by G.M.B. Akash | Bangladesh

© G.M.B. Akash / Homeless

I visited Germany for the first time in 2006. I just spent 3 days here after the World Press Photo Award in the Netherlands, so it was more a journey through. At that time I was at the Gruner+Jahr – building, at the harbor and Blankenese and everything seemed exclusive and posh to me. I had no idea there were poor people in Germany as well.

When I met the first homeless here, I was confused. It was in January this year, after getting a one year long scholarship by Hamburg Foundation and GEO magazine. Under the Lombards Bridge, I saw some people who were obviously sleeping there. I asked a friend who they were. It shocked me that they were homeless people. Why are there homeless in one of the richest countries of the world?

I am from Bangladesh, one of the poorest countries of the world, and I see it as my task to give those voices that are not able to call attention for their circumstances of life in another way than through my photos. So I naturally deal with poverty in Germany, too. Usually I spend a lot of time with people I want to photograph. As recently as they really trust me, pictures form that shows them in really intimate situations. Here in Germany, I can’t make it to build up such a mutual trust. I come from a different country, I don’t speak their language. But I ask them through gestures if I am allowed to photograph. I shake their hands, although they might be very dirty. I show them the pictures to make sure they like them.

Once, when I took a picture of a homeless in Hamburg, I was asked by the police why I was photographing the homeless. They wanted to know why I show the bad side of Germany. This was like a déjà-vu for me: In my homeland, friends, relatives, and other photographers often asked me: “Why do you only show the bad sides of Bangladesh? “ But this was never my intention. Having a son that is delinquent, you have to be hard and strict towards him to keep him from the bad. You do this because you love him. This is the same I feel for Bangladesh: I love my country and I show things that should be change positively.

Some people I met on German Streets look very poor, very lonesome, and very depressed. Nevertheless, their lives are a hundred times better than in Bangladesh. Only having a dog with you means pure luxury in Bangladesh. Lots of poor people in Bangladesh have nothing, not even the possibility to eat three times a day. Nevertheless people in Bangladesh seem less depressed to me. Indeed the poor have nothing. But seeing them, you feel how strong they are. They have dignity, they never complain. You would never discover poverty in their eyes.

I don’t know a lot about the circumstances of poverty and homelessness in Germany. But whatever stands behind it: The begging child I met with his father affected me a lot. How is something like this possible in a country like Germany? I didn’t expect this. I believe that here, with a lot of money in the background, a job, care and support could be given to many people. Someone who sells a paper like Hinz&Kunzt, for example, doesn’t have to beg. Someone who has to beg cannot build up self-confidence and has no perspective for the future. It was very good for me to spend one year here in Germany and to experience all the contrasts. When I return to Bangladesh in December I can judge two things better: I see how poor my country really is. But I also see how strong people are there.

© G.M.B. Akash on yourshot
© G.M.B. Akash personal website
© G.M.B. Akash / Homeless

© artprice.com

La photographie surréaliste naît officiellement en 1924 avec le Manifeste du mouvement par André Breton. La soif d’expériences nouvelles qui motive la création surréaliste alimente l’exploration du médium photographique sous diverses formes. Parmi les procédés exploités, citons les solarisations de Man Ray qui consistent à réexposer le négatif à la lumière, les brûlages de Raoul Ubac, les photomontages de Pierre Molinier ou les jeux de miroirs d’André Kertész… autant de techniques qui déréalisent les sujets et les objets et leur confèrent une part de mystère, faisant éclore une beauté irrationnelle, merveilleuse et convulsive.

