9. juni 2019
Too much of anything is bad for you. But not really when it comes to great exhibitions. The Whoman Journal is guiding you through the mouthwatering menu that is this year’s Copenhagen Photo Festival
Under the three main subjects of; Framing Identity, Framing Society and Framing Vision one of Europe’s leading photo festivals is once again showing more than 55 exhibitions by different artists in Copenhagen. The Whoman Journal is one of the ambassadors for Copenhagen Photo Festival 2019 and will guide you to some of the exhibitions you have to see.
And you totally have to do what we tell you.
From June 6th to June 16th you will be able to loose yourself in the amazing works of hundreds of artists from around the would exhibiting in Copenhagen. But as always with big menus of wonderful desserts: It is so damn hard to choose (I would go with the raspberry cheesecake always. If you were wondering). So we are here to share with you three of the exhibitions we personally are looking forward to seeing.
How does hate xenophobia look? What drives a person to scratch a swastika into the forehead of someone else and throw him into a well? And why do we need to see him?
White Rage is a highly current and controversial project by the award winning Norwegian photographer and photo-editor Espen Rasmussen.
How do we see women? And what role does gender play in the entertainment business years after the first #MeToo-scandal saw the light?
Italian Franziska Gilli (b. 1987) looks at these themes revolving around identity and human ways of interaction with a curious eye. With her project Bambola (which is Italian for ‘doll’), she explores the way we see women by going behind the scenes of the production of several large TV-shows in Italy.
What is real and what is staged? And does is mean anything when everyday life is portrayed on Instagram or in an art hall?
Domestic Rituals by the American photographer Mary Frey is captured in her own hometown inMassachusetts in the years 1979-1984 and show everyday life of children, teenagers and adults in the American middle class. The pictures are somewhere between snapshots and staged photography and are both intimate and distant. Her later work Real Life Dramas (1984-1987) seem documentary via both images and text, but are all staged in order to question the truth of the camera.
“Their appearance is meant to hover somewhere between reality and soap opera in order to question the “truth” of the camera’s vision” – Mary Frey
Click on the name of the exhibition to get more information on where it is shown and how to get access. And read all about the festival here. Join the art walks, the talks or just let me know, what your favorite exhibition was. Because, friends, let me tell you, there are a lot. And I can’t choose.
I will start out with the cheesecake and see where I will go from there.
Main foto: (No title) 2018, Bambola by Franziska Gilli