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2019

Ekaterina Sevrouk

Ekaterina Sevrouk

Last Paradise

„For me photography is to place head and heart and eye along the same line of sight“ - Henri Cartier Bresson.

„For me photography is to place head and heart and eye along the same line of sight“ - Henri Cartier Bresson.
Für ihr Projekt „Last Paradise“ besuchte Ekaterina Sevrouk immer wieder das Haus der Natur in Salzburg und hatte freien Zugang zum sogenannten „toten Zoo“. So wird in vielen Museen die taxidermische Sammlung liebevoll benannt, die durch den fortschreitenden Klimawandel und anderen Umständen durch zahlreiche weitere Exemplare ergänzt wird. Es ist ihr ein Anliegen die Ambivalenz zwischen scheinbarer Erhaltung bzw. Neugestaltung mit der einhergehenden Zerstörung auf ihre ganz eigene Art zu visualisieren. Mit viel Liebe fürs Detail arrangiert und inszeniert sie ihre Motive. Durch das Einsetzen von teils sehr kräftigen Farben unterstützt sie die Wirkung in einer poppigen und extravaganten Art und Weise. Mit ihrer Leica S ist es ihr gelungen alle Details bis ins Kleinste sichtbar und lebendig zu machen.
Ekaterina Sevrouk
ist in Moskau geboren, studierte deutsche Philologie und Kunstgeschichte bevor sie im Jahr 2011 nach Wien zog. Seit 2015 lebt sie in Berlin, wo sie als selbständige Fotografin mit dem Schwerpunkt auf sozial engagierte Kunstprojekte tätig ist. Ein wiederkehrendes Thema in den Fotoarbeiten von Ekaterina Sevrouk ist das Leben mit all seinen hellen und dunklen Seiten. Es geht darum, wie die Menschen miteinander sowie auch mit der Natur umgehen. Ekaterina Sevrouk hat Fotokunst in mehreren Ausstellungen und Publikationen gezeigt, unter anderem „Ausgrenzen!“ (Amnesty Intenational, Berlin), „Last Paradise“ (Publikation von LFI Magazin), „Celeste Preise“ (Wharp Tower, London). Ebenso war sie Finalistin beim Leica Oskar Barnack Award 2017.

 

2019

Peter Hetzmannseder

Peter Hetzmannseder

Donaukanal – Eine Hommage

"Hier bin ich gerne. Manchmal fange ich was - manchmal nicht. So ist das Leben." - Miroslav / Angler

Der Donaukanal, eine Stadt in der Stadt: Hier, eine Ebene tiefer, eröffnen sich Mikrokosmen, wie man sie im landläufigen Stadtraum nicht findet. Sie zeichnen ein eigenes Bild von Wien, spiegeln Lebenswelten, die im Alltag der schönen „Walzerstadt“ untergehen – oder sich ganz bewusst ihren eigenen Ort gesucht haben. Weiter unten liegen sie, erreichbar über Treppen, die das Wasser mitten in der Stadt säumen. Die Symbolik, die durch die Lage des Flusses entsteht, fordert Stellungnahme auf Seiten des Betrachters, bietet doch der Kanal Szenen, die Lebenswelten allegorisieren.
Der Münchner Fotograf Peter Hetzmannseder hat den Donaukanal für sich entdeckt. Das Wechselspiel aus Altertum, Neuzeit, Idylle, Partystimmung und Abgeschiedenheit ist es, das ihn auf seinen fotografischen Streifzügen fasziniert. Aus dem Versuch einer sachlich- dokumentarischen Annährung wurde eine Begegnung, deren Ergebnis in erster Linie von Unvoreingenommenheit auf beiden Seiten geprägt ist, der des Fotografen auf der einen, der des Kanals und seiner Menschen auf der anderen.
Die Texte und die Auswahl literarischer Zitate zum Buch, für die der Münchner Philosoph Andreas Belwe verantwortlich zeichnet, unterstreichen, konterkarieren oder kommentieren die Fotografien auf kongeniale Weise und verbinden sich mit den Abbildungen zu einem feinfühligen, nachdenklichen und oft auch humorvollem Ganzen.
Peter Hetzmannseder
geb. 1963, Ausbildung zum Fotografen auf der Bayrischen Staatslehranstalt für Photographie; Assistenztätigkeit bei international namhaften Fotografen, seit 1993 als selbständiger Fotograf tätig; Einzelausstellungen in München & Frankfurt; lebt und arbeitet in München.

 

2018

Kurt Hutton

Von Strassburg nach London – Von Hübschmann zu Hutton

„Die Menschen selbst müssen für den Fotografen etwas bedeuten, bevor er überhaupt in der Lage ist, eine ansprechende Ähnlichkeit zu erreichen.“

Als genauer Chronist und sensibler Porträtist zählt Kurt Hutton (1893–1960) zu den wichtigsten Pionieren des englischen Bildjournalismus. Nach einer kurzen Assistenz bei Germaine Krull eröffnete er mit seiner Frau 1921 in Berlin ein Porträtstudio, arbeitete jedoch zunehmend als Reportagefotograf. Mit der Leica fand er die für seine Bildgestaltung nötige Flexibilität und Mobilität. Seine Karriere als Bildjournalist startete um 1930 bei der Berliner Bildagentur Dephot von Simon Guttmann. Nach der Emigration nach England 1934 änderte er 1937 seinen Nachnamen von Hübschmann in Hutton. Er arbeitete für die Weekly Illustrated und ab Oktober 1938 gehörte er zu den ersten Mitarbeitern der Picture Post, die der ebenfalls aus Deutschland emigrierte legendäre Bildredakteur Stefan Lorant in London gründete. Bis 1950 erschienen über 900 Bildserien in der Picture Post. Ab 1951 lebte Kurt Hutton in Aldeburgh und wurde dort der fotografische Biograf des Komponisten Benjamin Britten.
Kurt Hutton wurde am 11. August 1893 in Straßburg als Kurt Hübschmann geboren. Aufnahme eines Jurastudiums am Queen’s College in Oxford (1911–1913), Kriegsdienst bis
1918, danach Rekonvaleszenz im schweizerischen St. Moritz. 1921 Heirat mit Margereta „Gretl“ Ratschitzky. Nach einer Assistenz bei Germaine Krull Gründung eines Porträtstudios in Berlin. 1934 Emigration nach London, dort erfolgreiche Karriere als Bildjournalist. Hutton starb 1960 in Aldeburgh in Suffolk.

