In October 2012, the Fondation A Stichting opened its doors in south Brussels on the site of the former Bata factories. Created upon the initiative of Astrid Ullens de Schooten, and recognized as a promoting the public interest, it has a vocation to support the creation, knowledge, and preservation of the photographic image. 

Nothing exists any longer that does not seem to have to be attested by the image. Yet the idea of recording the real using photography does not go without saying. What happens to our capacity to see and to discern when, in their overabundance and their virtual immediacy, the images surrounding us are rapidly and powerfully becoming more complicated? The Fondation’s  project consists in exploring the stakes and contradictions of the image-document, putting into question this world in which all is visible. It organizes three temporary exhibitions each year, accompanied with workshops on reading and writing the image designed for youths and children. High-school and university students are invited to come and engage in dialogue with the artists during their visits, Premières Découvertes. The Fondation is settled in a formerly industrial area of the town which has gradually been transformed into a residential neighborhood with many sites devoted to artistic creation. As a cultural actor, the Fondation’s desire is to participate in the life of this neighborhood. A genuine platform devoted to the photographic image, the Fondation A Stichting also works toward forming partnerships for exhibition and book projects organized in collaboration with Belgian and international cultural institutions.

Fondation A Stichting

Découverte is in part financed by the sales of exhibition entry tickets and catalogues. This program offers, among other things, meetings with the invited artists, guided visits, reading workshops and workshops on writing the photographic image. For schools and associations devoted to children and adolescents, the exhibitions and guided visits are accessible free of charge.

During the Premières Découvertes children, pupils, and students are invited to come and meet the artist a little before the opening of the exhibition. In these moments of intense and spontaneous exchange, the artist will talk about his life, his photographical work, and reply to people’s questions.

Fondation A Stichting

Robert Adams

A Right to Stand 
from 28 January to 18 March 2018 

 Commerce City, Colorado, 1981 © Robert Adams, Courtesy Fraenkel Gallery, San Francisco and Matthew Marks Gallery, New York - Fondation A Stichting
Commerce City, Colorado, 1981 © Robert Adams, Courtesy Fraenkel Gallery, San Francisco and Matthew Marks Gallery, New York

Polly Braden & David Campany

Adventures in the Lea Valley 
from 22 April to 17 June 2018 

Saturday Morning, Stamford Hill, Spring, 2006 © Polly Braden & David Campany - Fondation A Stichting
Saturday Morning, Stamford Hill, Spring, 2006 © Polly Braden & David Campany

Fondation A Stichting

Jerry L. Thompson

New York, New York

Spanning almost five decades the American photographer Jerry L. Thompson (born in 1945 in Houston, Texas) compiled a huge and strange gallery of seemingly very classic portraits. He refers to his images more as descriptions than interactive. Each portrait is an encounter, albeit brief, but it is first and foremost an invitation. The people approached along the way are simply invited to pose without receiving any further guidance. These anonymous people appear, let themselves be viewed and interpreted. The first portraits, black and white contact sheets of players in the metropolis and gang warfare, were produced at Coney Island at the start of the 70s. At the time, the artist frequented the great American photographer Walker Evans and became his principal assistant. He was also intrigued to discover the work of August Sander. Jerry L. Thompson chose to use a large format camera 20 x 25 cm (8 x 10’’) strengthening and intensifying the physical presence of the subject photographed. His most recent photographs, in colour, were taken with a digital camera in Williamsburg, a neighbourhood in Brooklyn. The bodies presented communicate and take shape with their attitude and body language, the fabric of their identity, clothes, hairstyle and make-up. They compete with their tattoos and piercings. Personalised bodies that, like stick insects or chameleons, are projected on fragments of the city used by the artist as his studio. With these last shots, Jerry L. Thompson attentively explores the paradoxical transformation of personalised skin, alternating between individualisation and belonging, in a portrait of a young generation that stands out, that is finding its way.

Jerry L. Thompson has written several books on photography: The Last Years of Walker Evans (1997), Truth and Photography (2003), Why Photography Matters (2013). His work was recently exhibited at Photographische Sammlung/SK Stiftung Kultur in Cologne.

