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Education

Foam is proud to present the Netherlands' first solo exhibition by Belgian artist Geert Goiris. Very few people in the Netherlands are familiar with his unconventional visual language and serious tone.

Goiris occupies a unique position in the field of contemporary photography. His layered photos of sublime landscapes, modernist architecture and reserved portraits possess a strange, unreal beauty with no perception of time and space, and are vaguely reminiscent of the visual language of post-apocalyptic feature films. And yet everything that Goiris photographs is real. Nothing is photoshopped. Many of his photos feature reminders of man's attempts to domesticate nature.
Goiris creates powerful images, in which he combines an almost universal perception of beauty with a subtle frisson of danger. As well as being mental images, his photos are records of reality that generate room for stories, associations and suspense in the area of tension between fact and fiction. The exhibition is entirely without daylight, and the oppressive atmosphere is intensified by spatial interventions and interaction between slide shows, framed photos of varying dimensions and enormous prints.
ABOUT GEERT GOIRIS Since&nbsp;Reconstruction&nbsp;(Geert Goiris' first exhibition in the FoMu in Antwerp in 2000), solo exhibitions of Goiris' work have been held in Museum M in Leuven (2013), Hamburger Kunsthalle (2010) and during Art Basel (2009/2014). His work has also been included in various group exhibitions, such as in MUHKA, Antwerp, the Gallery of Modern Art in Brisbane, BOZAR in Brussels, Palais de Tokyo in Paris and Manifesta 5 in San Sebastian. In addition, his photos feature in several international collections. Geert Goiris is represented by Galerie Art: Concept in Paris and Galerie Catherine Bastide in Brussels.
SIDE PROGRAMME As part of Flashbulb Memories, Ash Grey Prophecies, Foam, in association with the Royal Academy of Fine Arts, Antwerp and EYE Film Institute, has organised an evening of lectures in Foam on 16 April, and film screenings in EYE of The Thing on 30 April, Mad Max II on 7 May, The Last Wave on 14 May, and The Road + 28 Days Later on 29 May. <a href="https://www.eyefilm.nl/films-en-exposities/cinema-egzotik-night-of-post-apocalyptica?program_id=11737732" target="_blank">More information and tickets on the website of EYE Film.</a>
This exhibition is organised in co-production with the Flemish-Dutch House <a href="http://www.deburen.eu">deBuren</a>.
Foam is sponsored by the BankGiro Loterij, De Brauw Blackstone Westbroek, Delta Lloyd, Gemeente Amsterdam,&nbsp;Olympus and the VandenEnde Foundation.

Geert Goiris

Regine Petersen (Germany, 1976) was selected by an international jury as the most promising photographer at the Unseen international photography fair in 2014. As winner of the Outset | Unseen Exhibition Fund, Petersen has been awarded an exhibition in Foam's 3h space for young talent. Foam is proud to present her long-term project Find a Fallen Star in this space. 

Petersen is inspired by stories about falling meteorites and makes use of her strong narrative qualities in her work. With her approach she creates a multi-layered narrative in which she integrates science and art, building a bridge between the past and the future. &nbsp;She thus investigates both how memory works versus history, and the relationship between the ordinary and the inexplicable. In her publication with the same name, Find a Fallen Star, which appears with the exhibition, she combines her own photos with historic and found images, texts and space-related objects.
In Find A Fallen Star, Petersen uses stories about falling meteorites as a starting point for her multilayered narrative works: a rock which crashed through the roof of a house in Alabama and stuck a woman, a group of children in post-War Germany who found a meteorite and a recent event in India. Petersen visited these places, interviewed eyewitnesses and elaborated on their stories. She supplements her photographic observations with found documents and interviews. Petersen views her work as chapters in a greater story. Just as a meteor can be considered a time capsule, each of her chapters alludes to a specific place and time.
The first chapter of the project, Stars Fell on Alabama, won the Alfried Krupp von Bohlen und Halbach Prize for Contemporary German Photography in 2012. She was also selected as a finalist for the Prix HSBC prize for photography in 2014. In 2009, Petersen completed a Master's degree in Photography from the Royal College of Art in London. Since then, her work has been shown in several international solo and group exhibitions, including the Rencontres d'Arles, France (2012) and the Science Operations Center, UA Lunar &amp; Planetary Lab, Tucson, USA (2011).&nbsp;
OUTSET | UNSEEN EXHIBITION FUND This exhibition has been organized as part of the the Outset | Unseen Exhibition Fund. The Outset | Unseen Exhibition Fund is a unique partnership between Unseen Photo Fair and Outset Netherlands, providing a new institutional platform for emerging talent. Scouting the fair before opening hours, each year the selection committee selects one artist exhibiting at Unseen for a solo exhibition at Foam.
The Foam 3h exhibitions are supported by the Gieskes-Strijbis Fund and the Van Bijleveltstichting.