Besonderer Dank geht an das Hutton-Archiv (Getty Images, London), durch dessen Unterstützung diese Ausstellung realisiert werden konnte.

 

2018

Nadja Gusenbauer

Nadja Gusenbauer

Sperrzone Tschernobyl. Verschwunden 1999.

Eine Reihe von 43 monochromatischen Bildern wurde in der Sperrzone rund um das Atomkraftwerk Tschernobyl im Juli 2017 aufgenommen, 30 Jahre nach einer der größten Atomkatastrophen. Die Nuklearkatastrophe von Tschernobyl (26. April 1986) wurde als erstes Ereignis in die höchste Kategorie „katastrophaler Unfall“ auf der siebenstufigen internationalen Bewertungsskala für nukleare Ereignisse eingeordnet.

Eine Reihe von 43 monochromatischen Bildern wurde in der Sperrzone rund um das Atomkraftwerk Tschernobyl im Juli 2017 aufgenommen, 30 Jahre nach einer der größten Atomkatastrophen. Die Nuklearkatastrophe von Tschernobyl (26. April 1986) wurde als erstes Ereignis in die höchste Kategorie „katastrophaler Unfall“ auf der siebenstufigen internationalen Bewertungsskala für nukleare Ereignisse eingeordnet.
Die Bilderreihe besteht aus den Serien Tschernobyl town, nuclear power plant, abandoned city of Pripyat, Richytsa, exclusion Zone und russian woodpecker. Im Jahr 1986 wurde die 30-Kilometer-Zone rund um das explodierte Atomkraftwerk als Ausschlusszone deklariert und der Informationsfluss wurde auf ein politisch unvermeidbares Minimum reduziert.
55 Ortschaften, unter anderem auch das Dorf Richytsa, wurden evakuiert und einige Jahre später, 1999 aus den offiziellen Verwaltungsregistern des Staates gelöscht. Es sind 115 Dörfer und mehr als 12.000 Höfe in der Sperrzone, die offiziell nicht mehr existieren. – Verschwunden im Jahr 1999.
Es bestand keinen Wille eine informative Narration oder eine Reportage vom Unglücksort zur Schau zu stellen. Die kontrastreichen Bilder sind eine Erzählung, ein gedanklicher Gang durch Emotionen, Interpretation und ästhetische Eindrücke.
Die Vielschichtigkeit der Problematik rund um Tschernobyl, die Stadt Prypjat und der nuklearen Katastrophe in Zusammenspiel mit allgemeinen fehlendem Spezialwissen öffnet Emotionen in der Bevölkerung und lässt die Klarheit und Wahrheit über Tschernobyl nicht zu.
Dies überdeckt einst gewohnte Orte mit Mystik, Gefahr, Verfremdung, Ungewissheit und Trostlosigkeit.

 

2018

Ellen von Unwerth

Ellen Von Unwerth

Wild Wild West

“I like to photograph anyone before they know what their best angles are.”

Ellen von Unwerth is one of the most influential photographers of today, and, as a renowned protagonist in the male-dominated world of fashion photography – at least behind the camera – she is an exception.
Equipped with a Leica S (Typ 007), Ellen von Unwerth put together a unique series for the S Magazine 8: without the limitations of a commercial assignment, but full of typical moments bursting with life. In a loosely associative series, we accompany a girl gang in search of happiness in the Wild West. The photographer’s refreshingly unconventional imagery thrives on a particular mixture of humour, cheekiness, frivolity and playfulness.
For the S Magazine, von Unwerth was able to mobilise some big stars to join in the fun: multi-talent, Marilyn Manson, who plays a heavyweight, the actor Micah Fitzgerald, the musician Caroline Vreeland, and the performance artist Millie Brown. They all invite the viewers to take a closer look, and to allow themselves to be carried away by the film-like sequences.
Ellen von Unwerth was born in Frankfurt am Main, Germany, in 1954; after spending her childhood in an orphanage, she went to Munich when she was 16 years old and worked as an assistant at Roncalli Circus until a photographer booked her for a photo shoot for the German magazine Bravo. This led to her discovery by the boss of Elite modelling agency.

 

2017

Per-Anders Pettersson

African Catwalk

“I feel the story is not only about fashion but also about the new growth in Africa.”