Fondation A Stichting

Vincen Beeckman

A castle made of sand

In a world where there are people who only think about building walls and where inward-looking attitudes sow the seed of indifference and violence, the committed photographic approach of the anodyne artist Vincen Beeckman (born in Brussels in 1973) has a role to play. His various interventions consist of building bridges, bringing into play all these tenuous links that can bring people, citizens, passers-by, etc. closer. Therefore for already over ten years, he has been meeting people welcomed by the Petit Château,a former barracks dating from the 19th century located along the canal in the centre of Brussels and transformed in 1986 into a reception centre for asylum seekers, currently managed by the Federal Agency Fedasil. There he meets unaccompanied minors from the CADE (Foreigners’ Rights Access Centre). When communication is not possible, as he speaks neither Pashtun nor Albanian, Vincen Beekman uses his camera and photographic images to create dialogue, to encourage meeting and initiate sharing. Far from investigative journalism or images with a strong impact, his approach is simple, immediate. It consists of opening out the scope of the photographic image, by increasing the number of interventions as well as the participants. He produces his own images, collects from others (selfies) and encourages the people he meets to take some (disposable cameras). A Castle Made of Sand brings together many very diverse images. Sticking together like grains of sand forming a castle, these images bear witness, speak to us and challenge us about the lives of these men and women that must be kept on an even keel.

Vincen Beeckman, a member of the former collective BlowUp, is responsible for the programming for the Recyclart association, a dynamic laboratory generating socio-artistic experimentations, meetings and urban initiatives.

Fondation A Stichting

Cesare Fabbri

The Flying Carpet

Cesare Fabbri, born in Ravenna in 1971, studied urban planning and photography at the hands of the historian and photographer Italo Zannier at the IUAV in Venice. He teaches alongside Guido Guidi. In 2009 he founded theOsservatorio Fotografico in association with Silvia Loddo.The Flying Carpet exhibition brings together and presents three series of photographs by the artist Cesare Fabbri for the first time. Each of the photos in the series, Orlando, shows initials carved on the bark of a tree. Despite plant extending and the bark swelling over time, these marks remain. This forest of feelings has its roots in the epic poem Orlando furioso written between 1504 and 1516 by Ludovico Ariosto. Such a dazzling kaleidoscope of terrific adventures that Cardinal Ippolito (I) d’Este declared: ‘Dove avete mai trovate tante fanfaluche?'. The Flying Carpet, the second series,is an enchanting collection of 60 photographs – floating images, curious or funny objects, bizarre situations– collected by the artist along paths and roads. MACK has published this collection in tandem with the exhibition at the Fondation A Stichting. The photographs in the third series were taken very recently in Sardinia. Huge black and white landscapes incorporate a blend of unspoilt nature, traces of the past and new ruins recalling paintings by great American landscape artists.


Fondation A Stichting

Guido Guidi

Col tempo

Guido Guidi (born in Cesena, close to Ravenna, in 1941) studied at the Corso Superiore di Disegno Industriale and at Istituto Universitario di Architettura di Venezia (IUAV). After some experimentation with photography, he began to devote himself wholly to it and he became a major figure of contemporary Italian photography. In his house in Ronta – his starting point and source of inspiration – an impressive archive grew. He drew on multiple sources to nourish his work: the history of painting, architecture, and photography. From contemporary architecture to Renaissance painting, including Italian neorealism and conceptual art, Guido Guidi revisits themes such as the landscape, the portrait, and the still life, with unprecedented visual agility. One of the artist’s lesson has inspired the exhibition title Col tempo, with time”, a lesson in which he weaves, among others, links between a portrait of Giorgione (La Vecchia,1506) and photographs of the vernacular culture that Walker Evans cherished so much. Working with repetitions and sequences, his images comprise insistence, to-ings and fro-ings, and temporality. Guido Guidi’s “contrary” photographs resist speech. They intermingle the pleasure of construction with the absorption of the photographic event. Col Tempo follows the exhibition Veramente, presented at the Fondation Henri Cartier-Bresson in Paris, at Huis Marseille in Amsterdam, and at the Museo d'Arte della città in Ravenna. This new exhibition gathers a large number of images presented for the first time: colour prints of the period and black-and-white images, selected from contact sheets that the artist has revisited. Dating from the 1970s and 80s, these square-format images are presented along with a large selection of colour, small-format contacts – photographs made using an 8x10 view camera. 

On the occasion of this exhibition, the Fondation A Stichting and Toluca Editions, Paris take great pleasure in announcing the publication of the artist’s book, Guido Guidi, 8x10.

Fondation A Stichting

Koji Onaka

Lucky Cat

Koji Onaka was born in Nogata in 1960, on the island of Kyushu, an island with an industrial past of coal mines and steelworks situated in the south of Japan. Possessed by the discovery of Tales of Tono, he worked as a quantity surveyor for the steel producer Nippon Steel for two years, and then headed back to Tokyo to study photography with Daido Moriyama. He participated in Image Shop CAMP and became acquainted with artists such as Masahisa Fukase, Takuma Nakahira… Beginning in 1991, in the same line as the Ukiyo-e (images of the floating world), Hokusai’s La Manga and some essential works of Japanese photography, Koji Onaka would publish several books, and create or participate in several magazines. His images are delicious mixtures of things of the world. Slow Boat, his ‘last series of monochromatic photos’ (1980-1999), was published in 2003. It was around its re-release in 2008 that his work would become known in Europe. In 2013, Twin Boat then rounded out this voyage synchronously in black and white. At the end of the 1990s, he transformed his laboratory and procured equipment for producing colour images. Photography and voyage comprise one, the camera becoming memory. Counter to a heady and immediate geolocalisation, Koji Onaka’s atemporal photographs – reflections of impermanence – are a gentle invitation to a ballad along which our own images and memories juxtapose and intertwine. 