Regine Petersen 

For their solo exhibition To Photograph the Details of a Dark Horse in Low Light, internationally acclaimed artists Adam Broomberg (South Africa, 1970) and Oliver Chanarin (Great Britain, 1971) lead viewers through a meandering and disturbing history lesson on the relationship between photography and race.

In response to a commission to 'document' Gabon, Broomberg &amp; Chanarin made several trips to the West African country to photograph a series of rare initiation rituals, using only Kodak film stock that had expired in the 1960's. In the late 1970's the French-Swiss filmdirector Jean Luc Godard famously claimed that this early colour film was inherently racist, because it was better at depicting white rather than black skin. Using outdated chemical processes Broomberg &amp; Chanarin salvaged just a single frame from the many rolls of expired film they exposed during these trips. This piece called Ektachrome 78 serves as a starting point for the exhibition.
Another key work in the exhibition is a billboard-sized photograph of Shirley, a 1950's model for the Kodak Eastman Company. Her portrait was distributed to photography labs all over the world as a visual reference for correct exposure. Shirley became a benchmark for 'normal' Caucasian skin. In the eighties, Kodak eventually developed a colour film that was capable of rendering darker tones. The company director described this film as being able to "photograph the details of a dark horse in low light."
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ABOUT THE EXHIBITION Kodak Ektachrome 78 and Shirley are presented alongside works whose parameters were dictated to Broomberg &amp; Chanarin by archival material of their deceased family friend, amateur photographer and anatomist, Dr. Rosenberg. After their trips to West Africa they inherited his darkroom equipment. Some of his notes were about making photographic test strips to determine the correct exposure time. Broomberg &amp; Chanarin followed these instructions to produce a series of oversized darkroom experiments they call Strip Tests.
The connection between photography and racism is further explored in the Polaroid Revolutionary Workers Movement series. In 1970, Caroline Hunter, a young chemist working for the Polaroid Corporation based in the United States, stumbled upon evidence that her company indirectly supported the apartheid regime in South Africa. Polaroid was able to provide their ID-2 camera system to the South African state, to efficiently produce images for the infamous passbooks, which the black population was required to carry with them. The camera included a boost button designed to increase the flash when photographing subjects with dark skin, and two lenses which allowed for the production of a portrait and profile image on the same sheet of film. Hunter and her partner Ken Williams formed the Polaroid Workers Revolutionary Movement, and successfully campaigned for a boycott of the apartheid government. Broomberg &amp; Chanarin's series of Polaroids, made with a renovated Polaroid ID camera, considers the proposition that prejudice might be inherent in the medium of photography itself.
ABOUT THE ARTISTS Adam Broomberg and Oliver Chanarin recently won the Deutsche B&ouml;rse Photography Prize and the ICP Infinity Award. They have published nine monographs and have had numerous international exhibitions including the Museum of Modern Art (New York), Tate (London), Gwagnju Biennale, Stedelijk Museum (Amsterdam), the International Center of Photography (New York), KW Institute for Contemporary Art (Berlin), The Photographers' Gallery (London), Mathaf Arab Museum of Modern Art (Doha) and the Shanghai Bienale. Broomberg &amp; Chanarin are Visiting Fellows at the University of the Arts London. Their work is represented in major public and private collections including The Museum of Modern Art, Tate Modern, the Stedelijk Museum, Victoria and Albert Museum, Musee de l'Elysee and the International Center of Photography. They are represented by Lisson Gallery, London and Goodman Gallery, South Africa.
Foam is sponsored by the BankGiro Loterij, De Brauw Blackstone Westbroek, Delta Lloyd, Gemeente Amsterdam, Olympus and the VandenEnde Foundation.

Broomberg & Chanarin

Foam presents an exceptional and hitherto little-known theme in the voluminous oeuvre of the well-known Dutch painter Carel Willink. 

In the 1930s, he began to photograph the Amsterdam sky from the window of his apartment and studio, situated on the corner of the Ruysdaelkade / Stadhouderskade and overlooking the famous Rijksmuseum. He used the photographs as source material for sketches.
Carel Willink (1900-1983) was one of the foremost Dutch painters of magical realism and 'imaginary realism', as he called his painting style. He combined a refined, masterful technique, rendering reality in a detailed way, with a disconcerting, sometimes even threatening atmosphere in his work. His spectacular cloud formations were significant in his work.
Whilst making the sketches, which preceded the painting process, he used a camera to record his subjects. The photos had a practical purpose; for Willink, it wasn't about the photos themselves, but he used them as preliminary studies for his paintings. With his camera, he scanned the skies outside his studio window across from the Rijksmuseum, searching for, in his own words, 'shifting skies'.
THE BOOK Willink's photographs of the sky over the Rijksmuseum&nbsp;were compiled in a book, which can be found <a href="http://shop.foam.org/nl/publishers-willinks-wolken-boven-het-rijksmuseum.html">here</a>.&nbsp;The images of the overcast skies were stored away for years in his archive managed by his widow Sylvia Willink-Qui&euml;l. There they stayed until recently when Willem van Zoetendaal, photography expert, book publisher and exhibition curator, dedicated a publication &ndash; with Willink-Qui&euml;l&rsquo;s support &ndash; to this very specific body of work by Willink. This publication also formed the starting point for the exhibition.
THE EXHIBITION Willink did not only photograph clouds, but also all kinds of objects that he used in his paintings. In addition to countless self-portraits, he photographed nudes, parks, sculptures and animals. Sometimes he removed the trees, houses and streets from the bottom of the negative or tilted and reversed the image. The fact that his cloud pictures served as a major source of inspiration is apparent in the paintings: the observant viewer can discover the similarities between the 'shifting' or dramatic skies in both the photos and the paintings.
This exhibition has been developed in cooperation with Sylvia Willink-Qui&euml;l and Willem van Zoetendaal. The show consists of modern prints made from scanned negatives as well as original photos printed by Willink from the archives of Sylvia Willink-Qui&euml;l and from the collection of the Rijksmuseum.
Foam is sponsored by the BankGiro Loterij, De Brauw Blackstone Westbroek, Delta Lloyd, Gemeente Amsterdam,&nbsp;Olympus and the VandenEnde Foundation.