Colourful and self-confident, diverse and full of creative ideas: this is how the Swedish photographer presents his project dedicated to the fashion scene in Africa. From 2010 to 2015, he travelled to fifteen different countries, to document the world of the catwalk and, above all, behind the scenes.
The outcome is a kaleidoscope of African fashion full of vitality, which is very different from the images of the continent that tend to dominate western media and magazines. Pettersson, who has been living in South Africa for many years, is the per fect ambassador for this surprisingly optimistic perspective, and his picture series do a convincing job of countering the false perception that Africa is, above all, a continent of crises and wars, full of poverty, sickness, ethnic conflict and devastating terrorism.
His connection to fashion came about by chance when he found himself at Fashion Week in Johannesburg in 2010. “It was the first fashion show I’d ever been to and I was absolutely fascinated.”
Per-Anders Pettersson was born in Borås, Sweden, in 1967. He moved to New York in 1990 and to South Africa in 2000. He currently lives in Cape Town.
In his over 30 year career as a photographer he has covered many themes, like the first Gulf War, and the conflicts in the Balkans, Afghanistan and Haiti. His documentation of over 30 African countries, including the hunger crisis in Ethiopia, the civil war in the Democratic Republic of Congo and the AIDS epidemics in Botswana and South Africa, has earned him many international awards. After the publication of Rainbow Transit in 2013, his photo book African Catwalk was published by Kehrer Verlag.

 

2017

Manfred Baumann

The Collection

Austrian photographer Manfred Baumann was born in Vienna in 1968. The Leica photographer has since presented his works worldwide in the form of exhibitions, books, and calendars.

Austrian photographer Manfred Baumann was born in Vienna in 1968. The Leica photographer has since presented his works worldwide in the form of exhibitions, books, and calendars.
His photographs are displayed in international galleries as well as in museums. Over the past years, Baumann has taken his place among the most influential photographers of our time.
Manfred Baumann "The Collection" will show a retrospective of his work on the themes of Celebrities, Fine Nude Art and Street Photography at the LEICA Vienna Gallery.
He lives and works in Europe and the USA, and has already photographed such greats as Sandra Bullock, Gene Simmons, Kirk Douglas, Angelina Jolie, William Shatner, Jack Black, Natalie Portman, Tony Curtis, Paul Anka, Lionel Richie, John Malkovich, Bruce Willis, Juliette Lewis, Toni Garrn, Michelle Rodriguez, Leah Remini, Evander Holyfield, and many more.
For Manfred Baumann, the fascination of photography lies in departing from the familiar and capturing an impression of the moment. He loves to explore the world through the eyes of a photographer.
To make visible that which others have not seen has been the objective of Baumann’s exhibitions, such as “END OF LINE”, in which he documented the final journey of death row inmates in Texas, or “ALIVE”, where he photographed homeless persons on the street for one year.
“The viewer of my photographs should discover the soul and history they embody, and recognize that photography is the only language that can be understood all over the world.”

 

2017

Roland Pleterski

Animalia

Tiere im Bild

Mit Beginn der warmen Jahreszeit verwandelt sich die Leica Galerie in eine Menagerie, die sich vor dem Schönbrunner Zoo nicht zu verstecken braucht: Affen, Elefanten, Pelikane, Schmetterlinge, Haie, Kaninchen und eine Reihe weiterer Spezies, nicht zu vergessen natürlich unsere ältesten und liebsten Freunde, Katzen, Hunde und Schweine, tummeln sich in den Räumen an der Walfischgasse.

Die Fotografien inszenieren sie als Symbol und Trophäe, als Passant, Beute und Accessoire, als Wildtier, Nutztier, Haustier, als Comic Relief und nicht zuletzt auch als flauschiges Requisit großer Fische der Filmindustrie wie James Dean, Gérard Depardieu oder Walt Disney.

Tiere, sieht man hier, waren schon immer die besseren Menschen – oder immerhin die besseren Schauspieler. Nie hat man einem Tier sagen müssen, es solle ganz natürlich sein, nie musste man es auffordern: „Sei einfach Du selbst“. Es weiß, was die Kamera erwartet – vorausgesetzt, der Fotograf ist schnell genug.

Neben den bekannten Vierbeinerenthusiasten Elliott Erwitt und William Wegman widmen sich in der Ausstellung auch andere Schwergewichte der Fotogeschichte dem Animalischen unter uns. So fotografierte etwa Eve Arnold eine Katze zwischen loungenden Warhol-Superstars, Henri Cartier-Bresson erwischte Straßengänse im entscheidenden Moment, Klaus Pichler begegnete 2010 einem Hai in den Katakomben des Naturhistorischen Museums, Daniel Gebhart de Koekkoek lichtete Hauskatzen im freien Fall ab und dass Irving Penn nicht nur Jahrhundertporträtist sondern auch Besitzer zweier Haustiere mit Namen Fido und Mauki war, zeigen zwei Aufnahmen von Roland Pleterski. Nicht fehlen darf in der Leica Galerie schon der Namensähnlichkeit wegen Hündin Laika, die 1957 als erstes Lebewesen in der Erdumlaufbahn der gesamten Menschheit um knappe vier Jahre voraus war.

Mit Fotografien von Lola Álvarez Bravo, Nobuyoshi Araki, Eve Arnold, Roger Ballen, Bruno Barbey, Werner Bischof, Brassaï, René Burri, Robert Capa, Henri Cartier-Bresson, Bruce Davidson, Peter Dressler, Elliott Erwitt, Joan Fontcuberta, Daniel Gebhart de Koekkoek, Mario Giacomelli, Thomas Höpker, Tore Johnson, Josef Koudelka, Sergio Larrain, Jaques-Henri Lartigue, Andrei Liankevich, Ulrich Mack, Pierre Manevy, Klaus Pichler, Roland Pleterski, Osvaldo Salas, Tazio Secchiaroli, Aldo Sessa, Paul Slade, Alfred Stieglitz, Dennis Stock, Takeuchi Toshinobu, William Wegman, Manfred Willmann und Yoko Yamamoto.