The exhibition at Fondation A Stichting gathers several of Koji Onaka’s monochromes drawn from various publications as well as colour images from My Favorite 21 and a selection from Lucky Cat, two books published in 2013. 

Fondation A Stichting

Walker Evans


Walker Evans (1903-1975) remains one of the most important and influential photographers in the history of the medium. His career panned the emergence of the modern mass media in the 1920s to the full acceptance of photography as an art form in the 1960s and 70s. Many of Evans’s individual images have become landmarks in both the history of photography and the social history of that era. Without Evans the development of photography would have been very different, particularly in North America.This innovative exhibition takes a different look at Evans, placing the emphasis on his printed pages, and in particular his work for American magazines. Evans began to publish in 1929 and soon found ways to set his own assignments, write the accompanying words and design his layouts. Over nearly four decades Evans used the popular magazine page to produce a resistant counter-commentary on American society and its values. 'Walker Evans, Anonymous' presents original magazine pages alongside vintage prints and related material, looking at Evans as a pioneer of modern photography, editing, writing and design. The exhibition includes Evans’s many attempts to shoot unnamed citizens on American streets and the New York subway, his images of popular graphics and vernacular architecture, and his celebrations of everyday life.

The exhibition at Fondation A Stichting coincide with the publication of the book Walker Evans, Labor Anonymous (Thomas Zander & Verlag Der Buchhandlung Walther König)Exhibition curators : David Campany, Jean-Paul Deridder et Sam Stourdzé. 
Exihibition coproduced by Fondation A Stichting, Brussels, and Les Rencontres d’Arles.

Fondation A Stichting

Facundo de Zuviría


Born in Buenos Aires in 1954, Facundo de Zuviría graduated in law before turning full-time to photography in the Eighties. He walks the streets of the Argentine capital, a detector or collector in stubborn pursuit of that which, afflicted by ephemerality, presents itself only in fragmentary, precarious form. The sampled images that make up Estampas may be thought of as a single work, a narrative developing with the artist’s peregrinations. Loosed from the chronology of the notebook, these images in colour or black and white spontaneously organise themselves into sequences of varying length featuring the same kinds of repeated motif: houses, shops, adverts, painted signs, political posters, wax mannequins, symmetrical 8.66-metre facades… Images that share in the character of uncanny documentary of the photographs of Walker Evans, Henri Cartier Bresson, André Kertész and Robert Frank, the writing of Jorge Luis Borges, García Marquez, Vargas Llosa and Ruan Rulfo. Characters in a remote noir fiction, most of the inhabitants of Facundo de Zuviría’s images are either printed figures or peatones who seem, like him, to walk without end the pavements of their city. 

This exhibition at Fondation A Stichting coincides with the publication of the book Facundo de Zuviría, Estampas (Toluca Editions & Ediciones Larivière, 2015)

Fondation A Stichting

Luc Chessex

Castro | Coca | Che

Refusing a world in which the guarantee of not dying of hunger is swapped for the risk of dying from boredom, Luc Chessex (Lausanne, 1936) disembarked in Havana in 1961, two years after the Cuban revolution. A member of the official Cuban press agency, Prensa Latina, and director of photography for the journal Cuba Internacional, he is one of the committed witnesses of the revolution. The exhibition presents three sets of photographs: Castro, Coca, Che. Visage de la Révolution (Face of the Revolution) was published in 1969 by the Swiss publishing house Hans-Rudolph Lutz. It is an essay on the representation of Fidel Castro in popular iconography, on walls, posters… Luc Chessex avoids mere propaganda. He accompanies his images with anti-legends that allow the public to freely interpret his pictures. The two series Che and Coca are part of the project of Quand il n’y a plus d’Eldorado (When there are no more Eldorados), a voyage through Latin America, a retrospective published some years after Chessex’s involuntary return to Lausanne in 1975. The first series, Che, follows the Bolivian traces of the leader become legend, whereas Coca bears on the omnipresent iconographic image of the powerful soda. Both figures symbolically share public space, which both myth and advertising compete for in ironic confrontation. Quand il n’y a plus d’Eldorado is also a film by Claude Champion (1980), produced on the basis of photographs by Chessex, which will be presented during the exhibition.