Shifting Skies

Foam presents the first international solo exhibition of Nerhol. This successful artist duo was founded in 2007 in Japan, as a collaboration between the graphic designer Yoshihisa Tanaka (1980) and the sculptor Ryuta Iida (1981). Together they explore the concept of the photographic portrait. By combining photographic and sculptural techniques, the artists reveal a complexity that photography usually obscures.

Traditionally, a portrait presents a three-dimensional face on a flat plane. But Nerhol aims to bring forward the complexities and difficulties of this concept. The duo creates time-lapse portraits consisting of many photographs taken over a three minute period, this captures each and every small movement of the subject. Subsequently Nerhol layers all images into one sculptural portrait. The artist duo digs and curves the faces, combining a layering of images with reductive carving. In Japanese language 'to dig' and 'to curve' have the same pronunciation: 'hol'. In addition, Ner means 'plan'. The duo always starts off with a plan, deciding for one 'portrait' to carve more vigorously, and for another work just to reveal small changes.
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The result offers an honest 'index' of the portrait and the process of making. Also, the artists explore the tension between photography and sculpture; the first being a technical and distanced medium that often creates single images, whereas the latter typically comprises physicality, expression and multiple perspectives. Through this unique approach, Nerhol unveils the small alterations which are present in a photographed portrait - not side-by-side in a row, but all in one image.
The fascinating realization is that, while the portrayed faces appear as very distorted, they are in fact the accurate representations of real faces, captured in time. This poses the question if it is even possible to truly reflect the human face through conventional photography. Moreover, the work can be seen as a response to the volatility of today's fast paced reality, in which many things disappear as soon as they arise.
The exhibition comprises several portraits of Nerhol's very recent series Misunderstanding Focus, which consists of time-lapse portraits of individuals. This will be combined with images of objects - for example of a water tap, referring to tap water as a limited resource in capitalist society - and four new works that have never been shown before. The most recent work is about a radiation-contaminated fish, which Nerhol followed until its death. The alterations in the fish's life and appearance are a metaphor for the long-term consequences from the Great East Japan Earthquake and the subsequent tsunami.
The exhibition was made in collaboration with the <a href="http://www.images.ch/2014/en/" target="_blank">Festival Images</a> (Vevey, Switzerland)
This exhibition has been made possible by Van Bijleveltstichting and The Japan Foundation.

Nerhol

Typical of Goudal's work are layered photos of quiet, mysterious landscapes which she combines with elements of modernist architecture appearing to have an archaic quality.

Foam is pleased to present the first solo exhibition of young French artist No&eacute;mie Goudal (b. Paris, 1984). Her portfolio was previously published in the 2012 annual Talent issue of Foam Magazine, and Foam has been closely following her robust and consistent development ever since.
The landscape becomes a theatrical setting distinguished by an intriguing aesthetic. The photographic series are the result of spatial interventions and physical constructions which examine the two- and three-dimensional relationships in the image. The interventions are exclusively carried out at the location where the photographic work is created.
Although the sharply focused, nearly surreal images are reminiscent of digital manipulation, they are in fact analogue photos which have been very precisely shot. Goudal's working method demands an exceptionally concentrated and patient approach as her images are created under very specific conditions. The final works generate tension due to the incongruous proportions in the image which are only revealed in very subtle ways.
In addition to photography, Goudal makes video work that is thematically linked to her photos, but in which a great part is played by human physical presence and people's (often unproductive) actions. These performance-like video works will be projected large-format at Foam, enhancing the visual experience. A few spatial works will also be presented, such as Study for Perspective 1 (2014). This life-size installation analyses a photograph of an architectural space, resulting in a three-dimensional experience.
ABOUT NO&Eacute;MIE GOUDAL After graduating from the Royal College of Art in 2010, No&eacute;mie Goudal's career has advanced rapidly. Her work has been shown in various international group exhibitions and has been presented in prominent establishments. She has also won several major prizes and grants, such as the Prix HSBC prize for photography in 2013. Her work is included in prestigious collections such as the Saatchi Gallery, Fotomuseum Winterthur, the David Roberts Art Foundation and the Conran Foundation. She lives and works in Paris and London and is represented by Edel Assanti (London) and Galerie Les Filles du Calvaire (Paris).
The Geometrical Determination of the Sunrise is an initiative by The New Art Gallery Walsall, UK, and was created in collaboration with Foam. A special publication appears with the exhibition, including an essay by Marta Gili, director of Jeu de Paume in Paris.
With the support of l'Ambassade de France aux Pays-Bas.
Foam is sponsored by the BankGiro Loterij, De Brauw Blackstone Westbroek, Delta Lloyd, Gemeente Amsterdam,&nbsp;Olympus and the VandenEnde Foundation.