 

2016

Nobuyoshi Araki

Nobuyoshi Araki

Love by Leica

Centerpiece of the exhibition is the series Love by Leica (2006), an atmospherically dense collection of women’s portraits and nudes in black and white, which Araki photographed with analog Leica M7.

Nobuyoshi Araki (*1940 in Tokyo) undisputedly ranks among the most radical and influential photographers of our time. In his oeuvre he has been exceptionally productive and innovative and is regarded an important figure in current art sphere far beyond the area of photography. The 66 photographs of his series Love by Leica, now presented at Leica Gallery Vienna, form one of his most exciting bodies of work.

With his bondage-photographs Araki developed a unique visual handwriting, creating a poetic as well as provocative portrayal of human passion which points beyond Japanese culture. He invented the concept of the “photographic ego”, signifying the intriguing interplay between fiction, fact and desire.

Centerpiece of the exhibition is the series Love by Leica (2006), an atmospherically dense collection of women’s portraits and nudes in black and white, which Araki photographed with analog Leica M7. His controversial and intimate studies of women’s bodies, influenced by erotic iconography of the Edo period (a time of peace and prosperity in Japan, 1603–1868) as well as by the glossy aesthetics of the world of advertising and mass media, made him internationally renowned and are a recurring motif of his artistic universe.

Leica Gallery Vienna will present one of only two existing sets of the series, specially made for the Araki exhibition at WestLicht Museum in 2006.

Furthermore Love by Leica series will be joint by Araki’s large format colour prints from the project Flowers and Jamorinsky (2005–2006), a continuation to his previous works devoted to flower motifs. The photographs relate to fading blossoms, decay, nostalgia and poesy.

 

2016

Alfons Walde

Alfons Walde

Winterträume

Die Fotografien des Malers Alfons Walde (1891–1958) aus dem Nachlass des Künstlers, die über Jahrzehnte unbeachtet in einer Kiste schlummerten, wurden im Dezember 2014 erstmals im Fotomuseum WestLicht gezeigt. Zur diesjährigen Wintersaison die Leica Galerie Wien eine Auswahl von Aufnahmen aus dieser spektakulären Entdeckung.

Der weltberühmte Landschaftsmaler Walde entpuppt sich darin auch als Meister der Fotografie – mit Fokus auf den weiblichen Akt. Seine Inszenierungen reichen von klassischen Posen aus der kunsthistorischen Tradition bis hin zu erotisch aufgeladenen, teils pornografischen Szenen. Während seine Schwarz-Weiß-Fotografien in den frühen 20er Jahren noch an Egon Schiele und Koloman Moser erinnern, ist ab den 1930ern seine Rolle als Vorreiter der Farbfotografie bemerkenswert. Walde benutzte seine Leica mit dem gerade erfundenen Farbfilm und fertigte Diapositive an, die in ihrer malerischen Anmutung faszinieren. Neben dem erotischen Werk entstanden Landschafts-, Porträt- und Architekturaufnahmen. Die Fotografien dienten dem Künstler auch als Anregung und Vorlage für seine Malerei.

Alfons Walde ist einer der bekanntesten österreichischen Landschaftsmaler des 20. Jahrhunderts, verehrt nicht nur in seiner Heimat, sondern weltweit. Geboren am 8. Februar 1891 in Oberndorf bei Kitzbühel zog es ihn 1910 nach Wien, wo er ein Studium an der Technischen Hochschule aufnahm. Es folgten erste Ausstellungen in Innsbruck (1911) und in der Wiener Secession (1913).
Waldes erste Berührung mit dem Medium Fotografie datiert noch aus der Zeit vor dem Ersten Weltkrieg, möglicherweise angeregt durch seinen Onkel und Verleger Sepp Ritzer. In der Innsbrucker Kunsthandlung Unterberger stellte er 1921 erstmals auch seine Aktdarstellungen der Öffentlichkeit vor – sie stießen auf gemischte Reaktionen. Der in der Zwischenkriegszeit boomende Skitourismus und die mondänen Wintergäste in Kitzbühel bescherten Walde nicht nur eine potente Käuferschicht, sondern schlugen sich auch in seiner Motivwahl nieder. 1924 gewann Walde die beiden ersten Preise in einem Wettbewerb des Tiroler Landesverkehrsamtes, Rubrik „Winterbilder“.

 

2016

Francois Fontaine

François Fontaine

Silenzio!

François Fontaine created the series in 2011–2012 capturing the film scenes directly off a screen. He used his CM Leica, one of the last Leica analogue compact cameras, to take an image from colour films by both French and international filmmakers created from 1940s to today...

Mémoires de cinema / Memories of Cinema

To kick off 2016 Leica Gallery Vienna takes its visitors on a journey through both the history of cinema and our memories with works by French photographer and Oskar Barnack Award finalist François Fontaine. The exhibition is open until 16th of April 2016.

François Fontaine created the series in 2011–2012 capturing the film scenes directly off a screen. He used his CM Leica, one of the last Leica analogue compact cameras, to take an image from colour films by both French and international filmmakers created from 1940s to today. Thus in Fontaine’s impressive homage to cinematography among others we encounter Kim Novak in Hitchcock’s Vertigo, Peter O’Toole in David Lean’s Lawrence of Arabia, Brigitte Bardot in Godard’s Le Mépris or Naomi Watts in David Lynch’s Mulholland Drive.

François Fontaine, born 1968 in Paris. Studied History of Art at Sorbonne, Paris. Travelled extensively, especially through South-East Asia. 1997 first exhibition in Paris (Les Prisons de Phnom-Penh). His series Lost in China was among the finalists of the Oskar Barnack Award in 2006 and was presented at the Rencontres in Arles that same year. In 2011-12 worked on a series examining the imagery of cinema (Silenzio! Mémoires de cinéma). Leica presented this series at the 2014 edition of Paris Photo.