MAN RAY fut peintre et Dada au côté de Marcel Duchamp avant de se consacrer à la photographie. Portraitiste aux premières heures, il adopte au début des années 20 la rayographie, technique photographique sans appareil ou les objets sont directement posés sur du papier sensible. Le prix de ses rayographies s’envolent plus que tout autre cliché : en 2006, par exemple, six photographies de Man Ray furent adjugées pour plus de 200 000 $ chacune… toutes étaient des rayographies réalisées entre 1926 et 1930. L’une d’entre, Rayograph (Electricité) culmina à 200 000 £ (plus de 290 000 €, Christie's Londres, le 17 mai). Cependant, de tels sommets sont rares et les aficionados du cliché surréaliste peuvent acquérir des œuvres de cette série au dixième de ce montant comme Necklace and Bracelet in white Horsehair by Elsa Triolet de 1932/1933 qui changea de main pour 20 000 £ (près de 30 000 ) en mai dernier chez Christie’s Londres.
Pour moins de 5 000 euros, l’amateur de rayographie devra se contenter d’un tirage postérieur comme ceux réalisés par Pierre Gassmann après la mort de l’artiste. Outre ce type d’œuvres et dans cette gamme de prix, des sujets plus « classiques », portraits ou rencontrent incongrues d’objets, sont abordables, y compris lorsqu’il s’agit de tirages argentiques vintage. Par exemple, L'oeuf et le coquillage, un cliché de 1931 proposé chez Hampel à Munich en juin 2007, fut soumis aux enchères pour une fourchette d’estimation de 400 – 600 €… mais le cliché ne rencontra pas son public et resta invendu.

Quatre années après la dispersion historique de la collection du pape du surréalisme André Breton (15 avril 2003), qui faisait tomber des enchères records dont celle d’Hans BELLMER pour La poupée (1936, 185 000 €), de Manuel ALVAREZ BRAVO pour Parabola optica (parabole optique) (130 000 €) ou de Raoul UBAC pour Le triomphe de la stérilité - Penthésilée (95 000 €), ces artistes n’ont pas réitérer ces exploits. Précisons qu’un pedigree aussi prestigieux que celui de la collection Breton couplé à une qualité d’œuvres extraordinaire déclencha un enthousiasme immodéré chez les collectionneurs. Sans le sceau de cette collection, des mises en scène de Poupées de Bellmer, moins abouties que celle de 1936 colorée à l’aniline s’échangent autour de 10 000 €, à l’instar de celle proposée chez Mathias-Le Roux-Morel-Baron-Ribeyre (Paris) en novembre 2006 qui quadrupla tout de même son estimation basse en trouvant acquéreur pour 10 600 euros!

Autre exemple, le produit des ventes dégagé pour Raoul Ubac en 2003 s’éleva à près de 400 000 €, tandis qu’en 2005 ses œuvres dégagèrent «seulement » 90 411 € pour un nombre de transactions quasi identique à celui de 2003. A l’heure actuelle, comptez entre 10 000 et 20 000 € si vous convoitez un photomontage ou une composition solarisée des années 30 sous l'objectif d'Ubac.
Quant à Pierre Molinier, son meilleur produit des ventes ne fut pas dégagé en 2003, bien qu’il afficha cette année une progression de +460% par rapport à l’année précédente (142 421 € de produit des ventes en 2003), mais en 2005 à hauteur de 211 873 €. Ce bon résultat de 2005 reflète le succès de la dispersion du 8 juin 2005 consacrée à Molinier et orchestrée par P.Bergé-Buffetaud-Godeau-Chambre-De Nicolay à Paris. Pas moins de 126 photos furent proposées lors de cette vacation dont la majorité furent adjugées entre 350 et 750 euros, bien que certaines épreuves furent enlevées entre 1 000 et 3 000 € comme Le podex d'amour, un photomontage adjugé 2 600 €.

© artprice.com

Surrealist photography was officially born in 1924 with the movement Manifesto by André Breton. The thirst for new experiences which inspired the surrealist oeuvre sustained the exploration of the photographic medium in various forms. Man Ray’s solarization involving exposing the negative to light, Raoul Ubac’s brûlages, Pierre Molinier’s photomontages or André Kertész’s mirror effects are all examples of techniques which de-realise subjects and objects, giving them an element of mystery...Surrealist beauty is irrational and coincidental, marvellous and convulsive.