Noémie Goudal

Foam presents a fourth exhibition in China: Still/Life - Contemporary Dutch Photography. This exhibition curated by Foam's artistic director Marcel Feil, will be shown at the Galaxy Art Centre in Chongqing (China) from 24 April until 23 July, 2016. 

The group exhibition Still/Life - Contemporary Dutch Photography is centered on the art historical theme of the still life and comprises works of a large number of emerging and established Dutch visual artists. The autonomous and commercial work of Dutch photographers has a recognizable, fresh style that is also characteristic of so-called Dutch Design. The latter refers to a typically Dutch aesthetic taste that is minimalist, experimental, innovative, unconventional and with a touch of humor. A major aspect is that instead of taking photos as a representation of reality, many of today's photographers take photos entirely staged. Particularly the art historical concept of the still life continues to inspire, albeit in a modernized and updated format. The Potatoes series by Anuschka Blommers and Niels Schumm is a typical example.
<img src="https://a.storyblok.com/f/113697/710x1000/f91d43dde1/potato_2003_c_anuschka_blommers_en_niels_schumm.jpg" alt="" width="589" height="830" />Potato, 2003 &copy; Anuschka Blommers &amp; Niels Schumm
PARTICIPATING ARTISTS Given the choice of photographers, the show forms a survey of the talent that Foam has discovered, followed and presented since 2001: Melanie Bonajo, Blommers &amp; Schumm, Elspeth Diederix, Fleur van Dodewaard, Uta Eisenreich, Marnix Goossens, Eva-Fiore Kovacovsky, Paul Kooiker, Yvonne Lacet, Ola Lanko, Lernert &amp; Sander, Krista van der Niet, Jaap Scheeren &amp; Hans Gremmen, Scheltens &amp; Abbenes, Diana Scherer, Johannes Schwartz, Ingmar Swalue, Anne de Vries and Qiu Yang.&nbsp;
<img src="https://a.storyblok.com/f/113697/1501x1000/d188764c85/trampling_from_the_series_elektrotechnique_2011_c_lernert_sander_courtsey_of_nimk.jpg" alt="" width="589" height="392" />Trampling, from the series Elektrotechnique, 2011 &copy; Lernert &amp; Sander / Courtesy Nederlands Instituut voor Mediakunst
<img src="https://a.storyblok.com/f/113697/1463x1000/0a496615b8/fruit_2008_c_krista_van_der_niet.jpg" alt="" width="589" height="403" />Fruit, 2008 &copy; Krista van der Niet
The exhibition in the&nbsp;Galaxy Art Centre&nbsp;is supported by the Consulat of the Kingdom of the Netherlands in Chongqing, China.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, Delta Lloyd, City of Amsterdam, Olympus and the VandenEnde Foundation.

<div class="sidebar__content">EXHIBITION INFO 
24 April - 23 July 2016 Galaxy Art Centre Chongqing, China
&nbsp;
Address F1-3, Block 3, Xing Hui Liuang Jiang Art Business Center, No.6
The middle section of Huang Shan Road.&nbsp;Yubei District, Chongqing,&nbsp;China 40021 
0086+023-63111269 <a href="http://www.gcaartcenter.com">www.gcaartcenter.com</a>&nbsp;</div>

<div class="sidebar__content">Still/Life 
The travelling exhibtion&nbsp;</div>

Still/Life 

Are you a photography enthusiast and do you want to get to work on a concrete photography assignment, inspired by the exhibitions in Foam? Challenge yourself to think differently and take part in our photography workshop.