 

2015

image by: Elliott Erwitt

Elliott Erwitt

Paris

An American in Paris at Leica Gallery Vienna: This autumn we present photographs by Elliott Erwitt, legendary photographer, longtime Magnum-member and master of the subtle art of wit.

Erwitt was born in Paris in 1928, but spent his childhood in Italy before immigrating with his parents to the US where he found a permanent base in New York City. The passionate cosmopolite returned to the French capital, which was the scene of some of his first photographic ventures and home to Magnum Photo’s founding office, on an almost regular basis – his Leica always at hand. The exhibition brings together about 40 photographs from a period of no less than seven decades and is thus as much an ode to the so called City of Love as it is a representation of the impressive lifework of one of the major photographers of our time.

 

2015

image by: Pawel Jaszczuk

Pawel Jaszczuk

Kinky City

Tokyo nights are full of toys. Dolls, costumes, threads and needles, masks, fancy dress and many more. Naturally, it isn't kids' stuff, but toys for the grown-ups. Paweł Jaszczuk watched them play. This needs some determination, of course. For about three years, from 2007 to 2010, he routinely grabbed his bike after returning from his day jobs and dived into the metropolis's nightlife, looking for Tokyo's swinger clubs and happening bars...

kinky
1 closely twisted or curled
2 relating to, having, or appealing to unconventional tastes especially in sex
3 outlandish, far-our
aus: Merriam Webster Dictionary

„The Western belief that the body is a source of sin has never caught up on in Japan. The concept of clean/unclean does not exist. Sex, eroticism, pornography – all this is a part of life, art, a natural human need, which in Japan is not subject to moral evaluation. Whatever you do with your body is your own business.” Natalia Czarkowska

Tokyo nights are full of toys. Dolls, costumes, threads and needles, masks, fancy dress and many more. Naturally, it isn't kids' stuff, but toys for the grown-ups. Paweł Jaszczuk watched them play. This needs some determination, of course. For about three years, from 2007 to 2010, he routinely grabbed his bike after returning from his day jobs and dived into the metropolis's nightlife, looking for Tokyo's swinger clubs and happening bars, its couple kissas and private sex-parties. He won over their hosts and owners, sat at bars and in booths, listened to at times questionable music and convinced the guests to be pictured by him while living their fantasies. He deliberately took the part of the voyeur, which is an integral element of the role play in place anyway – though usually without a camera.
In his photographs one encounters a round of tradition and pop, pain and desire, sex and taboo, intimacy and anonymity. Jaszczuk used an extremely light sensitive film with his Leica, which leaves only few things in the dark. The bluntness of the images, the physicality in the games of dominance and submission, and the array of fetish paraphernalia – uniforms from French maid to SS – make for a somewhat disturbing experience. Moments of dizzy rush, captured in close ups, alternate with scenes depicted from a rather distant perspective of a curios beholder. Frenzy takes turns with the prosaic. The night presents itself as the heady opposite of the daily grind, though at the same time the practiced fantasies – however kinky they are – are marked by a set of recurring roles, motives and traditions. Eventually daybreak means a change of attire for the revelers: from latex and uniform to suite and business costume, which cover up the bruises of the past hours.

 

2015

Die Burg. Innenleben.

Die Burg. Innenleben.

Jim Rakete is one of the most renowned contemporary portrait photographers. For over 40 years now by way of his pictures we have met the leading figures from international music, film and theatre, who he has often already photographed before their career takes off. In the summer of 2014 Jim Rakete photographed the complete ensemble of Burgtheater in 77 successive portrait sittings...

Jim Rakete is one of the most renowned contemporary portrait photographers. For over 40 years now by way of his pictures we have met the leading figures from international music, film and theatre, who he has often already photographed before their career takes off.
In the summer of 2014 Jim Rakete photographed the complete ensemble of Burgtheater in 77 successive portrait sittings. A tucked away rehearsal stage equipped with few props on the third floor of the theatre, just a few steps away from the Burg’s portrait gallery served as a makeshift studio.
The portraits photographed in black and white with the Leica M Monochrom give insight to the inner life of the biggest German language theatre. As if attending a rehearsal for an intimate play, viewers meet the actors eye to eye and like in the most memorable stagings, personalities and roles blend in to form a true performance.
“Over the course of just a few days Jim Rakete has photographed the whole ensemble of Burgtheater. One after the other. Record-breaking piece work… These pictures often display more than the one photographed was willing to reveal. It’s a glance behind self-expression.” Joachim Meyerhoff

 

2014

Sounds of Vienna

100 Years Franz Hubmann

With the exhibition SOUNDS OF VIENNA Leica Gallery Vienna celebrates the 100th anniversary of Franz Hubmann (1914-2007), one of Austrian photography’s finest. His last exhibition in Vienna during his lifetime was presented by Photomuseum Westlicht on the occasion of his 90th birthday.

Like no one else, Franz Hubmann – famously called the Austrian Cartier-Bresson – managed to capture the sound of the city with his Leica, the Viennese street life with its Cafés, bohemians, fiacres and antique shops. In the exhibition we meet them all again: the legendary waiter Ali from Café Hawelka, who is now at least as famous as his literary guests, the freezing florist in Stadtpark or the woman transporting her plant in a baby carriage across the district of Döbling.