MAN RAY was a painter and Dadaist alongside Marcel Duchamp before dedicating himself to photography. Initially focused on portraits, in the early 1920s he adopted rayography, a photographic technique without the use of a camera involving objects positioned directly on light-sensitive paper. The prices for his rayographs reach levels unseen by any other photograph: in 2006, for example, six Man Ray photographs were auctioned for more than USD 200,000 a piece …all were rayographs produced between 1926 and 1930. One of them, Rayograph (Electricity) achieved GBP 200,000 (more than EUR 290,000, Christie's London, on 17 May).
However, such heights are rare and aficionados of surrealist photographs can acquire works in this series for a tenth of this amount like Else Triolet's Necklace and Bracelet in White Horsehair (1932/33), which changed hands for GBP 20,000 last May at Christie’s London. For less than EUR 5,000, the rayograph lover will need to be content with a later print such as those produced by Pierre Gassmann after the artist’s death. In addition to this type of work, more 'classical' subjects, portraits or incongruous juxtapositions of objects, are affordable at under EUR 1,000, even where vintage gelatine silver prints are concerned. For example, L'œuf et le coquillage, a 1931 photograph, was offered for auction by Hampel in Munich in June 2007 at an estimated range of EUR 400-600…but failed to find a following and remained unsold.

Four years after the historic dispersal of the pope of surrealism, André Breton’s, collection (15 April 2003, which set new auction records for Hans BELLMER with La poupée (1936, EUR 185,000), for Manuel ALVAREZ BRAVO with Parabola optica (EUR 130,000) or for Raoul UBAC for Le triomphe de la stérilité - Penthésilée (EUR 95,000), these artists have yet to repeat such exploits. It should be said that a provenance as prestigious as that of the Breton collection coupled with works of an exceptional quality triggered inordinate enthusiasm from collectors. Under the seal of this collection, the Bellmer Poupée works, less successful than that of 1936 coloured with aniline dyes, change hands at around EUR 10,000, as did the one offered at auction by Mathias-Le Roux-Morel-Baron-Ribeyre (Paris) in November 2006, which still managed to quadruple its low-end estimate!

By way of another example, the sale proceeds achieved for Raoul Ubac in 2003 amounted to nearly EUR 400,000 whereas, in 2005, his works 'only' raised EUR 90,411 on virtually the same number of transactions as in 2003. You need to reckon on between EUR 10,000 and EUR 20,000, currently, if you covet a photomontage or a solarized composition from the 1930s. As for Pierre Molinier, despite 2003 sale proceeds of EUR 142,421, a 460% rise on the previous year, his record was not set in that year but in 2005 with EUR 211,873. This good result in 2005 reflected the success of the 8 June sale dedicated to Molinier, organised by P.Bergé-Buffetaud-Godeau-Chambre-De Nicolay in Paris. No fewer than 126 photographs were offered at auction during this sale, of which the majority saw the hammer down at between EUR 350 and 750, although certain prints went for between EUR 1,000 and 3,000 like Le podex d'amour, a photomontage sold for EUR 2,600,

By MARGARET STUDER
Special to THE WALL STREET JOURNAL
September 14, 2007

Fairs have become increasingly important for collectors of contemporary art -- and not just as places to snap up interesting works by the current crop of trendy artists. They also offer an enormous choice under one (appropriately large) roof, a first-hand look at emerging trends and young artists, plus the buzz that comes with rubbing shoulders with art stars in fashionable places.

Five autumn fairs make up the grand slam of contemporary art collecting: Art Forum Berlin, London's Frieze, Paris' Fiac, Paris Photo and Art Basel Miami Beach. (Other major contemporary fairs held earlier in the year include Madrid's Arco in February, Art Cologne in April and Art Basel in June.) At these events you'll see the world's most important artists and galleries, and -- whether you're buying or not -- they offer the best overview of the contemporary market today.

So what to look for this season? Today's art is notable for its breadth, and there is strong interest in painting, sculpture, objects, drawings, video works, photography and installations. Expect attention to focus on previously neglected countries -- echoing the recent craze for Chinese contemporary art.