<a href="/beheer/museum/programme/workshops">&gt; See all of our&nbsp;current&nbsp;workshops here.&nbsp;</a>
NOVEMBER THEME:&nbsp;MAKING CHOICES The picture that the photographer finally shows to the audience, is only a small part of the complete process. Which moments before and after that moment and how did the photographer came to his choice? Is it important to know the considerations so that we better understand the photographer or do we prefer to keep the magic surrounding the all-encompassing 'decisive moment' in class?
This photography workshop is all about the choices you make as a photographer. Not only during the creation of the photo, but also during the selection of your final image. Which mistakes, accidents and failures have been shot next to your perfect photo? And it is with the advent of digital photography, now become easier or more difficult to make the right choice? The workshop is inspired by the exhibition <a href="/museum/programme/magnum-contact-sheets">Magnum Contact Sheets</a>, which offers insight into the working methods of the world&rsquo;s most famed journalistic photographers, by looking at their original contact sheets.
Foam provides basic compact cameras for this workshop. Of course, you are free to use your own camera if you prefer. In that case, remember to bring a fully charged battery, an empty SD card and a transfer cable. The use of your own materials is at your own risk.
There is a limited amount of spots available, so be sure to sign up on time! Tickets are only valid for reserved dates. Unfortunately it is not possible to change dates or cancel without charge after your purchase has been made.
Please note: this workshop is in Dutch.

<div class="sidebar__content">Practical information 
Saturday 14 November 2015
 Suitable for: Adults Time: 1-4 pm Price: &euro; 53,- incl VAT.
The price includes museum admission and the use of all workshop materials.
 If you have any questions or special requests, please contact the Education department through +31 (0)20 551 6500 or <a href="mailto:educatie@foam.org">educatie@foam.org</a>.
&nbsp;</div>

Photography Workshop

Are you between 8 and 12 years old and do you want to learn how to take better photos? Then our children's workshop is the thing for you! Each school holiday, the workshop has a new theme.

You will begin the workshop by exploring the exhibitions in Foam. Here, you will look for inspiration for the photos you will create yourself. Under the guidance of a museum educator you will discuss what you see with the other children. In the workshop you get to work yourself. While you photograph, the teacher gives you tips on how to improve your photos further. At the end of the workshop all the children present their best photo on a large screen. You will leave this workshop as an even better photographer with a print of your favourite photo to take home.
Foam provides basic compact cameras for this workshop. Of course, you are free to use your own camera if you prefer. In that case, remember to bring a fully charged battery, an empty SD card and a transfer cable. The use of your own materials is at your own risk.
There is a limited amount of spots available, so be sure to sign up on time! Tickets are only valid for reserved dates. Unfortunately it is not possible to change dates or cancel without charge after your purchase has been made.
Please note: this workshop is in Dutch.

<div class="sidebar__content">Practical information 
Please note: This workshop is in Dutch.
&nbsp;
Date: 21 October&nbsp;2015
Suitable for: Kids ages 8 - 12
Time: 13.00 - 16.00
Price: &euro; 26,50 / &euro;3,50 with Stadspas (select Student/CJP tarief&nbsp;at checkout).
&nbsp;
The price includes museum admission, cookies and lemonade, a goody bag, and the use of all workshop materials.
&nbsp;
If you have any questions or special requests, please contact the Education department through +31 (0)20 551 6500 or <a href="mailto:educatie@foam.org">educatie@foam.org</a>.</div>

Autumn Holidays: Photography Workshop for Children

A rare opportunity to hear the internationally renowned Magnum photographer present his latest body of work.

(SOLD OUT)
Around 500 billion cups of coffee are consumed globally each year. The second-most common drink in the world, it stands alongside oil, sugar and wheat as one of the most valuable primary commodities in international trade. Coffee has become such an important part of our lives that many of us can't even think about starting our day without it. Yet, despite its popularity, many of us have little idea of the often-harsh realities of everyday life for those whose livelihood depends on this resource.
To celebrate the launch of his new book, From These Hands (published by Phaidon), join internationally renowned photographer Steve McCurry as he takes us on a journey to the heart of coffee-growing communities around the world. From the foothills of the Andes to the slopes of Kilimanjaro, McCurry has recorded men and women harvesting coffee beans, children at play in the fields and families relaxing at home after a hard day's work. All the important coffee-growing regions are represented, captured in all their startling vibrancy in McCurry's highly recognisable colour portraits. This remarkable collection reaches beyond the processes of coffee production to capture the very essence of these communities: "This project is about coffee, but not in a literal sense," says McCurry. "&hellip;Its about how we live, about how people interact with one another."
Steve McCurry (b.1950) has been one of the most iconic voices in contemporary photography for more than 30 years, with scores of magazine covers, over a dozen books, and countless exhibitions around the world to his name. A member of Magnum Photos, he has created stunning images in six continents and countless countries. His work spans conflicts, vanishing cultures, ancient traditions and contemporary culture alike - yet always retains the human element. McCurry has been recognized with the Robert Capa Gold Medal and National Press Photographers Award.

Phaidon presents: Steve McCurry - A Journey Along The Coffee Trail

Foam presents Swinging Sixties London - Photography in the Capital of Cool. The thematic group show immerses visitors in the dazzling London of the sixties, an era bursting with possibilities.