As Hubmann was a passionate music lover, it wasn’t only the sound of the streets which interested him. During the postwar decades he took pictures of the international music scene visiting Vienna, his musical taste ranging from the classic with portraits of Herbert von Karajan or Yehudi Menuhin to modern jazz, represented in the exhibition by mesmerizing shots of Miles Davis, Nat King Cole, Louis Armstrong and many others. Hubmann also had an eye for the latest developments in arts and performance and thus was one of the few to capture the anarchic cabarets of avant-garde group Wiener Gruppe on film.

All prints on display are for sale. Prices upon request.

On the occasion of Franz Hubmann’s 100th anniversary Christian Brandstätter Verlag publishes the book FRANZ HUBMANN. SOUNDS OF VIENNA with many photographs from the exhibition and essay by Karlheinz Roschitz, Christian Brandstätter, Axel Hubmann und Gerald Piffl.

The show at Leica Gallery Vienna coincides with a Franz Hubmann exhibition at Leica Gallery Salzburg, also celebrating his 100th anniversary.

 

2014

Jacob Aue Sobol

Arrivals and Departures

Two years ago Danish Magnum photographer Jacob Aue Sobol embarked on a journey, crossing the Asian continent from Moscow via Ulaanbaatar to Beijing. Arrivals and Departures is the photographic log-book of this trip. Recorded with the Leica M Monochrome it recounts Sobols encounters with the people along the Trans-Siberian Railway in fierce black and white images.

None of the photographs is just a fleeting record of a traveller. On the contrary, Sobols portraits are characterized by an almost painful intensity, the intimacy of the pictures leaves no space for casual bystanders.

“It was a trip I had always wanted to take; The legendary journey along the Trans-Siberian Railway. Denmark, my native country, you can cross in five hours by train, but in Russia the distances are huge. I was curious if the connection between people and places would feel different considering the fact that I would pass every tree, every house and every village on my way to Beijing. The first chock came already when I entered the train. It was completely empty. The whole idea of the project had been to meet people on the train and make intimate stories from the train compartments. But riding this ghost-train, I had to change the concept: The intimate work had to come from my encounters with people in the cities and the train became the red thread connecting Moscow, Ulaanbaatar and Beijing. On the train I ended up with my camera glued to the window photographing the change of landscape as we were let along the Russian forests, the Mongolian desert and through the mountains to Beijing.

But it was not only Russia, Mongolia and China that was unknown land to me - so was my equipment. It was my first time using a digital camera. Everything was new, but then again, my ambition is always the same; to use the camera as a tool to create contact, closeness and intimacy.

Every time I start a new project, I start shooting in color, because I am afraid to repeat myself, but later I realize that it is not really something I can make a rational decision about. If I can't emotionally connect with my images, if I can't feel that pinch in my stomach, they mean nothing to me, and so I always return to B&W and find my voice again. Working with black and white has always been the most direct way for me to reach more existential questions. In black and white I feel my images are not bound to a specific location or time. They create their own universe.

I never found it interesting to look at someone from the other side of the street, or to be “invisible” as a photographer. I hope this is the reason why people never feel like a voyeur looking at my images – because you feel that you are taking part. To me, this is when images grow from showing to being. This is when the pictures are not telling a story about ‘them’ but about ‘us’.“ Jacob Aue Sobol

 

2014

Stefan Kruckenhauser

Parallelschwung

From February 13th to June 14th Leica Gallery Vienna shows photographs by Austrian skiing-pioneer and Leica-trailblazer Stefan Kruckenhauser (1905-1988), who revolutionized alpine sports during the 1950s with his innovative skiing technique.

It is hard to decide in which of his two roles – photographer or skiing-pope – Kruckenhauser was more influential. As an image creator Kruckenhauser affected a whole generation of amateur photographers with his books and had his part in making small format photography popular in Austria. Camera manufacturer Leitz awarded him the 700,000th Leica in 1955 for his achievements in the field of photography. As a skiing educator known as the father of the “Wedeln”-technique he influenced the style of millions of alpine skiers all over the world. In the 1960s American magazine Sports Illustrated compared his impact on alpine sports to Sigmund Freud’s influence on psychoanalysis.

Kruckenhauser’s photographic work is to a large extent connected to certain book projects. This is also true for the photographs in the exhibition, which derive from the layouts for three of his books. The display presents drafts for single pages and spreads, which show Kruckenhauser as an equally talented photographer and graphic designer.

In the case of the “Österreichischer Schilehrplan” (Austrian Skiing Curriculum), Kruckenhauser was responsible for the skiing instructions as well as for the book’s graphics and its photographic illustrations. Especially the movement studies, which derived from enlarged and collaged single images of a movie camera, are a combination of creative finesse and educational clarity.

For the illustrated book “Verborgene Schönheit” (Hidden Beauty) Kruckenhauser travelled Austria during summers and documented the local architectural heritage, as diverse as the Stift Melk and a rural Tyrolean hut. The photographs of what is maybe his most favourite project – “I wanted this book! I took up the Leica!” – often combine a romantic subject with an objective style.

Contrary to the diverse architectural views in “Verborgene Schönheit” the volume “Ein Dorf wird” (A Village is Born) is a continuous narrative essay, which follows the construction of a model village from the first plans to the move-in of the inhabitants. The photographs of the collectively working men and the smiling children, who finally move into the neatly plastered and fenced houses, perfectly embody the spirit of the reconstruction years after World War II. Kruckenhauser arranges the single shots to an elegant narration, which in 2004 convinced Martin Parr and Gerry Badger to include “Ein Dorf wird” into their standard volume on the history of the photobook.

The photographs on display are for sale. Prices upon request.