Specialists predict Latin America will be the next region to attract buyer interest. This has already been the case at the Venice Biennale. "Contemporary Chinese art is still the thing, but people are also looking for the new; and I predict that South American is next," says Frankfurt dealer Anita Beckers, who doesn't represent any South American artists but has been watching the scene with interest. Among the Latin American artists to watch this fall is Mexican Gabriel Orozco, whose works with photography, sculpture and installations will be at both Fiac and Frieze with Paris's Chantal Crousel Gallery. Jan A. Fischer, a Swiss collector, says Art Basel Miami Beach is one of the best places to see Latin American art.

Another trend: body art. One example is a renewed interest in Hannah Wilke (1940-1993), an American feminist and performance artist whose photos, videos and sculptures concentrated on the body, mostly her own. She will be shown at Frieze by the Alison Jacques Gallery. "Her body was her sculpture," Ms. Jacques says of Ms. Wilke (prices for the works run between $15,000 and $1 million). At Art Forum Berlin, spokeswoman Anne Maier says there will be numerous galleries showing body art by other artists, such as Israeli artist Sigalit Landau, whose video subjects include a nude on the beach playing with a hula hoop and a nude standing on a watermelon in the Dead Sea.

Here, a look at the big fall fairs -- but big is not the only way to go. Turn the page for a look at smaller art fairs notable for their quality and perspective. You'll also find tips on how to navigate fairs and their many satellite events.

Art Forum Berlin
Sept. 29-Oct. 3

The scene:
The fair, in modern, bright halls, reflects the vibrancy of Berlin's young art scene. The city is still an inexpensive place to live and work compared with other art centers, and so attracts up-and-coming artists and galleries. This makes for a "dynamic, growing art world," says Claudia Jollis, editor of the Kunstbulletin, a Swiss art publication.

Who goes?
Each year the numbers increase, last year to 41,000 from 37,000 in 2005. Many of them are young people wheeling prams. The fair has a reputation as a place to discover emerging artists.

Who shows?
Of the 136 galleries, more than half are from Germany. Berlin gallery Arndt & Partner is one of many playing to the younger crowd, says director Julie Burchardi. It will show Anton Henning, a popular German artist whose small, sculptural paintings can still be had for around €20,000.

Frankfurt's Galerie Beckers will show works by Yves Netzhammer, a computer-trick artist, who represents Switzerland at the Venice Biennale this year (€5,000-€25,000) and German film and video artist Byorn Melhus, who humorously replays roles taken from old films such as "Bambi" (€10,000-€35,000).

Hot tip: German new realism remains the trend to watch. Berlin's Galerie Crone, for example, is showing the threatening sunny-boy paintings of Norbert Bisky (€60,000).

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Frieze Art Fair
Oct. 11-14

The scene:
Frieze, held in a huge white tent in London's Regent's Park, generates the most hype of any European art fair. Now in its fifth year, the fair attracts the trendiest galleries and most celebrated contemporary artists from around the world. It also draws a relentlessly glamorous public, who come as much to see and be seen by each other as they do to check out the art.

Frieze captures the essence of today's media savvy, self-promotional art world, which at its best is surprising, powerful and witty -- and at its worst makes you remember that art is also about money, celebrity and consumerism. The fair now attracts so many top collectors that the international auction houses piggyback benchmark contemporary sales on it.

Who goes?
The holiday atmosphere drew 63,000 visitors last year; more are expected this year.

Who shows?
The 150 galleries from 25 countries will show 1,000 works in all media. London's Juda gallery will bring the monumental wood sculptures of U.K. artist David Nash, the modular constructions of American artist Sarah Oppenheimer and early works by Bulgarian-born U.S. artist Christo, the master of packaging. Hauser & Wirth of Zurich and London will be bringing a work by Canadian concept artist Rodney Graham: a photo of an upside-down tree, "Locarno Beach Tree, Winter 2007."

Hot tip: Frieze commissions projects especially for the fair. These can be a lot of fun; last year there was a grass slope in the middle of the fair that kids could roll down. This year look for an installation by American artist Richard Prince, who will put cars on a pedestal -- literally -- to reflect America's love affair with the automobile.

