Ilse Bing

FEB.16.2023          MAY.14.2023

Scandale, 1947

Ilse Bing
Scandale, 1947
Victoria and Albert Museum, Londres, legado de Ilse Bing Wolff
© Estate of Ilse Bing / Victoria and Albert Museum, London

Exhibition

 

FEB.16.2023        MAY.14.2023

Where

KBr Photography Center
Avenida Litoral, 30 – 08005 Barcelona

Tel: +34 93 272 31 80

infokbr@fundacionmapfre.org

Opening times:
Until March 30:
Mondays (except holidays): Closed.
Tuesday to Sundays (and holidays): 11 am – 7 pm

From April 1:
Mondays (except holidays): Closed.
Tuesday to Sundays (and holidays): 11 am – 8 pm

Closed:
December 25th, January 1st and 6th

Limited opening hours:
December 24th and 31th, January 5th: 11 am – 3 pm

*The evacuation of the hall starts 10 minutes before closing time. Last access (6:30 pm – 7:30 pm) only allows a 20 minutes tour to the exhibitions.

How to arrive

Buses: 59, 136, V21, V27, H16, 47, V23
www.tmb.cat

Subway: Line 4 and Line 1
www.tmb.cat

Bicycle racks: 396; 397
www.bicing.barcelona/es

Audio-guides

Available online in SpanishCatalan and English. Accessible via mobile without downloads or installations.

Also available in audio device obtainable in the hall (if available).

Price: €4

Accessibility

Ramp for wheelchair access – The three floors of the hall are accessed by a generously-sized elevator.

Services

Locker Service.

Bookstore

KBr Bookstore by Juan Naranjo.

librería@juannaranjo.eu / Telf. (+34) 933 568 021

Born into a wealthy Jewish family, Ilse Bing (Frankfurt, 1899 – New York, 1998) discovered her artistic vocation in 1929 when she started to take photographs to illustrate her university thesis in art history, a subject she abandoned in order to devote herself entirely to photography. She thus embarked on a unique and fascinating life and career that would continue for three decades with regard to her photographic activity.

In 1930 Bing moved Paris where she focused in professional terms on photo-journalism while also undertaking her own work, which soon led her to be considered one of the new names in the field of photography who were currently emerging in the dynamic cultural context of the city at that time. Obliged to go into exile following the Nazi occupation, in 1941 she arrived in New York with her husband, the pianist Konrad Wolff. Almost twenty years later, in 1959 the sixty-year-old Bing decided to abandon photography and from then on focused on the other visual art forms and poetry until her death.

Bing’s photography cannot easily be located within the movements and trends that inspired it. She produced works in all the major genres, from portraiture and self-portraiture to depictions of everyday objects, street scenes, landscape and images of buildings, but with a stylistic diversity that conveys her highly individual and significant reading of the different cultural trends that she was associated with: Parisian Surrealism, the influence of German New Objectivity and the Bauhaus, and finally the inexhaustible drama of New York as a great metropolis.

Curator: Juan Vicente Aliaga

Buy tickets

Ilse Bing

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Tickets

Online tickets sale will be available from February 1st

Individual

Ticket PLUS

  • TICKET and AUDIO GUIDE for Ilse Bing and Anastasia Samoylova. The audio guide is accessible online, from the Smartphone, without downloads or installations. An audio device can also be requested in the room (if available).
  • Price: GENERAL PLUS: €9. REDUCED PLUS: €7. Tuesdays (except holidays): €4.
  • Does not include headphones. You can add them (€1) during the online purchase or at the ticket office. For sustainability reasons we recommend you to bring your own headphones.

Individual

  • Access to Ilse Bing and Anastasia Samoylova.
  • General admission: €5. Reduced ticket beneficiaries: €3.
  • Free Access (€0): Tuesdays (except holidays).

The beneficiaries of free admission must obtain their ticket at the ticket office in the room.

Commented Tour

  • Cultural mediation is one of the most dynamic and effective instruments used by Museums to provide their visitors a better understanding of exhibitions.
  • Brief explanation (15-20 min. approx.) on concepts and information to go in depth in the evaluation and enjoyment of the exhibited works. Explanations in Spanish.
  • Hours:
    • UNTIL MARCH 30: Wednesdays and Thursdays: 4-7 pm | Fridays and Saturdays: 12-2 pm and 4-7 pm. | Sundays and Hollidays: 12-2 pm.
    • AS FROM 1 APRIL: Wednesdays and Thursdays: 5-8 pm | Fridays and Saturdays: 12-2 pm and 5-8 pm. | Sundays and Hollidays: 12-2 pm.
  • No additional cost upon ticket. Information at reception desk.

MAPFRE Clients

  • MAPFRE offers to its policyholders 2 free tickets (4 if Platinum Client) to visit Ilse Bing and Anastasia Samoylova on the date they choose.
  • To obtain courtesy tickets of MAPFRE, access the online ticket office and follow the purchase process. Before payment, the program will request your ID and will automatically activate the free tickets that correspond to you.
  • You can also get them at the ticket office in the room, presenting your ID.
  • Invitations must be used in a single visit.
  • Any question you have, please check these simple Instructions.

Collaborating Entities

  • If you belong to any of the entities that collaborate with Fundación MAPFRE, you must obtain your reduced ticket (€1 or €3) at the ticket office in the room.