 

2013

Kay von Aspern

Randnotizen

From 14 August 2013 Leica Gallery Vienna presents works by Vienna-based photographer Kay von Aspern. Von Aspern is a Street Photographer in the emphatic sense of the word: He never leaves the house without his camera.

His photographs spring from a deep sensitivity for the strangeness of everyday life. Things that usually escape general attention in the turmoil of the cities, van Aspern records with his Leica: small-scale dramas, odd encounters, telling glances. For a brief moment, everyday life is condensed and thus enhanced in a random composition. It is these moments, which von Aspern snatches from the current of time.

Kay von Aspern is part of a vital scene dedicated to Street Photography, which in recent years has emerged in Vienna. With the genre of Street Photography these photographers take up a tradition, which since the end of the nineteenth century, when smaller and lighter cameras began to allow for a higher mobility, produced some of the most iconic images and some of the most abiding myths in the history of photography. Henri Cartier-Bresson’s “moment decisive”, the decisive moment of an incident which is to capture on the photograph or the notion of the camera as an extension to the human eye – those are the ideas which make up the essence of Street Photography. Like a flaneur, the photographer strolls through the public space, immersing himself in the stream of pedestrians, constantly staying alert for the particularities of the everyday.
“It’s like going into the sea and letting the waves break over you”, Joel Meyerowitz and Colin Westerbeck wrote in their definitive book on Street Photography Bystander. “You feel the power of the sea. On the street each successive wave brings a whole new cast of characters. You take wave after wave, you bathe in it.” Kay von Aspern, born in the town of Itzehoe in Nothern-Germany, throws himself into the current of Vienna since 2005. It is often on the fringes of official events where he finds his pictures: the margins of a carnival parade, waiting supporters at a party convention, passers-by at the national holiday celebrations – fleeting moments which only become manifest once von Aspern takes a photograph and thus concentrates the moment in an image. His photographic gaze is always full of wit and makes the small absurdities in the random constellations of our surroundings visible – in black and white as well as in colour.

The works on display are from the years 2006 to 2013 and have almost exclusively been photographed in Vienna. Additionally, to reflect the mass of images Kay von Aspern confronts himself with on a daily basis, each day of the exhibition he will take a picture and send it to the Leica Store where it will be printed and pinned to the gallery wall. Like a block on paper, these images will form a growing scrapbook of his work.

 

2013

Inge Morath

Humans

he Leica Gallery in Vienna presents a selection of portraits and reportage photographs by the Graz-born Magnum photographer, Inge Morath (1923-2002).

During her career as a photojournalist, which spanned almost 50 years, she travelled around the globe. Encounters with people were always a driving force behind her work. Morath's travel reportages are based on a deep curiosity about the culture of a country and the living conditions of its population. Her portraits reflect a compassionate interest in renowned models, as well as arts and culture personalities, that she got to know with her camera.

Inge Morath came relatively late to photography. When she bought a used Leica in 1952 to make her first pictures, she had already worked for several years as a journalist. In collaboration with the photographer Ernst Haas, she worked as a reporter team in post-war Vienna – he made the pictures and she wrote the articles. Robert Capa, who in 1947 founded the photo agency Magnum Photos with Henri Cartier-Bresson and other photographers in Paris, became aware of their work and brought them to the Seine. In Magnum's early years, Morath worked as a writer and picture editor. By evaluating the contact sheets of her fellow photographers and through her work with Cartier-Bresson, whom she assisted on trips, she trained her photographic eye.
When she presented her first photographs to Robert Capa for the first time, she initially claimed that they had been taken by someone else. Only when it became apparent that Capa liked the pictures Morath revealed herself as the originator. In 1955 she became a full member of the agency - and was one of the first women photographers to be part of the elite circle. Morath's first assignment for Magnum took her to England and Spain, where some of her most famous pictures were taken. Her early photographs show a clear sense for the decisive moment of a scene. She shared her preference for surrealist charged compositions with Cartier-Bresson.

In the late 1950s Morath's moved to the USA, where she increasingly worked as a set photographer for Hollywood productions alongside her reportages. During the filming of The Misfits in 1960, she met her future husband, the renowned American playwright Arthur Miller. At the time of the filming Miller was married to the lead actress Marilyn Monroe. Morath and Miller were married two years later and alongside being a couple they also worked together on a number of projects, particularly after the 1970s, such as books based on their trips to Russia and China.

Inge Morath, a cosmopolitan person who was fluent in several languages, once described photography as the most universal of all languages. On her journeys she was confronted with the fact that her German mother tongue was seen after the war as the language of the enemy. She found in photography a means of expression that enabled her to overcome the former front lines, to report about mankind from over the borders and to speak to the people.

 

2013

Alfred Weidinger

Könige

Alfred Weidinger verfolgt seit 2009 die Spuren der letzten Könige Afrikas, Erben der mächtigen Reiche, die einst den Kontinent beherrschten.

