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 Using outdated chemical processes Broomberg &amp; Chanarin salvaged just a single frame from the many rolls of expired film they exposed during these trips.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

Introducing Foam Magazine #62 motherlands

Coinciding with the commencement of the annual olive harvest, we co-stream ‘Counter-Surveillance: H2’, a community-based project in the city of Hebron, Occupied Palestinian Territories (OPT). The olive tree symbolizes the resilience of the Palestinian people in their ongoing resistance to live under Israeli military oppression. In line with Israeli’s surveillance effort, Artist + Allies x Hebron has created a counter offense by placing surveillance cameras in Palestinian owned olive groves.

Still from Counter-Surveillance H2

Counter-Surveillance: H2

‘Counter-Surveillance’ seeks through its installation of custom-made surveillance cameras throughout Palestinian-owned olive groves, to co-opt this same technology but with a radically different purpose – by live broadcasting the images to various sites across the world, the electronic gaze does not seek to control, punish, or instill fear. Rather, it is an attempt at a community-building strategy that spans the globe, where individuals and organisations of conscience across the planet can keep a vigilant eye on these precious trees, some of which are over 900years old. It is an opportunity to demonstrate solidarity by ensuring that these courageous residents and their heroic acts are not only surveilled but also seen.

Counter-Surveillance: H2 by Artists + Allies x Hebron (AHH)

On Wednesday evening, 29 May, Maurice Scheltens and Liesbeth Abbenes will lead you through the universe of objects from their exhibition ZEEN.

After a reflection on the work by the acclaimed British writer, critic and curator David Campany, he will be in conversation with Scheltens &amp; Abbenes and discuss the way they work, their fascination with the world of things, the role of the camera and their sense of aesthetics. Finally, Foam curator Kim Knoppers will speak about the work of Scheltens &amp; Abbenes in relation to the Dutch tradition of product and still life photography.
ATTENTION: this event is sold out
<img src="https://a.storyblok.com/f/113697/595x446/6b43f4d4f6/scheltens__amp__abbenes__cos__collections__light_bulbs__2012_595.jpg" alt="" width="596" height="446" /> Cos, Collections, Light Bulbs, 2012 &copy; Scheltens &amp; Abbenes
Read more about the exhibition Scheltens &amp; Abbenes - ZEEN, on view at Foam from 15 March until 5 June 2019 <a href="/museum/programme/scheltens-abbenes">here</a>.&nbsp; &nbsp;
ABOUT SCHELTENS &amp; ABBENES Scheltens &amp; Abbenes have been an artist duo since 2001. Maurice Scheltens studied at the Royal Academy of Art in The Hague, and Liesbeth Abbenes attended the Gerrit Rietveld Academie and the Rijksakademie van Beeldende Kunsten in Amsterdam. Scheltens &amp; Abbenes produced commissioned photography for fashion and design brands such as Paco Rabanne, Maison Margiela, COS, Hermes, Scholten &amp; Baijings, Arper, Muller van Severen, Arita, Mutina and editorials for magazines including Fantastic Man, The Gentlewoman, Double, Pin-Up magazine, MacGuffin, The Plant and New York Times Magazine. They have had exhibitions at Jan Cunen Museum (2012), Huis Marseille (2013), De Kunsthal in Rotterdam (2013), The Ravestijn Gallery (2018), Limart/Tokyo (2012), Palais Galliera Mus&eacute;e de la Mode Paris (2012), The Art Institute of Chicago (2013) and Three Shadows Gallery/Beijing (2015). The books On Display (2008), I Put This Here (2012), Le Style (2012) and Unfolded (2012) have all become collectors&rsquo; items. Simultaneously with the exhibition, CASE Publishers has published the same-titled book ZEEN. Scheltens &amp; Abbenes won the ICP Infinity Award in New York (2012).
ABOUT DAVID COMPANY David Campany is a curator and writer, currently based in London. He teaches at the University of Westminster, London. He is the curator of three-city Biennale f&uuml;r aktuelle Fotografie, 2020. Recent curatorial projects include The Still Point of the Turning World: Between Film and Photography (FoMu Antwerp, 2017); The Open Road: photography and the American road trip (various venues, USA, 2016-); A Handful Dust (Le Bal, Paris, 2015; Pratt Institute New York, 2016; the Whitechapel Gallery London, 2017; The California Museum of Photography, 2018; David&rsquo;s most recent book is So Present, So Invisible &ndash; conversations on photography (2018). He has written over two hundred essays for monographs and museums. He contributes to Frieze, Aperture, Source and Tate magazines.
ABOUT KIM KNOPPERS Kim Knoppers is an art historian and curator at Foam since 2011. She has worked on solo exhibitions by Melanie Bonajo, Adam Broomberg &amp; Oliver Chanarin, Anne de Vries, Geert Goiris, Taiyo Onorato &amp; Nico Krebs and Lorenzo Vitturi, and group exhibitions including RE-Search: Alumni Rijksakademie, Collaborate: On Artists&rsquo; Collectives and Back to the Future: The 19th century in the 21st Century. She also initiated several archival exhibitions on commercial photo studios like Fotogalatasaray - Maryam Şahinyan's Photo Studio (2013), Disfarmer &ndash; The Vintage Prints (2016), Dynasty Marubi - A Hundred Years of Albanian Studio Photography (2016). Kim is a lecturer in the MA Photography program at &Eacute;cole cantonale d&aacute;rt de Lausanne (ECAL) where she initiated and developed the course Do Not Disturb &ndash; Curating in Progress. She contributes on a regular basis to Foam Magazine.
The exhibition Scheltens &amp; Abbenes &ndash; ZEEN is made possible by BeamSystems, the Mondriaan Fund and Kleurgamma Fine-Art Photolab. Courtesy of The Ravestijn Gallery Amsterdam.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Foam Members, Olympus and the VandenEnde Foundation.