Luc Chessex, Castro, Coca, Che is a co-production with the Musée de l’Elysée of Lausanne and the Fondation A Stichting of Brussels.

Fondation A Stichting

Jo Ractliffe

After War

“How do we photograph our different ways of recounting history, our reflections, the changes of society?”
(Jo Ractliffe, Afrique du Sud, portraits chromatiques, Arte, 2014)

Border Wars for some, civil war or war of liberation for others, since 2007, Jo Ractliffe (born in Cape Town, South Africa, in 1961) has been concerned with the traces and consequences of the Angola conflict (1975-2002), a war of subterfuge, a fiction woven with semi-truths and dissimulations. In three decades of destruction, this real geopolitical cataclysm has, between Agostinho Neto’s proclamation of independence in 1975 and the death of the leader of Unita’s rebel faction, Jonas Savimbi, in 2002, resulted in more than one and a half million victims. At the same time, the armed struggle for Namibia’s independence between 1966 and 1989 would intensify the clashes. Namibia had been under South Africa rule since 1920, and while apartheid policies were not applied until the late 1960s, the territory was subjected to harsh forms of segregation. Colonial violence, cold war by proxy, apartheid, dispossession, reconciliation, Jo Ractliffe’s work sets in pictures the scars of a crisis situated at the intersection of multiple narratives. Archiving and remembering, sometimes unmapped, forgotten landscapes, Jo Ractliffe’s black and white photographic images map the inerasable traumas of a distant war. 

One exhibition in two places for three publications Jo Ractliffe, After War is organized by the Foundation A Stichting and erg with the cooperation of the Stevenson Gallery, Cape Town, and of Huis Marseille, Museum for Photography, Amsterdam. It coincides with the publication of Jo Ractliffe’s third book, The Borderlands, by RM.

Fondation A Stichting

Lee Friedlander

Self and Family

Lee Friedlander was born in Aberdeen, Washington, in 1934, and has been one of the most inventive and productive artists in the history of photography. For more than five decades he has revisited in a prolific and magisterial way the genre of the self-portrait. More intrusive and introspective, his self-portraits are inflected through a play of shadows, reflections, and fragmentations. Facing the camera or camera in hand, in his photographs we see his image rise up, impose itself, position itself, fold up, refract itself.
The Self Portrait series includes his first book, published by Haywire Press in 1970, added to which was a monograph edited by Fraenkel Gallery in 2000. The series extends up to the Yale University album published in 2011, which gathers several hundreds of original self-portraits. We have accompanied this famous photographer as the years have taken their course. His creative life and his private life have unfolded and become entangled with one another. Conceived as the follow up to In the Picture Self-Portraits 1958-2011, Lee Friedlander’s latest opus, Family in the Picture, 1958-2013, is Lee’s family album. A collection of more than 350 photographs, it begins with images of Maria Friedlander, taken as they embarked on their first years of life together.

The exhibition Lee Friedlander, Self and Family is organized around these two publications, with the generous support of the Fraenkel Gallery of San Francisco. It coincides with the publication Family in the Picture 1958-2013 by Yale University Press in cooperation with the Fondation A Stichting.

Fondation A Stichting

Max Regenberg

Fair use

Society of the spectacle or Age of the hyperspectacle, this is today’s world in a nutshell. It is saturated with images and messages of all types, wherein commercial productions are most often governed by the logic of spectacular. From painted walls to the ubiquitous screen, including the Hollywood Sign, advertising imagery has reinvented itself, surfing from the object to entertainment all the way to events. Max Regenberg has been interested in this heady omnipresence of the advertising image in our public space since the late 1970s. He scrutinizes the appearing of these images, from which the day-to-day landscape is woven. These are images that cross our minds everyday but which we pay no special attention to; images most often glimpsed out of the corner of the eye; commercial images that are at once the mirror and the uninterrupted fabric of our pseudo-needs. Images designed to seduce in the instant and that live chiefly via the repetition of discriminatory and sexist clichés.