In ihnen lebt nicht nur eine jahrhundertealte Tradition fort, zum Teil sind die Könige noch heute, obwohl ohne direkte exekutive Gewalt, einflussreiche politische und spirituelle Leitfiguren ihrer Gesellschaft. Gleichzeitig aber sind die Monarchen – ähnlich ihren europäischen Standesgenossen – ein lebendes Paradoxon, Relikte einer vergangenen Epoche in einer modernisierten Welt.
Weidingers Porträtserie, die ihn bislang nach Mali, Burkina Faso, Ghana, Togo, Benin, Nigeria, Kamerun, Tschad, Uganda und Angola geführt hat – weitere Reisen sind geplant –, zeigt die Könige in repräsentativen Posen und vollem zeremoniellen Ornat an von ihnen selbst gewählten Orten. In der Bildkomposition greift Weidinger auf Vorbilder aus dem späten 19. und frühen 20. Jahrhundert zurück, Studioporträts afrikanischer Monarchen, Häuptlinge und Stammesältester. Diese Fotografien entstanden in Fotoateliers, die zum Ende des 19. Jahrhunderts in Teilen von Afrika boomten und Herrscherporträts als Postkarten und Sammelbilder – auch über den Kontinent hinaus – unter das Volk brachten. In den Atelierporträts traten die Monarchen in all ihrem majestätischen Pomp auf, nichtsdestotrotz war bereits die Tatsache ihrer Ablichtung im Foto Zeichen ihrer schwindenden Bedeutung, ging doch der Siegeszug der Fotografie in Afrika Hand in Hand mit der Unterwerfung des Kontinents unter direkte koloniale Herrschaft.
Weidingers Projekt antwortet auf diese Bildtradition, lässt den Modellen aber deutlich mehr Handlungsspielraum in der Gestaltung ihres eigenen Bildes. Wie ein Ausschnitt aus einer Ahnengalerie dokumentiert die Serie den gegenwärtigen Stand der afrikanischen Monarchie und ist visuelles Zeugnis eines aus europäischer Perspektive immer noch oft übersehenen Teils der afrikanischen Geschichte und dessen Kontinuität in der heutigen Gesellschaft. Über die Traditionslinien hinaus, die den Status der Könige bestimmen, wird in Weidingers konzentrierten Schwarzweiß-Aufnahmen die charismatische Persönlichkeit der einzelnen Individuen als Quelle ihrer fortwährenden sozialen Bedeutung sichtbar.
Alfred Weidinger ist Vizedirektor am Belvedere in Wien. Er studierte von 1985 bis 1998 Kunstgeschichte und Klassische Archäologie an der Universität Salzburg und schloss sein Studium mit einer Dissertation über das Frühwerk des österreichischen Malers Oskar Kokoschka ab. In der Funktion des Kurators für die Kunst der Klassischen Moderne am Belvedere ist er für die Organisation von bedeutenden Ausstellungen im In- und Ausland verantwortlich. Seine Forschungsschwerpunkte sind bildende und angewandte Kunst sowie Fotografie des 19. und 20. Jahrhunderts. Seit 1980 bereist er als freier Dokumentarfotograf Afrika. Für sein jüngstes Projekt, für das er mit der Leica M Monochrom in Kombination mit dem lichtstärksten Objektiv, dem Noctilux 0,95 50 mm, arbeitet, hat er dort bislang 118 Könige porträtiert.

 

2013

Robert Capa

China 1938

The second exhibition in the new Leica Gallery Vienna offers a focused insight into a significant part of world history from the perspective of Magnum legend Robert Capa (1913-1954).

The exhibits document the beginning of the Japanese invasion of China. The costly military conflict began in July 1937 as a Second Sino-Japanese War and ended in 1945 as part of the World War II. Around 30 photographs by Robert Capa, a documentary film, as well as publications of the Formation time are presented. Full text comments explain the historical and political background.

On 16 February 1938 Capa reached Hong Kong by ship. His seven months stay in China spanned the phase of the war immediately after the massacre of Nanking, when the city Hankou was a temporary headquarters of the government. In this central Chinese City, at the confluence of the Yangtze River and the Han River (now part the metropolis of Wuhan), Capa documented the propaganda of the Chinese National Kuomintang, field exercises and various air attacks of the Japanese. At the battle of Taierzhuang he could take photographs of the decisive front up close, as well as the flooding of areas around the Yellow River, which the Chinese used to try and stop the Japanese, and the catastrophic destruction from the massive air raids by the Japanese in the second half of 1938.

he 25-year old native of Hungary and later co-founder of Magnum, Robert Capa was already a well known major war reporter at the time. Shortly before he managed to achieve great success with the famous image of a falling solider in the Spanish Civil War; a photographic icon of the 20th century. In China Capa worked for the magazine LIFE as well as a camera assistant for the Dutchman Joris Ivens, who shot the documentary film "The 400 Million" with John Fernhout. After Capa had documented the enormous devastation in the city of Hankou, he left the scene in September 1938 to continue his reports in Spain.

Curated by Rebecca Reuter and Marie Röbl

 

2012

Gregor Schlierenzauer

Silent Moments

For some time, the Austrian born number two ski jumper of all time, Gregor Schlierenzauer, has had a passion for photography. "Schlieri" photographs with his Leica M9 and represents a young generation that photograph passionately without mobile phones.

Specifically when on trips he finds his motifs and lightness and spontaneity, but also sincerity and sensitivity characterize his work. "From a young age I was able to see a lot of the world, so I see a lot of things differently. Since I began taking pictures I have a more open approach to life and look at things in much closer detail. I seek the quiet moments in my life, enjoy them and take them with me, "says Schlierenzauer. His talent as a young photographer has developed tremendously in the last years. This is the reason why he was included in the Leica talent pool and sponsored by Leica. Schlierenzauer, since September of this year, is the first prize winner of the Leica mentoring program, with which the company wants to support young photographers.

' Despite my tender age, I have already been lucky enough to see much of the world. That's why I see a lot of things differently. Since taking up photography, I've had a more open attitude towards life and look at things more closely. I seek the still moments in my life, enjoy them and take them with me' say Gregor Schlierenzauer about his life and his work. His progres as a young talented photographer was tremendous. That is why today he is part of the Leica talent pool and promoted by Leica. In September 2012 Gregor has been awarded a prize in the Leica Mentoring Program with which the Leica company wants to support young photographers.

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