Born in New York in 1893, Florence Henri left the city when she was two years old after the death of her mother. She was thrown into a peripatetic life, travelling between her mother’s relatives in Silesia (then part of Germany), a convent school in Paris, and family homes in London and the Isle of Wight, and as an adult continued her travels, studying music in Rome, relocating to Berlin in World War One, acquiring Swiss citizenship through a hasty marriage, and moving to Paris in 1925, where she studied painting under Fernand Leger.
In 1927, when she was 34, Henri enrolled as a non-matriculating student at the Bauhaus in Dessau, where she studied photography with László Moholy-Nagy and struck up a close friendship with Lucia Moholy. Between 1928 and the late 1930s she created the photography she’s now best-known for, using prisms and reflections to complicate her images and experimenting with techniques such as photomontage, multiple exposures and photograms.
Established in 1986 as a festival for young fashion designers, and adding a prize for emerging photographers in 1997, the International Festival of Fashion, Photography and Fashion accessories, Hyères has established itself as a small but beautiful festival with a cutting-edge handle on photography in fashion and beyond.
The artistic director for photography is Raphaëlle Stopin, and this year she’s presenting exhibitions such as a solo show by Craig McDean plus a 25-year retrospective of Self-Service magazine. As usual, the festival also features work by 10 up-and-coming photographers, plus exhibitions by the two prize winners from 2018 – Eva O’Leary (who won the Grand Prix for photography last year) and Sarah Mei Herman (who won the American Vintage-sponsored prize).
The finalists for the 2019 competition are: Federico Berardi (Switzerland – Italy); Hubert Crabieres (France); Kerry J Dean (United Kingdom); Tommy Kha (China – USA); Hilla Kurki (Finland); Vincent Levrat (Switzerland); Alice Mann (South Africa); Andrew Nuding (Ireland); Jean-Vincent Simonet (France); and Elsa & Johanna (France). Their work will be on show until 28 May, and as well as competing for main prize, they will be commissioned to shoot new images for a Still Life Prize, and for the American Vintage Photography Prize.
Born in Poland in 1985 and based in London, Joanna Piotrowska has had a stellar career so far. Studying photography at the Academy of Fine Arts in Kraków and then on the prestigious MA at London’s Royal College of Art, she won MACK’s First Book Award in 2014 with FROWST, and then the Photoworks & Jerwood Award in 2015. She’s already shown her work at the Winterthur Fotomuseum, Switzerland, MoMA in New York, Hayward Gallery, Institute of Contemporary Arts and Sadie Coles in London, and now her first solo show has opened at Tate Britain.
Titled All Our False Devices, the exhibition includes both still photographs and 16mm films to consider gestures, relationships, and power. The series Self Defense, 2015 shows young women re-enacting poses from self-defence manuals, for example, while Shelters, 2016-2018 shows makeshift structures Piotrowska invited people to build at home in Lisbon, Rio de Janeiro, Warsaw, and London.
A group show of contemporary Czech photography, Tender is dedicated to work that “registers vulnerabilities of people and their environments – the bruises on the fruit”. The selected photographers include image-makers such as Tereza Zelenková, Vendula Knopová, and Hana Knížová, for example, who adopt widely varying styles but can all be seen to investigate this idea in their selected work.
“Remember, ‘tender’ also means a bid and this exhibition is a part of a program established to promote the Czech Republic abroad,” write the exhibition curator Michal Nanoru. “Are you going to accept the offer?”
“To me photography is a means, perhaps the best means of our age – of widening knowledge of our world. Photography is a method of education, for acquainting people of all ages and conditions with the truth about life today,” wrote photographer Berenice Abbott, in an unpublished text from 1946, Statement in Regard to Photography Today. Berenice Abbott: Portraits of Modernity will run at the Fundación MAPFRE in Barcelona till 19 May 2019. Following its showing in Barcelona, the exhibition will go on display at the Fundación MAPFRE’s Sala Recoletos in Madrid from 01 June till 23 August.
Since 2012, Temps Zero has matched emerging photographers and cutting-edge music, creative “a sonic and visual experience” that has popped up in Paris, Berlin, Athens, Rome, and many more. No two performances are alike, but the project is overseen by Stéphane Charpentier, a French photographer currently based in Athens.
Temps Zero’s next outing is in Vienna during Foto Wien 2019, with a photo projection in the Schikaneder Kino on 23 March, 24 March and 13 April accompanied by a soundtrack record by Alyssa Moxley, plus a photography show in the cinema. Guest-curated by Damien Daufresne and Kunstnetzwerk, the show includes images by French photographers Gaël Bonnefon and Gabrielle Duplantier, Italian photographers Marco Marzocchi and Lorenzo Castore, and Swedish photographers Theo Elias and Martin Bogren
“The Pink and Blue Projects were initiated by my five-year-old daughter, who loved the colour pink so much that she wanted to wear only pink clothes and play with only pink toys and objects,” writes JeongMee Yoon. “I discovered that my daughter’s case was not unusual.
“In the United States, South Korea and elsewhere, most young girls love pink clothing, accessories and toys. This phenomenon is widespread among children of various ethnic groups regardless of their cultural backgrounds. Perhaps it is the influence of pervasive commercial advertisements aimed at little girls and their parents, such as the universally popular Barbie and Hello Kitty merchandise that has developed into a modern trend. Girls train subconsciously and unconsciously to wear the colour pink in order to look feminine.”
“We were fascinated by the rich diversity of Latin America and the Latinx diaspora experience and wanted to address expectations of what Latinx means,” say the organisers behind Mundo Latinx, an exhibition of Latin American work going on show in London. “This exhibition coincides with challenging times in the global political climate when it is particularly important to highlight identity politics and diverse representation.”
A multimedia show, featuring work by film-makers, illustrators, and fashion designers as well as photographers, Mundo Latinx includes work by contemporary image-makers such as Diego Moreno from Mexico and Brecho Replay from Brazil, whose projects challenge notions of Latin American identity and beauty. Mundo Latinx is on show at the Fashion Space Gallery at London College of Fashion, University of the Arts London, and is organised by White Line Projects, a group of London College of Fashion, UAL MA Fashion Curation alumni which was founded by Fiona McKay and Xenia Capacete Caballero.
Born in Poland, educated in Switzerland, resident in Caracas, Venezuela from 1975-83, and now living in Paris, Gabriela Morawetz is a truly global citizen and artist, who has exhibited in galleries and museums across North and South America and Europe, including the Chicago Cultural Center, the Gallery of Modern Art in Lodz, Poland, The Recanaty Foundation Museum in Israel, and the Museo de Arte Contemporaneo in Caracas.
Even so, she creates her own worlds in her photography, microcosms in which most of the elements are literally made by her. Her latest show, Unwägbarkeiten / Imponderables, features a series of images using painting, canvas, glass, metal, and reflections, drawing on her background in painting, sculpture, and engraving, which she studied at the Academy of Fine Arts in Krakow before moving into photography.
Born in Amsterdam in 1983, Isabella Rozendaal has been photographing animals since her student days at the Royal Academy of Arts in The Hague. Her book Animalia Amsterdam: Pet Portraits features over 100 images, and her new book and exhibition, Isabella Hunts: Photographing Hunting Cultures, shows images of hunters and prey from around the world shot over the last 12 years.
Focusing in on the Nukini people in the Brazilian Amazon (for whom hunting is as mundane as going to the supermarket), to European hunting rites (traditions which are a product of old aristocratic rituals), to American enthusiasts (shaped by the Romantic, pioneer wilderness ideal but supported by a vast commercial hunting industry), her images seek to question our concept of nature and our place in the food chain.