +49 (0)30 254 86-107
post@gropiusbau.de
www.gropiusbau.de

Opening times: Wednesday to Monday 10am - 8pm, closed Tuesday
24 Dec and 31 Dec closed, 25 Dec 2007 and 1 Jan 2008 open

The Martin-Gropius-Bau in Berlin is showing a multi-faceted retrospective of the work of the photographer Roswitha Hecke. Her "secret views" of foreign cities and countries, of unfamiliar milieus and familiar faces, reflect her "secret view" of the art of photography: affection for the subjects, a sense of the right angle, an ability to share feelings of amazement or amusement, and an unobtrusive proximity.

For Roswitha Hecke, who was born in Hamburg in 1944, photography is both a profession and a calling. She began her apprenticeship as a photographer at the age of 18. Three years later, having completed her training, she met the theatrical director Peter Zadek. During the seven years of their relationship Roswitha Hecke photographed Zadek's productions exclusively. This was followed by shots of many other stage productions and films, including productions by Werner Schroeter, Rainer Werner Fassbinder and, in Paris, Eric Rohmer. Some of Zadek's theatre work was even documented by Roswitha Hecke later. In 2006 she devoted an exhibition to the director on the occasion of his 80th birthday: "Oh du mein Zadek".

A constant in Roswitha Hecke's eventful professional life, which has taken her to many countries, is her friendship with the Bennents, a family of actors whom she has been photographing ever since 1967. Among her portrait studies of many artists, friends and companions, including Paul Bowles, Ingrid Caven, Omar Sharif and Andrés Segovia, the multi-part Bennent cycle constitutes a highlight of the exhibition. Other highlights are her milieu studies and travel documentaries.

Paris gave rise to the cycles "Pigalle – My Street of the Transvestites", which has just appeared in book form, and Sunday scenes from the Bois de Bologne. The 1970s found her travelling across America – "Quer durch Amerika" – with the writer Wolf Wondratschek, with whom she lived for a number of years. The "dream team" of modern travel documentary published inter alia the book "Menschen-Orte-Fäuste" [People – Places – Fists]. Wondratschek's love of boxing led the artist to discover her own fascination with capturing the denizens of the boxing milieu with her camera. She is also fascinated by the work of the detective Roy Finer, whose day-to-day life in the Bronx she depicts. "The Homeless on the Bowery" provide yet another subject.

In 1978 she published the book "Liebes Leben" [Love Life] about the Zurich prostitute Irene. It received the 1979 Kodak Prize for Best Photography Book and, in 1982, the Stiftung Buchkunst award for the Most Beautiful Book.

Other trips followed to Barcelona, Italy, Mexico, India and Morocco. In Tangier she spent three adventurous years with her two children. In 2002 Roswitha Hecke set off for St. Petersburg in search of clues to the origin of her family, while at the same time teaching at the Academy of Fine Arts in St. Petersburg. Roswitha Hecke lives in Hamburg.

Exhibitions
2006 Ruhr-Triennale: "O du mein Zadek"
2005 Galerie Molitoris, Hamburg: "Secret Views" Bennent Family
        Aplanat Galerie für Fotografie, Hamburg: "Secret Views" Roy Finer
        Aplanat Galerie für Fotografie, Hamburg, "Secret Views" Im Dickicht
        der Fäuste
2004 NORD/LB art gallery, Hanover: "Detective Roy Finer"
2003 Kunstclub Hamburg: "Secret Views" Hamburg for St Petersburg –
        St. Petersburg for Hamburg
2002 Contemporary Art Gallery, Basel: "Pigalle"
        Hamburg, Aussenausstellung in der Speicherstadt: "Secret Views"
2000 Kunsthaus Hanover: "New York City Faces"
1999 Galerie Levy, Madrid: "Liebes Leben"
1998 Kunsthaus Hanover: "Augenlust – Erotische Kunst im 20. Jahrhundert"
1997 Libro Azul, Ibiza: "Liebes Leben" and "Mann für Mann"
1990 Olympus Galerie, Hamburg: "Mann für Mann"
        Prince Gallery, Kyoto: "Liebes Leben"
1980 Fotoforum in der Fabrik, Hamburg: "Liebes Leben"
1978 Galerie Levy, Hamburg: "Liebes Leben"