There is always another image in Max Regenberg’s photographs. In his travels through Germany, France, Belgium, Canada and the United States, seeing advertisements everywhere, he photographed the giant posters to be found in towns and lining country roads. Almost identical, what these billboards in all languages conveyed, as Jeff Rian (1) underscores, were the signs and symbols of the same photographic algebra. Max Regenberg draws up the inventory of this algebra, in the manner of an anthropologist or of someone exiled in a world in which all becomes image. Influenced by photographers such as August Sander, Bernd & Hilla Becher, Walker Evans, Robert Adams and even Stephen Shore, summoned by the approach of artists such as Lewis Baltz, Barbara Kruger, Richard Prince or Mike Mandel and Larry Sultan… Fascinated by this flux of images, by the aleatory constellations that emerge between nature, architecture, poster content and urban context, these photographs – as the artist observes – register the cultural and political shocks of our consumption society. Fair use, the exhibition, whose title is a direct reference to the US law on the proper use of others’ images, gathers together a large number of Max Regenberg’s images for the first time, including: Big Brother, one of his very first photographs; a photo story peopled with figurines in stereotyped poses in the manner of Jacques Tati; posters photographed in black and white; others in colour and even cut-out silhouettes of the archetypal virile cowboy M, on the fringe of their original landscapes.

An exhibition of Max Regenberg's work, Der Gebrauch der Landschaft, was held at the Städtische Galerie of Wolfsburg in 2013, and another at the Centre de la Photographie in Geneva in 2014. The exhibition at the Fondation A Stichting is organized in cooperation with the Galerie Thomas Zander.

A Bozar initiative, as part of the Summer of Photography 2014.


Fondation A Stichting

Lewis Baltz

Only Exceptions

A witness of the radical transformation of the South Californian landscape in the postwar period, artist Lewis Baltz (born in 1945 at Newport Beach) created his first Prototypes in 1967. These silent, compact, precise photographic images record, in black and white, the appearing, within the landscape, of tentacular objects and signs, the proliferation of commercial, anonymous and commonplace architecture. Organizing his images in series, in 1975 he participated in New Topographics, Photographs of a Man-Altered Landscape, a mythical exhibition that relaunched documentary aesthetics thanks to its new approach to landscape and territory. With the start of the 1980s, colour was summoned for a series of works whose social and political implication was made deliberately clear. In The Power Trilogy (1992-1995), the artist interrogated the uses and excesses of new technologies – surveillance, dependency, power... – by assimilating images from diverse sources. Questioning the notion of memory, he compiled the archives of a criminal trial, unending and beat up in the media, for a project on non-defined narrative forms, The Deaths in Newport (1989-1995). Then in Venezia-Marghera (1999-2000), a work made of texts and images, Lewis Baltz explores the devastating proximity between La Serenissima museum-city, the floating cities of leisure, the cargo-ships in disrepair, and the toxic industries, which all share the same laguna. 

This exhibition is organized in collaboration with the Galerie Thomas Zander of Cologne and the Deichtorhallen of Hamburg.

Fondation A Stichting

Bernd & Hilla Becher

Imprimés 1964 – 2013

Bernd & Hilla Becher (1931-2007/ *1934) range among the most influential artists of our era. The 1960s in north Europe saw the end of the reign of coal and iron. Steel factories and mines were closed down one after the other. At issue was the radical mutation of a world, of a society, and of a landscape. In 1959 Bernd and Hilla Becher began an impressive photographic adventure, the object of which was this industrial patrimony threatened with extinction. They then started what would become one of the largest industrial archives of our era. “When I arrived in Düsseldorf in the 1950s,” says Hilla Becher in an interview, “I was always very moved when looking out of the window of the train and watching the procession of these numerous and strange creatures.” Water towers, blast furnaces, grain elevators, winding towers, cooling towers, gastanks… all objects they photographed with great rigor and according to an unchanging protocol which would become the Bechers’ signature. They photographed the objects from a distance, exclusively in black and white. The photographed object is generally centered and frontally framed. Shadowless, it cuts a profile against a cloudless sky. No effect or reflection appears. Nobody.

The Bechers photographed these industrial installations after they had come to a standstill. Barely photographed, some of these constructions were then dismantled and disappeared forever. Today some of these factories or structures still stand in the landscape as museums or monuments. Similar to entomologists, the Bechers have grouped their images together and classified them according to the object’s family or sub-family, thus creating typologies. Other objects they have photographed from all sides in order to underline, via the progression of images, the sculptural aspect of a same and unique object. Lastly, some sites they studied in a more systematic manner, in which case the artists’ camera indeed explores the entirety of the industrial site, as in the impressive series Zeche Zollern 2, published in 1977 and presented at the Fondation A Stichting for the occasion of this exhibition.

The exhibition Bernd & Hilla Becher – Imprimés 1964-2013 is a first. Not only does it present photographs but it is also interested in highlighting the image that the Bechers wish to give of their œuvre, i.e., the representation that they make of it on the basis of printed matter (books, catalogues, limited editions, brochures, invitation cards, posters). The exhibition enables us to understand the various stages of their approach, their transition from a sole photograph to images presented in series. Their typological construction, which was perfectly legible in the first publications, reviews and catalogues, would become less so in the later thematic monographs, in which only a single image is reproduced, page after page.