The presentation touches upon all of the remarkable developments in and around photography at the time: fashion, celebrities, music, magazines, design and social change. In the exhibition, Foam brings together the work of iconic photographers of the sixties - who in their heyday were often as famous as the stars in front of their cameras. Featuring work by Terence Donovan, Brian Duffy, John French, Norman Parkinson, James Barnor, John Hopkins, John Cowan, Eric Swayne and Philip Townsend.
INTERNATIONAL EPICENTRE In the mid-1960s, the capital of England stood for everything hip, fashionable and cool. In April 1966, America's Time Magazine even dedicated a complete issue to London: 'the Swinging City'. "Ancient elegance and new opulence are all tangled up in a dazzling blur of op and pop," writes Piri Halasz in the legendary cover story. This period in London's history represents the transformation the capital underwent in the decennia after the war, from a grim, shattered city to an international and lively epicentre for style, culture and fashion.
<img src="https://a.storyblok.com/f/113697/595x624/0e3a68aa3a/jc_small_kennington_jump_c_john_cowan.jpg" alt="" width="595" height="624" /> JC Small Kennington Jump, 1966 &copy; John Cowan
DECADE OF GROWTH The Swinging Sixties marked the birth of the superstar, the fan and the individual, but also saw an economic growth which resulted in extensive democratization. From now on, fashion and leisure were available for many more people. attitudes among the younger generation changed, too. In the sixties, the free-spirited baby boomers rebelled against the conservative post-war culture of their parents. These were the golden days for music, design, fashion and style, and it was in London where models became superstars. Pop stars grew even bigger, with bands like The Kinks, The Rolling Stones and The Beatles defining the sound of the sixties.
ABOUT TERENCE DONOVAN &amp;&nbsp;BRIAN DUFFY Photographers Terence Donovan and Brian Duffy, well known for their catchy portraits of models, musicians and actors, shape our image of the Swinging Sixties. The photographers are as widely known as the stars and socialites they shot, and perhaps just as infamous as well. These were self-made boys from the poor East End of London. Donovan excels with his fashion photography, narrating series and moving portraits of female and male models. Duffy shot iconic photographs of famous models and personalities like Grace Coddington, Jane Birkin, Mick Jagger and Michael Caine.
With their groundbreaking style and technique, they rebelled against the day's leading photographers, John French and Norman Parkinson, who themselves were important for British fashion photography in their own right, and had proven to be influential pioneers in the preceding decennia. Also Eric Swayne, whose archive was recently rediscovered, is featured in the exhibition. Swayne was in close contact with rock stars and top models, which is how he managed to shoot his intimate portraits. John Cowan made the optimism of his generation visible by literally letting his models kiss the sky. James Barnor&rsquo;s photographs, featuring British-African models, demonstrate the social changes of the time.
Youth culture and social change will be magnificently addressed through the work of lauded protest leader and photographer John 'Hoppy' Hopkins, accompanied by the moving and often cheerful shots by society photographer Philip Townsend. These are enriched with examples from music, film, magazines, fashion and design. The presentation breathes the Capital of Cool in many ways, and offers a comprehensive experience of swinging London in the sixties.
With special thanks to James Barnor and Philip Townsend, Addie Vassie Gallery, Autograph ABP, Elegantly Papered, Alex Anthony, Carolyn Cowan, Diana Donovan, Chris Duffy, Sandie Goodman, David Hillman, Flip Jelly, Emily Mahoney, Tony Merrett, Elizabeth Smith, Joanna Stephenson, Pauline Stroosnijder, Tom Swayne, James Ware, all archives and estates.
Foam is sponsored by the BankGiro Loterij, De Brauw Blackstone Westbroek, Delta Lloyd, Gemeente Amsterdam,&nbsp;Olympus and the VandenEnde Foundation.

Swinging Sixties London

Foam proudly presents The Nine and The Ninety Nine, an exhibition of the American photographer Katy Grannan (1969, USA), comprising her two newest series which are shown here for the first time outside the United States.