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Paris Is Burning

Fiac
Oct. 18-22

The scene:
Held in two stunning locations -- the superb Belle Epoque Grand Palais and the Louvre's Cour Carrée (along with sculptures in the Tuileries Garden that make for a lovely stroll between them). Its 179 galleries show modern and contemporary art and design. Since moving to its present sites in 2006, the fair has been rejuvenated and given a more international focus. The result, says Paris art critic Jens Senewald, is that "Fiac has become a motor of a dynamic, new art scene."

Who goes?
Last year 88,000 visitors, up from 83,000 the previous year, making Fiac the most visited of the big fall fairs.

Who shows?
London-based FA Projects will show Japanese photo artist Izima Kaoru, whose works express a connection between fashion and nature (around €16,000); and sculptures made by U.K. artist James Ireland, who links minimalist forms with natural phenomena such as the branch of a tree (£4,000-£8,000).

Among other artists Galerie Chantal Crousel will show at Fiac are young Albanian Anri Sala, who works with photography and film to explore social and political issues (€15,000-€65,000), and Swiss Thomas Hirshhorn, whose installations out of foil, cardboard, plastic, packing tape and objects make political statements (€100,000-€300,000).

Hot tip:
A group to watch is the collective Claire Fontaine, founded in 2004, which works in neon, video, sculpture, painting and text creating conceptual art that often looks like other people's work (€5,000-€35,000).

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Top Pics

Paris Photo
Nov. 15-18

The scene:
Connoisseurship is the emphasis at this fair, now in its 11th year. Art mavens from around the world come to three contemporary rooms in the Carrousel du Louvre to see a range of photographs, from the 19th century to the very latest in contemporary works. "This is the top annual event by far in the world of photography because of the quality of the works, the major collectors, curators and artists who attend," says London dealer Michael Hoppen.

Who shows?
This year the spotlight is on Italy, with 16 galleries from there and an exhibition showing the UniCredit Collection with works by leading Italian photographers from the 1970s, '80s and '90s.

Among the artists Mr. Hoppen's gallery will bring are the U.K.'s Ari Ashley, whose black and white photos with playful images of British life are taking off (£1,000); and Dutch artist Scarlett Hooft, who makes surrealist images often combining photography, performance and sculpture (£4,000).

Hot tip:
Mr. Hoppen says Japanese photography will be the next trend, following the run on German and Chinese photography. He will bring highlights from an exhibition of Japanese artists, "Eyes of an Island," now showing at his London gallery. Prices for pieces by Nobuyoshi Araki, best known for his sensual bondage photos, start at £2,700; and photos by Shomei Tomatsu, most famous for his post-Hiroshima images, sell for £15,000.

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Party Arty

Art Basel Miami Beach
Dec. 6-9

The scene:
The art world heads to Miami for this four-day jamboree in December -- and why not? This fair is big on art, big on money and big on partying -- plus the weather's fine. One of the fair's strong points is its emphasis on crossover events that link art with film, music, architecture and design. "Art Positions" is a beachfront village of shipping containers transformed into mobile art spaces where young galleries exhibit. The fair's vernissage is a glamorous event -- and there are more parties at museums and in private houses, at restaurants and hotels.

Who goes?
The main contingent is from North and South America.

Who shows?
Some 200 galleries, including New York's Acquavella and Gagosian, London's Sadie Coles, Berlin's Eigen + Art and Zurich/London's Hauser & Wirth.

Hot tip:
Some of the most interesting art will be featured outside the fair, especially in the Wynwood district. Promising side trips include: a site-specific project by Mexican performance artist Carlos Amorales and the colorful, dreamy videos of Switzerland's Pipilotti Rist at the Miami Art Museum (MAM); the first major U.S. museum show of Cuban-born sculptor Jorge Pardo -- who makes objects that recall the everyday in chairs, lamps or books -- at the Museum of Contemporary Art, North Miami (MOCA); and at the much-watched private Margulies Collection at the Warehouse in the Wynwood district, "Sculpture: 1940 through the Present."

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Write to Margaret Studer at wsje.weekend@wsj.com