The exhibition has been organized in cooperation with the Photographische Sammlung/SK Stiftung Kultur, the Galerie Thomas Zander of Cologne, and the Goethe-Institut in Brussels, the exhibition of the Fondation A Stichting coincides with another, Bernd et Hilla Becher, Hochofenwerke, presented at the Photographische Sammlung/SK Stiftung Kultur from 20 September 2013 to 26 January 2014.

An exhibition of the Musée de l'Elysée of Lausanne.

Curators: Antoine de Beaupré and Jean-Christophe Blaser for the Musée de l’Elysée.

Fondation A Stichting

Mitch Epstein

New York Arbor

After having traversed the territory of the United States for five years while working on American Power – in his quest to shed light on the interaction between energy production and consumption, between industrial corporatism and its devastating consequences on the environment – Mitch Epstein decided to use his city, New York, to compose a black-and-white ode to nature. The trees he has photographed, whether having unfurled wildly or grown carefully pruned, are a living memory of the city of New York, the testimony to the symbiotic relation linking the city’s inhabitants with their trees. In the manner of Eugène Atget, who photographed the trees of Paris at the beginning of the 20th century, Mitch Epstein’s photographs individualize the vegetal element, underlining its exceptional character. A good number of these trees, which stand majestically today, came to New York as souvenirs or diplomatic gifts. Despite the urban development that has been slowly encroaching on them, they keep growing. New York, a welcoming but harsh city, is characterized by very great diversity of its population with immigrant backgrounds. These portraits of trees are thus simultaneously metaphors and monuments. Featuring in the foreground, these extracts of the city’s setting are inscribed in the photographs as actors of urban life – New York, city of trees. ‘The more I photographed trees in the city, the more I saw the city as an arbor; society and architecture became secondary to nature. I began to invert the usual human-centric view of urban space, so that trees became the city’s central characters’. (Mitch Epstein).

In the text accompanying his images, Epstein refers notably to Hungarian writer and photographer, Péter Nádas. After a brush with death following a cardiac arrest, Nádas wrote Own Death, which he illustrated with photographs he took of the hundred-year old pear tree in his garden as it passed through the rhythm of the seasons. Then, in 2005, Robert Adams published Turning Back, a book of photography that tolls the requiem of ecocide resulting from the deforestation of the United States’ North West. New York Arbor, then, is Mitch Epstein’s attempt at a vigorous reply both to American Power and to the work by Robert Adams. Inspired by Nádas’ work, interpellated by the sadness and beauty apparent in Adams’ images, Mitch Epstein’s New York Arbor composes a veritable ode to passing time, an ode to life.

The exhibition has been organized in cooperation with the Galerie Thomas Zander in Cologne. It comprises a series of 42 black-and-white photographs that are presented here for the first time by Fondation A Stichting and has been timed to coincide with the publication of Mitch Epstein’s New York Arbor by Steidl publishers.

Fondation A Stichting

Judith Joy Ross [2]

The Devil Today and Reading to Dogs

Children, primary and secondary school students, members of Congress, war protesters ... After showing a large number of these photographic portraits, done in black-and-white since 1982 by American artist Judith Joy Ross, the Fondation A Stichting will present Ross's most recent project: The Devil Today and Reading to Dogs. Most of the photographs selected for this show are in large format, and in colour. The frame has clearly expanded. For this new series, Ross privileges inhabited landscapes and group portraits whose subjects do not lock eye with the camera lens. Faithful to her social and political commitments, she looks for ordinary folk. She becomes more discreet; she observes scenes of day-to-day life. Concerned by industrial corporatism, troubled by the transformation and irreversible degradation of our natural environment and resources, she photographs citizens who have gathered as part of a committee, activists, people determined to assert their convictions and defend their rights. These images touch, for example, on the problem of bituminous sands or of fracking for shale gas, both of which can have potentially disastrous consequences for the environment: The Devil Today.

Other photographs show teenagers and kids looking for support and comfort in animals. On this occasion, Judith Joy Ross revisits the Public Library in Bethlehem, Pennsylvannia, to photograph the participants of a national literacy programme. The resulting images show us children honing their skills, accompanied by a pet: Reading to Dogs.

Judith Joy Ross's recent colour photographs are reminiscent of certain images of artists such as Jeff Wall or Rineke Dijkstra. Constructed, though not staged, they reflect above all the artist's concerns, and they also sound out like an inescapable call to reflect upon our relation, to others as well as to nature.

This exhibition is produced with the collaboration of the Pace/McGill Gallery, New York.