Catalogue
Roswitha Hecke
Secret Views. Photos from 1964 to date
Published by Schirmer/Mosel
With an introduction by Joachim Sartorius
152 pages, 111 images in colour and duotone, format 24 x 27 cm
ISBN: 978-3-8296-0325-6
Bookshop edition (hardcover) € 29.80
Museum's edition (softcover) € 19.00

Admission:
€5, reduced rate: €3
Family ticket: €10
Groups (10 or more persons): €3 per person

Imprint / Impressum:

Torstr. 218
10115 Berlin

Editor: Claudia Stein

T +49.30.24 34 27 80
F +49.30.24 34 27 89
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© 05.10.2007 Photography-now
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MARKUS SCHINWALD

10 October 2007 - 27 January 2008

Augarten Contemporary
Center for Contemporary Art Belvedere Wien
Scherzergasse 1a, 1020 Vienna - Austria
Opening Hours: Thurs - Sunday (and all public holidays) from 11 am- 7 pm

T +43 (0)1 79 557 -134
F +43 (0)1 79 557 -136
public@belvedere.at
www.belvedere.at

Ten in Love, 2006
Filmstill
Photo: Sebastian Pfaffenbichler
Courtesy Markus Schinwald
© Markus Schinwald

MARKUS SCHINWALD

Markus Schinwald expresses himself in various media. His observation as an artist revolves around the human body. Human beings are invariably embedded in their cultural environment, where they are frequently enticed into developing compulsions, due to the restrictions they are subjected to. These are rendered noticeable by Schinwald in his fashion creations, as well as in his adaptations of ancient engravings in which the sitters are submitted to subtle manipulation. He also casts the protagonists of his films into prostheses, has them guided by puppets, or places their abstruse, trance-like, and repetitive actions in austere settings.

The Belvedere will be presenting the young artist's first one-man show in Austria. On an international scale, Schinwald, who is one of the most important Austrian artists of his generation, has already appeared in monographic exhibitions at Argos in Brussels; at the Frankfurt Kunstverein; at the Moderna Musset in Stockholm; and at the AAM in Aspen. The venue of the present show is Augarten Contemporary, the Belvedere's annex for contemporary art.

The starting point of the show are important works from the collection's own holdings, as well as the artist's presence in crucial exhibitions held at the Belvedere, such as Ulysses (2004), Das Neue 2 (2005), Kunst fürs 20er Haus (2005), and Freud in Kunstwerken (2006).

The Concept

For Augarten Contemporary, Schinwald is designing an exhibition in the form of a narrative. Neither are the individual works arranged next to one another, nor does he attempt to compile a chronological display or retrospective. Instead, an experiential continuum of a specific present is being created by incorporating temporality and spatial interferences. This exhibition is an event that needs to be experienced, it is coagulated time woven into a visual mise en scène. Schinwald's aesthetic approach of theatricality encompasses absorption, attention, and tranquillity. We constantly encounter human beings with their deficiencies on the threshold of fragility and compulsion, in a state of eventlessness and immersed in peculiar and meaningless actions. It is the communicative signs intrinsic to the body that Schinwald explores in human beings, puppets, and mechanical hybrids alike. What is rendered perceptible here are the presence of pain, the feeling of emptiness and loss, silence and mute desire, as well as the secret understanding of physical comprehension.

In Schinwald's aesthetic studies, the repertory of physical expression always appears in a dual guise. Like crying - which can be both willed and impulsive and express both compulsion and relief - each and every gesture is ambivalent at its core. Thus a gesture always means two things; on the one hand, it is a sign and a legible message, and on the other hand it inevitably is also involuntary expression. Consequently, each gesture is located in the uncontrollable realm between outward appeal and self-reflection, between interactive discourse and inward isolation, between body and language, between communication and emotional existence.

Imprint:

Torstr. 218, 10115 Berlin

Editor: Claudia Stein

T +49 (0)30 24 34 27 80
F +49 (0)30 24 34 27 89
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© 09.10.2007 Photography-now
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