Grannan is renowned for her remarkable and intimate portraits of strangers, most of whom are somehow living on the fringes of society. The titles of the series refer to (former) highways in the U.S. state California, U.S. route 9 and U.S. route 99, along which she met the individuals. The exhibition includes the exclusive sneak preview of Grannan&rsquo;s first feature film The Nine, to be released in 2016.
The Nine and The Ninety Nine feature work made as Grannan looked closely at this region and its inhabitants, both of which remain overlooked and undervalued. Yet the photographs insist upon their undeniable presence, a distinctive beauty and a unique landscape. Shown here for the first time outside the United States, Grannan&rsquo;s newest work is set in the parched landscape of California&rsquo;s Central Valley, where, for most, the American Dream exists as pure myth.
A series of striking colour portraits of passing strangers, The Ninety Nine, was named for the barren highway that runs down the spine of the Central Valley&mdash;once described by American novelist Joan Didion as &lsquo;the trail of an intention gone haywire.&rsquo; The Nine features black-and-white photographs made primarily along the banks of the Tuolumne River and in Modesto, a town unlike the sunny California any tourist would come to see.
THE NINETY NINE The Ninety Nine continues from Grannan&rsquo;s earlier series Boulevard, which began as a particular and personal search for a missing friend. Through this search, Grannan found community after community of disenfranchised individuals, rendered invisible by their circumstance. Photographing in the unforgiving light of the Central Valley sun, the resulting large-scale colour portraits demand attention&mdash;the subjects&rsquo; anonymity emphatically overturned.
THE NINE Wandering the Central Valley, Grannan found herself drawn to the small, troubled community of Modesto&rsquo;s South Ninth Street&mdash;locally referred to as &lsquo;the Nine.&rsquo; The eponymous series features large-scale black and white work primarily made in this self-governing neighborhood, a kind of purgatory where nothing seems to move but the sun. Returning there time and again, for years, the enduring relationships that Grannan built allow the series an intimacy, a privileged look into a marginalized community otherwise ignored. This world is seen with a sensitivity toward the quiet elegance of the everyday ritual, the seemingly mundane gestures that bind us all together.
FEATURE FILM Grannan&rsquo;s first feature film, also titled The Nine, is currently in post-production. Set on Modesto&rsquo;s South Ninth Street too, the film is an intimate, at times disturbing view into an America most would rather ignore. Each character is unique yet all are collectively trapped in a place ruled by an endless cycle of desire and desperation. &lsquo;The Nine&rsquo; is where chaos becomes normal and freedom is an illusion. Raw, poetic, direct and unnerving, the film is as much a window into a forgotten world as it is a distorted mirror, reflecting a shared human experience. Foam is proud to premiere in the exhibition this exclusive sneak preview of the upcoming film, set to be released in 2016.
ABOUT KATY GRANNAN Katy Grannan lives and works in Berkeley, US. She got her humanities BA from The University of Pennsylvania and her MFA in Photography from the Yale University School of Art. Her work is in the collections of the Guggenheim Museum, the Los Angeles County Museum of Art, the Metropolitan Museum of Art, the Museum of Modern Art, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art, among others.
Foam is sponsored by the BankGiro Loterij, De Brauw Blackstone Westbroek, Delta Lloyd, Gemeente Amsterdam,&nbsp;Olympus and the VandenEnde Foundation.

Katy Grannan

Met veel plezier nodigen we je uit voor de volgende activiteit: een bezoek aan de examens Fotografie van de Gerrit Rietveld Academie (Frederik Roeskestraat 96 in Amsterdam) op zaterdag 4 juli om 15.00 uur.

Begin juli worden de eindexamens fotografie van deze kunstacademie tentoongesteld. Tijdens de eindexamenexpositie van de Gerrit Rietveld Academie presenteren zo'n 200 nationale en internationale studenten van onder andere de afdelingen Beeldende Kunst, Edelsmeden, Fotografie, Grafisch Ontwerpen, Mode en Keramiek hun eindexamenwerk. De Rietveld Academie geeft studenten die afstuderen met de eindexamenexpositie de kans hun werk te tonen aan potenti&euml;le opdrachtgevers, galeriehouders, kunstliefhebbers en andere ge&iuml;nteresseerden.
De afstudeerrichting Fotografie leidt op tot autonoom fotograaf. Nieuwe beeldtechnieken met gebruik van video, film en andere media worden vanuit fotografische tradities getoetst. Op de afdeling Fotografie van de Rietveld Academie maken de studenten autonoom conceptueel werk waarin fotografie fungeert als katalysator binnen het werkproces. Veel alumni van deze Rietveldafdeling hebben inmiddels een tentoonstelling in Foam 3h gehad of zijn gepubliceerd in Foam Magazine, zoals Anne de Vries, Anika Schwarzlose en Ruth van Beek.
Tijdens het bezoek op 4 juli krijgt Club Foam uitleg van de studenten Fotografie over hun werk, samen met een curator van Foam. Na afloop drinken we nog een borrel en is er gelegenheid om andere examenrichtingen te bezoeken.
Het is mogelijk om iemand mee te nemen. Aanmelden kan door een e-mail te sturen naar <a href="mailto:mathilde@foam.org">mathilde@foam.org</a>. Nog geen lid van Club Foam? <a href="/about/memberships/club-foam">Meld je hier aan</a>.

<div class="sidebar__content">Contact 
For more information about memberships, donations and the fiscal benefits of supporting Foam, please contact:
&nbsp;
Britt Hendriks
<a href="mailto:britt@foam.org">britt@foam.org</a>
<a href="callto://+31205516500">+31 (0)20 5516 500</a></div>

Club Foam: Bezoek aan Rietveld Academie

Pllek, Outdoor Cinema en Foam nemen je mee naar het Engeland van de 60s in Films with a View!