<div class="sidebar__content">Event info 
Wednesday 29 May 2019 19.00 - 20.30 hrs
 ATTENTION This event is sold out PRICE &euro;7,00 regular rate &euro;5,00&nbsp;<a href="/about/memberships" target="_blank" rel="noopener">Foam Members</a>
 LANGUAGE English</div>

The Microcosmos of Scheltens & Abbenes

New methods of reporting the news, new imaginations of what the news might be, have given birth to the most interesting ideas. This critical approach is called, following Allan Sekula, &lsquo;antiphotojournalism&rsquo;.

Photojournalism is in the midst of a remarkable, and singularly unexpected, renaissance. New practices, strategies, viewpoints, techniques, and agents have radically transformed the institutions and the fundamental concepts of the field. Whilst it has become fashionable to lament the death of photojournalism, actual events suggest that something quite different is taking place.
Antiphotojournalism provides a profound and passionate fidelity to the image, unleashed from the demands of the traditional approach of photojournalism. It has a multiplicity of forms, such as film, video, slides, web-based presentations and many more. It is freed to ask other questions, to make other claims, to tell other stories.
Sometimes the gesture is reflective. Sometimes the desire is evidentiary not in the old sense of simply offering the &lsquo;evidence&rsquo; of images to an assumedly homogenous public opinion, but in a much more precise way: photographs have become evidence in war crimes tribunals. Sometimes the innovation is technological, whether it involves working with the hi-tech resources of advanced satellite imagery or the low-tech crowd-sourcing of participatory protest imaging. Sometimes the practices are archival. And sometimes the question is simply whether we even need images at all.
<img src="https://a.storyblok.com/f/113697/700x600/43a47b2cb9/installatieshot.jpg" alt="" width="595" height="510" /> Installation Antiphotojournalism at Foam, 2011 &copy; Christian van der Kooy
Antiphotojournalism is curated by Carles Guerra and Thomas Keenan. The exhibition is produced by the City of Barcelona, Institut de Cultura: La Virreina Centre de la Imatge.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Delta Lloyd, Olympus and the VandenEnde Foundation.
ABOUT THE EXHIBITION The group exhibition Antiphotojournalism charts new developments in exciting ways. Included is work by Broomberg &amp; Chanarin, Mauro Andrizzi, Jonathan Cavender, Robbie Wright, Shane McDonald, Hito Steyerl, Ariella Azoulay, Paul Lowe, Goran Galic &amp; Gian-Reto Gredig, Laura Kurgan, Renzo Martens, Kadir van Lohuizen, Allan Sekula, Phil Collins, Walid Raad/The Atlas Group, Paul Fusco, Gilles Peress and Susan Meiselas. Compilations by Sohrab Mohebbi, Eyal Weizman, with Yazan Khalili and Tony Chakar.
The exhibition juxtaposes reportages by established Magnum practitioners with material from autonomous artists and even amateurs. The works can be viewed in a myriad of ways, from slide shows to YouTube films, from music videos to satellite imagery and archival material.
&nbsp;