Audioguides

  • If you have already purchased a individual ticket and want to add the audio guide, you can purchase it here. Price: 4 €
  • The audio guide is accessible online, from your Smartphone, without downloads or installations. An audio device can also be requested in the room (if available).
  • Does not incluye headphones. You can add them (€1) during the online purchase or at the ticket office. For sustainability reasons we recommend you to bring your own headphones.
Groups

Groups

  • It's mandatory for the group to have a guide or person in charge. To request a guide from the Foundation, ask please for information and rates to: infokbr@fundacionmapfre.org
  • The group must be made up of a minimum of 6 pax and a maximum of 15 pax. (guide included)
  • Tuesdays: 11 am - 11:30 am - 12 pm.
  • The purchase of the ticket implies acceptance of the Rules for the visit, especially of those indicated for the "Group Visit".

€3/pax.

Schools

Educational activities for schools are developed entirely in Spanish or Catalan. If you are interested please consult sections Colegios y Familias (spanish) or Col·legis i Families (catalan).

Families

Educational activities for families are developed entirely in Spanish or Catalan. If you are interested please consult sections Colegios y Familias (spanish) or Col·legis i Families (catalan).

Important:

  • Tickets changes or returns are not allowed except for justified force majeure.
  • The purchase of tickets presupposes the acceptance of these Rules for the visit. We recommend reading it before entering the room.
  • Due to conservation needs, the rooms maintain a constant temperature of 21º, so it is possible that during the visit it is convenient to bring some light warm clothing.
  • Fundación MAPFRE is not responsible for the rates, schedules and other information applied on the websites of other entities where tickets for their exhibitions can be purchased.

Ilse Bing’s work is now divided among various collections in Europe and the United States and this is the first occasion on which it can be seen in a completely survey in Europe.

Comprising nearly 200 photographs and a range of documentary material, the exhibition offers an exhaustive survey of Ilse Bing’s career in the form of ten chronologically and thematically structured sections: “Discovering the world through a camera: the beginnings”; “The hustle and bustle of the street”: the French years”; “The life of still lifes”; “Lights and shadows of modern architecture”; “Self-image revelations”; “The United States in two stages”, “The dancing body and its circumstances”; “Self-image revelations”; “Live nature”; and “The seduction of fashion”.

In its presentation in Barcelona the exhibition includes two significant additional elements with respect to its showing in Madrid, namely the inclusion of four photographs loaned from the collection of the Musée Carnavalet, Paris, and the projection in the exhibition space of the interview Drei Fotografinnen: Ilse Bing [Three photographers: Ilse Bing] (1993: 54 mins). Made five years before Bing’s death and directed by Antonia Lerch, it is part of a project that also included conversations with two other Jewish women photographers: Ellen Auerbach and Grete Stern. In the film Bing is already in frail health, moving around her the narrow space of her small apartment with some difficulty, but nonetheless able to describe her life and work with absolute lucidity. The result is a moving testament which reveals the enormous vitality and profound creative impulse that makes Bing’s photographs fundamental images in photography of the first half of the 20th century.

Architecture. Constructivist architecture, which emphasised the social aspect of the discipline, was widely recognised outside the Soviet Union thanks to El Lissitsky who promoted the movement abroad. From 1910 onwards the city of Frankfurt became the prototype of modern urban design through the work of the architect Ernst May and the city gradually abandoned its medieval layout in favour of a transformation based on different social requirements. Both Constructivist and Bauhaus theories were extremely influential for Bing’s work. Following her arrival in Paris she focused on one of the city’s most important monuments, the Eiffel Tower, built for the Universal Exhibition of 1889. The Tower had been photographed in 1925 by László Moholy-Nagy, who had an important influence on Bing. Not only, however, did she focus on the beauty of the forms and the abstract beauty of the Tower’s construction but she also captured the area around it by photographing it from inside the tower at different heights.

The same would be the case with New York’s skyscrapers, which she photographed with a distanced and simultaneously critical gaze through the device of including low-rise, humble buildings in the same shot.

Surrealist objects. From an early date Ilse Bing was notably interested in inanimate objects: still lifes, chairs, newspapers, etc, all common motifs in art in the first three decades of the 20th century. Surrealism brought about a revolution with regard to objects of this type in its addition of a certain indissoluble element of magic and mystery in the compositions. Particularly in her Parisian period, Bing’s depictions of everyday objects are imbued with a degree of almost dream-like melancholy. In contrast, during her time in exile in New York her images reveal a sense of distance and also the appearance of formal and symbolic traits such as the enclosing or delimitation of the depicted scene.

Movement. During the years she lived in Germany Ilse Bing had already focused on the movement of the dancers at the school of Rudolf von Laban, considered the founding father of Expressionist dance. After her arrival in Paris, Bing was commissioned to photograph the waxwork museum of the Moulin Rouge. While undertaking this project she also photographed everyday life on and off stage, particularly the dancers in movement. Bing captured the vibration of the dance with its circular leg movements and the dancers performing the splits in profile. In addition to the series of photographs she took of the dancer Gerard Willem van Loon, one of Bing’s most important projects on the theme of movement centred on the ballet L’Errante, choreographed by George Balanchine and with sets and libretto by the Russian painter Pavel Tchelichew for the Ballets Russes. It was first performed at the prestigious Théâtre des Champs-Élysées in Paris in June 1933 and subsequently in London.

A pioneer of photography. Ilse Bing was part of a generation of women photographers who achieved an unprecedented visibility, among them Germaine Krull, Florence Henri, Laure Albin-Guillot, Madame d’Ora, Berenice Abbot (the subject of an exhibition by Fundación MAPFRE in 2019), Nora Dumas and Gisèle Freund. It was not common for women to be artists at this date and this field was largely occupied by men who regarded the presence of women in the social and cultural sectors with disdain, if not overt hostility. Nonetheless, Ilse Bing used her camera as a means to affirm her identity and proclaim her independence.

If you would like to contact the Communication Department to request the press dossier, high-resolution images or for any other matter, please complete the form below, giving the name of the medium/media for which you require this information.

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