Deze zomer presenteert Foam Swinging Sixties London &ndash; Photography in the Capital of Cool. Deze tentoonstelling dompelt de bezoeker onder in het bruisende Londen van de jaren 60, een tijdperk dat overliep van mogelijkheden. Swinging Sixties London presenteert alle iconische ontwikkelingen in en rond fotografie: mode, beroemdheden, muziek, tijdschriften, design en sociale verandering.
Pllek, Outdoor Cinema en Foam nemen je mee naar het Engeland van de 60s in <a href="http://pllek.nl/pllek-agenda/fwav_16_juni" target="_blank">Films with a View</a>! De film Kes is geregisseerd door Ken Loach (1936), &eacute;&eacute;n van de belangrijkste filmregisseurs uit Engeland. Net als de Britse fotografen van de jaren 60 brak hij met tradities en filmde hij buiten de studio. Hij werkte met zowel amateurs als professionals, koos voor realistisch spel en experimenteerde met natuurlijk licht. Ook de interesse in en de emancipatie van de armere klasse is karakteristiek voor de jaren 60.
De film Kes vertelt het verhaal van Billy Casper, een uitgemergeld straatjochie uit het mijnstadje Barnsley. Alle mensen om de straatarme Casper zijn teleurgesteld in hun leven en reageren dat af op elkaar en vooral op hem. Billy temt en traint een valk die hij Kes noemt. Met hulp van zijn leraar Engels en medestudenten vindt een positief doel in zijn ongelukkige bestaan. Kes was een groot succes in Britse cinema&rsquo;s en werd in 1999 door de British Film Institute in de lijst met 20 beste Britse films uit de 20e eeuw opgenomen.&nbsp;
Hoofdpersonage Billy is een echte &lsquo;working class boy&rsquo; wiens Yorkshire dialect we soms amper verstaan; hij wordt oneerlijk behandeld en zijn jonge leven lijkt uitzichtloos. Maar de tiener ontwikkelt een onverwacht talent en cre&euml;ert zo zijn eigen bescheiden succes. Ook het overgrote deel van de fotografen en modellen in de tentoonstelling van Foam zijn op jonge leeftijd opgeklommen uit de volksbuurten. Midden jaren 60 was het zelfs cool om een achtergrond in de arbeidersklasse te hebben.
<a href="/nl/museum/programma/swinging-sixties-london">Swinging Sixties London &ndash; Photography in the Capital of Cool</a> presenteert alle iconische ontwikkelingen in en rond fotografie: mode, beroemdheden, muziek, tijdschriften, design en sociale verandering. Foam brengt werk samen van beeldbepalende fotografen van de jaren 60,&nbsp; die in hun tijd vaak net zo beroemd waren als de sterren voor hun camera. Met werk van Terence Donovan, Brian Duffy, John French, Norman Parkinson, John &lsquo;Hoppy&rsquo; Hopkins, James Barnor, John Cowan, Eric Swayne en Philip Townsend.

<div class="sidebar__content">Films with a View 
 Dinsdag 16 juni
&nbsp;
Locatie: <a href="https://www.google.nl/maps/place/Pllek/@52.399005,4.893386,17z/data=!3m1!4b1!4m2!3m1!1s0x47c6083989af9ef3:0xfe2f6d59c06b525c" target="_blank">Pllek</a>, TT Neveritaweg 59 (NDSM-werf), 1033 WB Amsterdam-Noord
&nbsp;
Aanvang film: rond 22.00 uur
&nbsp;
Ophalen koptelefoons vanaf 21.00 uur
&nbsp;
Prijs koptelefoon: &euro; 5,00
&nbsp;
Reserveren van koptelefoon: <a href="mailto:film@pllek.nl">film@pllek.nl</a> o.v.v. datum en film. (Reserveren kan tot 16.oo uur op de dag zelf)
&nbsp;
Altijd Engels gesproken OF Engels ondertiteld
&nbsp;
Het is NIET mogelijk je om je eigen koptelefoon mee te nemen.</div>

Kes: Films with a View x Swinging Sixties London

Opening Mous Lamrabat & Magnum Photographers, 2022

Free Guided Tour, 2022

Littekens in bloei, 2022.

Foam Café

Watch the video about the project

Opening MAQAM

Galerie Mercatorplein: Ahmet Polat – Dark Moon: Tales of the Afro-Turkish Diaspora, 2022

How to...

Carla Liesching

Diego Moreno

Malign Influences / 
The Holy Mountains

Marvel Harris

Inner Journey


Lina Geoushy

Ritsch Sisters

Sit in. Sit tight. Sit pretty. Sit for a picture. Don't be a sitting duck.

The Act of Sitting

Donavon
Smallwood

Ode to C.P.

Yushi
Li

In my photograph, I am the demon who is sitting on this man’s lower torso, hiding his penis and distorting the shape of his body. I am neither an incubus nor a succubus (a demon in a female form), but something in between or a mix of both.

The man is the one who is being looked at, while I am both the looker and the hunter. It can be seen that I do not always take the male role in the scene, but the more dominant and powerful one, regardless of its sex. 

I try to use my photographs to question and challenge the dichotomy between the masculine style and the feminine surface in art history, and to explore more complex looking relations outside of the existing binary looking subject vs. looked-at object relationship.

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