Antiphotojournalism

Don't miss the opportunity to join a guided tour by the curators of Foam&rsquo;s latest exhibition Francesca Woodman. On Being An Angel: Anna Tellgren, curator at Moderna Museet and Kim Knoppers (Foam). 

The exhibition gives an overview of the exceptional oeuvre of American photographer Francesca Woodman (1958-1981) who died at a young age. ABOUT FRANCESCA WOODMAN. ON BEING AN ANGEL Before committing suicide at the age of twenty-two, Woodman explored themes such as gender, representation, sexuality and corporality. She used photography as an extremely personal means of expression, as if wearing her skin inside out. Woodman&rsquo;s photographs showcase a range of symbolist and surrealist influences, and in many cases they evoke oppressive feelings. Francesca Woodman&rsquo;s photographs were shown in a number of major international exhibitions and they have inspired artists all over the world. &gt;&gt; <a href="/museum/programme/francesca-woodman">Read more</a> ABOUT ANNA TELLGREN Anna Tellgren (1964) is curator of the exhibition Francesca Woodman: On Being an Angel (2015) at Moderna Museet, Stockholm, where she has been curator of photography since 2004. She promoted and was researcher and lecturer at the Department of Art History at Stockholm University. Tellgren is a committee member of the &lsquo;Nordic Network for the History and Aesthetics of Photography&rsquo; and is the Associate Editor of Konsthistorisk tidskrift/Journal of Art History. She previously curated the Arbus, Model, Str&ouml;mholm exhibition and was the editor of the catalogue with the same title, published in 2005 by Steidl. ABOUT KIM KNOPPERS Kim Knoppers (1976) has been a curator at Foam Museum since 2011. She studied art history at the University of Amsterdam. She was previously curator at De Beyerd Center of Contemporary Art and has also worked as a freelance curator. She has curated group exhibitions including Remind (2003), Exotics (2008), Snow is White (2010, together with Joris Jansen) and Re-Search (2012), and solo exhibitions by WassinkLundgren, Onorato &amp; Krebs, Jan Hoek, Lorenzo Vitturi, Jan Rosseel, JH Engstr&ouml;m, Geert Goiris, Broomberg &amp; Chanarin, Anne de Vries and Paul Bogaers amongst others. The exhibition Francesca Woodman. On Being an Angel has been organized by the Moderna Museet in Stockholm in collaboration with the Estate of Francesca Woodman.

<div class="sidebar__content">Tour info 
18 December 2015 11.00 - 12.00 hrs. Foam, Amsterdam
&nbsp;
PRICE &euro;7,50 - regular rate &euro;5,00 - reduced rate (Foam Fan, Club, Fund) Excluding museum entrance. Availability is limited.&nbsp;
&nbsp;
This guided tour is in English.</div>

Broomberg

Broomberg & Chanarin

Counter-Surveillance: H2by Artists + Allies x Hebron (AHH)

The Microcosmos of Scheltens & Abbenes

Antiphotojournalism

Guided tour by curators

Counter-Surveillance: H2
by Artists + Allies x Hebron (AHH)