With the exhibition "LICHT", Galerie Anita Beckers presents the fifth solo exhibition of Anton Corbijn in Frankfurt. The renowned Dutch photographer and film director shows a selection of partly never-before-published, conceptual works, mostly created in the 1990s, which testify to Anton Corbijn's fondness for experimental photographic techniques. The photographs were taken using a flashlight as the only light source and, in some cases, further alienated by the use of color filters.

Seit über 25 Jahren präsentiert die Galerie Anita Beckers die Arbeiten von Anton Corbijn und konnte bisher zahlreiche Ausstellungen realisieren, in denen schon Bilder aus allen seinen Werkserien gezeigt wurden. Unter dem Titel "ALL DRESSED UP" werden nun bisher kaum bekannte Fotografien des niederländischen Fotografen aus dem Projekt 'MOØDe', die zwischen 1991 und 2019 entstanden sind, gezeigt. Unter den Arbeiten befinden sich Bilder, die oft auf unerwar…

The new exhibition with Anton Corbijn does not focus on a specific photographic project of his, but is a small selection made by Corbijn himself mainly of music photographs from a series titled "#5" as well as some coming from his famous "lith-print" period. For his sixtieth Birthday in 2015, the Gemeentemuseum and the Fotomuseum in The Hague presented his first comprehensive retrospectives. These exhibitions, "Hollands Deep" and "1-2-3-4", tra…

INWARDS AND UPWARDS Anton Corbijn / NL Anton Corbijn has once stated his interest in portraying the pain of creation and in the people who struggle with that process. Opening on October 22nd, Galerie Anita Beckers proudly presents Anton Corbijn's latest photographic series devoted to some of the most consecrated artmakers of today. The show also includes a moving portrait of Nelson Mandela. Unyting an austerity principle with an aesthetic one, these black and white prints strike us for t…

PORTRAITS - the view behind the make-up Portrait – just a surface or the truth behind it? Since the beginnings of portrait as artistic genre the image of a face has been the subject of promising ascriptions: the spectator expected the portrait to tell him the truth that the mere representation of a face seemed to be hiding. For a long time the artist as well as the spectator were driven by the believe – and the hope – that the view of the surface could reveal to them the significance of t…