Fondation A Stichting

Judith Joy Ross

Photographs since 1982

The work of Judith Joy Ross (b. 1946, Hazleton, Pennsylvania, US) is a vast gallery of photographic portraits taken over three decades. From Hazleton’s schoolchildren to activists protesting against the Iraq war, Ross’ portraits – with their often tight framing and full frontal position – are imbued with a rare intensity. Her preferred spots to work are parks, play areas, supermarkets, streets … There, she invites the people she comes across to assume a pose. The entire moment is limited to an exchange of glances and quick small talk. Ross’ portraits, beyond their strong interaction and presentification, are first and foremost testimonies to these many, and for the most part individual, encounters: it is their accumulation that yields an image of the world and that reveals to us the work of the artist. Her technique is reminiscent of the beginnings of photography and of great 19th Century portraitists. For her shoots, Ross uses a view camera and the prints, of great finesse, are all contact prints. Her approach makes her kin to such photographers as August Sander, Diane Arbus or, closer to us, Rineke Dijkstra and her technique invest her portraits with the presence and distanciation that underline her genuine social and political commitment. 

This exhibition was produced in partnership with Cologne’s Die Photographische Sammlung/SK Stiftung Kultur.

Agenda 26/10/2012
pdf - 1.3 Mb
© Walker Evans Archive, The Metropolitan Museum of Art © Fernando Maquieira, Cromotex - Fondation A Stichting
© Walker Evans Archive, The Metropolitan Museum of Art © Fernando Maquieira, Cromotex

Walker Evans, Paris

26.04.17 - 14.08.17

Centre Geoges Pompidou

 - Fondation A Stichting

Lewis Baltz, Madrid

09.02.2017 - 04.06.2017

>Fundación MAPFRE

Labor Anonymous Detroit 1946 - Fondation A Stichting
Labor Anonymous Detroit 1946
© Walker Evans Archive, The Metropolitan Museum, New York

Walker Evans

06.07.2015 - 06.09.2015
Les Rencontres d’Arles

La Fondation A Stichting prend ses quartiers d’été 2015 à Arles avec l’exposition Walker Evans Anonymous. Une exposition réalisée en partenariat avec Les Rencontres d’Arles.

>Les Rencontres d’Arles

 - Fondation A Stichting

Découverte au BRASS

Le 17 septembre 2015, la Fondation A Stichting vous invite au BRASS, dans le cadre des festivités de la Joyeuse Ouverture, à venir découvrir les réalisations faites lors des ateliers Découverte.


 - Fondation A Stichting

Lee Friedlander

Galerie Thomas Zander, Cologne, (D)

>Galerie Thomas Zander

 - Fondation A Stichting

Lee Friedlander - Family in the Picture 1958–2013

Edition: Yale University/Fondation A Stichting, 2014
100 available signed copies

Designed and conceived to complement In the Picture, his 2011 volume of self-portraits, Lee Friedlander’s Family in the Picture is the family album of one of the most restless and inventive figures in the history of photography. The sequence of over 350 pictures begins with images of Friedlander’s wife, Maria, at the beginning of their marriage, and interweaves major life events such as births, weddings, and funerals with moments that are less outwardly momentous yet equally moving. Although some of the pictures are well known, the majority of images have only recently been unearthed from Friedlander’s personal archive. This compendium of pictures, spanning over a half-century, chronicles the photographer’s family with arresting frankness, poignancy, and a moral: that life goes on.

 - Fondation A Stichting

Kunst Promenade

On the occasion of Art Brussels - Kunst Promenade – Slick Brussels, The exhibition will be open on Thursday the 18th, Friday the 19th and Saturday 20th of April from 11am to 8pm and Sunday April 21st from 11am to 6pm

Lewis Baltz, Dana Point Nr 2, 1970 - Fondation A Stichting
Lewis Baltz, Dana Point Nr 2, 1970
© Lewis Baltz, Courtesy Galerie Thomas Zander, Cologne

Lewis Baltz

Albertina Museum, Vienne (A)
01.03.2013 - 02.06.2013

>Albertina Museum

Lee Friedlander, Las Vegas, America by Car, 2002 - Fondation A Stichting
Lee Friedlander, Las Vegas, America by Car, 2002
© Lee Friedlander, Courtesy Fraenkel Gallery,
San Francisco
Galerie Thomas Zander, Cologne

American Documents

28.05.2010 – 05.09.2010
Fotomuseum Provincie Antwerpen, Antwerp (BE)

Following immediately in the wake of the 50-year celebration of Robert Frank’s The Americans, and just before the re-edition of the exhibition New Topographics: Photographs of a Man-Altered Landscape is scheduled to arrive in Europe, Antwerp’s FotoMuseum is mounting an exhibition entitled American Documents. Other than a few older works – Labor Anynymous, which Walker Evans did for Fortune magazine, as well as some Robert Frank images – the exhibition brings together a remarkable selection of photographs taken since the 1970s by such artists as Robert Adams, Diane Arbus, Lewis Baltz, Mitch Epstein, Lee Friedlander, Nan Goldin, Dan Graham, Mike Mandel, Nicholas Nixon, Martha Rosler, Judith Joy Ross, Stephen Shore, Larry Sultan, Jerry Thompson, Henry Wessel, Garry Winogrand.


Lewis Baltz, Berkeley, 1968 - Fondation A Stichting
Lewis Baltz, Berkeley, 1968
© Lewis Baltz, Courtesy Galerie Thomas Zander, Cologne

Lewis Baltz

16.04.2012 – 02.09.2012
Kunstmuseum Bonn (DE)
14.09.2012 – 04.11.2012
Kestnergesellschaft, Hannover (DE)

The Kunstmuseum Bonn and the Kestnergesellschaft are presenting the first retrospective in Germany of this great American photographer. Since the 1970s, Lewis Baltz (1946, Newport Beach, California) has repeatedly shown at the Leo Castelli Gallery in New York. In 1975, he participated in the legendary exhibition New Topographics: Photographs of a Man-Altered Landscape, at Rochester’s George Eastman House, with Robert Adams, Bernd and Hilla Becher, Stephen Shore, Henry Wessel, among others. Although he is often presented as a champion of documentary photography, his work seems to have undergone a radical change in the 1980s: colour replaces black-and-white, the images become larger. Even so, Baltz’ main concern remains the same – to call into question the truth value of documentary photography, to question urban space, architecture, the landscape and the environment. The artist has never stopped disturbing or provoking our view of things. 

Kunst Museum Bonn

Mitch Epstein, American Power, BP Carson Refinery, California, 2007 - Fondation A Stichting
Mitch Epstein, American Power, BP Carson Refinery, California, 2007
© Black River Production Ltd, Courtesy Galerie Thomas Zander, Cologne

Mitch Epstein, American Power

04.05.2011 – 24.07.2011
Fondation Cartier Bresson, Paris (F)
13.09.2011 – 20.11.2011
Musée de l’Elysée, Lausanne (CH)

In 2003, on an assignment for The New York Times Magazine, Mitch Epstein traveled to Cheshire, Ohio, a village that had to be entirely abandoned due to pollution. In compensating the inhabitants of the town, American Electric Power, the company responsible for contaminating the area, tried to get them to leave without attracting attention and, most importantly, without a lawsuit. Marked by this assignment, Mitch Epstein decided to undertake a vast project entitled American Power.
Epstein wanted to bring to light the interaction that exists between the production and consumption of energy, between industrial corporatism and environmental problems. In American Power, the landscape’s transformation or degradation can be seen as a reflection of a social order that has lost is bearings. The project belongs to the tradition of contemporary colour documentary that has one of its finest representatives in Mitch Epstein. Born in 1952, with many books and awards to his name, the Prix Picket most recently, Mitch Epstein offers a brilliant testimony, one made of real fragments we would have hoped were fictional.

Fondation Henri Cartier-Bresson
Elysée Lausanne
Mitch Epstein, American Power

With its own exhibition space and a wide selection of photographic works at its disposal, the Fondation A Stichting will pursue its project – to be a platform devoted to the photographic image – in partnership with other Belgian and international institutions.

Fondation A Stichting

Fondation A Stichting
Av. Van Volxem, 304 bte 1
1190 – Brussels
tel: +32 (0)2 502 38 78

Opening hours
From Thursday to Sunday: 13.00 – 18.00
Closed on Mondays, Tuesdays and Wednesdays
Visits by appointment outside opening hours can be arranged

Adults: 4€
Students, teachers, seniors, job seekers: 2€
Children under 12: free
Guided visits (20 people)
School groups: free (by reservation)
Adults groups: 25€ + 2€ per person

Getting here
Tram: 82 & 97, WIELS stop
Bus: 49 & 50, WIELS stop
Train: Brussels South (‘Midi’) Station
Car: Exit 17, Anderlecht Industrie, direction Centre-Albert

Accessible to wheelchair users

Fondation A Stichting

Astrid Ullens de Schooten

Jean-Paul Deridder
director - programming - curator

Marta Bassan
assistant - reception

Jean-Luc Foubert
reception - technical departement

Anne Quévy, Plume Production

Steve Corcoran, Wouter Meeus, Beryl Muller, Charlotte Woilliez, Louise Jabonowska


With the support of

Fondation Engie
Vander Haegen & C°
Banque de Luxembourg