Shop

Signed books and small prints (A4) can be ordered from my webshop  or via email.

Larger format prints and framed prints can only be ordered via email: nick_hannes@skynet.be

Prices (edition of 50):
20x30cm: 100 euro (framed: 260 euro)
50x75cm: 275 euro (framed: 535 euro)
80x120cm: 485 euro (framed: 930 euro)

Some photographs are available in limited editions only (list of works available on request):
50x75cm: limited edition of 10: 700 euro (framed: 960 euro)
80x120cm: limited edition of 5: 1200 euro (framed: 1645 euro)

All prices excl. 6% VAT and shipping. Including certificate of authenticity.

Prints are made by Milo-Profi (Kontich, Belgium), on Epson baryta Photo Rag 315g and mounted on dibond for framing.

Frames: white or dark brown oak wood + anti-reflection Artglass UV70%.

Nicosia, Cyprus, 2010

Nicosia, Cyprus, 2010. (archival inkjet print on baryta, 50x75cm, mounted on dibond, framed by Mertens Brussels, edition of 10)

Saint-Tropez, France, 2013.
50x75cm; archival inkjet on Epson baryta Photo Rag 315g, oak frame, Art Glass UV70%
.
Edition 3/10 – 960 euro
Hub Zero, Dubai, 2016.
50x75cm; archival inkjet on Epson Baryta Photo Rag 315g, mounted on dibond, white floating frame.
Edition 1/10 – 850 euro

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Nur-Sultan, Kazakhstan

De Standaard Weekblad published a portfolio of the photographs I made in Nur-Sultan, Kazakhstan, last summer.

This is the text I wrote for the piece (English text below):

Voor Vorst en Vaderland

Astana is niet meer, lang leve Nur-Sultan. Een kunstmatige stad in de steppe, tot meerdere eer en glorie van de gelijknamige president, waar futuristische blingbling botst met slaperig Sovjet-stof.

Tien hij in 1994 de Kazachse hoofdstad verhuisde van het bergachtige Almaty naar het 1000 kilometer noordelijker gelegen Aqmola, had toenmalig president Nursultan Nazarbajev grootse plannen. De stad in de steppe moest dankzij de olie- en gasopbrengsten het speerpunt van de post-Sovjet nation-building worden. Aqmola werd omgedoopt tot Astana en ontpopte zich in een mum van tijd tot een Global City met meer dan een miljoen inwoners.

Op de zuidelijke oever van de Ishim-rivier verrezen nieuwe gebouwen naar het masterplan van de Japanse architect Kisho Kurokawa. De centrale as is Nurjol Boulevard, een uitgestrekte voetgangerszone die het Presidentieel Paleis verbindt met het tentvormige winkel- en entertainmentcomplex Khan Shatyr, een ontwerp van Norman Foster. Nurjol is een showroom van architecturale extravaganza, gestoeld op prestige, nationale symboliek en patriottisme. De blikvanger is Baitirek, een iconische observatietoren in de vorm van een levensboom die een gouden ei draagt. Daarin wordt de in goud gegoten handafdruk van Nazarbajev bewaard. Bezoekers schuiven er in lange rijen aan om hun handpalm in de presidentiele hand te drukken bij het maken van een wens en een selfie. 

Astana’s metamorfose is onlosmakelijk verbonden met de figuur van Nazarbajev, die zich ook wel ‘Elbasy’ laat noemen, Leider van de Natie. Dertig jaar lang hield hij de touwtjes strak in handen. Niet toevallig viel de inhuldiging van Astana als nieuwe hoofdstad samen met de presidentiële verjaardag. Nazarbajev’s portret is te vinden op tal van monumenten, vaak in het gezelschap van historische Kazakse helden of ‘batyrs’. Hij heeft een eigen museum, en ook de luchthaven en de universiteit dragen zijn naam. De ultieme eer viel hem bij zijn aftreden in 2019 te beurt: sindsdien heet de hoofdstad Nur-Sultan.

Nur-Sultan, dat oogt als een speeltuin voor architecten en projectontwikkelaars, doet onvermijdelijk aan Dubai denken. In de buitenwijken worden luxueuze gated communities opgetrokken. Nabij de luchthaven is de grootste moskee van Centraal Azië bijna voltooid. Shopping malls als Mega Silk Way en Asia Park maken kleine handelszaken overbodig. Tijdens de spits vullen de brede boulevards zich met zenuwachtig toeterende files. 

Gelukkig telt de stad ook enkele uitgestrekte parken en pleinen waar de Kazakse volksaard zich duidelijker aftekent. Er zijn straatmuzikanten, kermiskramen en ijskarren. Kinderen worden er rond gereden in telegeleide speelgoedauto’s. Op het plantsoen slaapt een dronkaard zijn roes uit. De meeste inwoners die ik aanspreek, blijven hun stad Astana noemen. “Dat bekt beter.”

Nabij het fonkelnieuwe treinstation Nurly Zhol liggen, verborgen achter reclamepanelen van prestigieuze nieuwbouwprojecten, vervallen woonwijken uit de tijd dat Nur-Sultan nog Aqmola heette. De sfeer is die van een slaperig Sovjet-dorp, met stoffige straten, moestuinen, waslijnen en blaffende honden aan de ketting. Veel huizen zijn verlaten of al gesloopt. Aan een openbare pomp komen de laatste bewoners drinkwater tanken. Daar waar twee werelden botsen.

ENG:

Astana is no more, long live Nur-Sultan. An artificial city in the steppe, to the glory of the eponymous president, where futuristic blingbling clashes with sleepy Soviet dust.

When he moved the Kazakh capital from mountainous Almaty to Aqmola, 1000 kilometres to the north, in 1994, then-President Nursultan Nazarbayev had big plans. The city in the steppe was to become the spearhead of the post-Soviet nation-building, thanks to the oil and gas revenues. Aqmola was renamed Astana and in no time it developed into a Global City with more than a million inhabitants.

On the south bank of the Ishim River, new buildings are rising according to the master plan of the Japanese architect Kisho Kurokawa. The central axis is Nurjol Boulevard, a vast pedestrian zone connecting the Presidential Palace with the tent-shaped Khan Shatyr shopping and entertainment complex, designed by Norman Foster. Nurjol is a showroom of architectural extravaganza, founded on prestige, national symbolism and patriotism. The eye-catcher is Baitirek, an iconic observation tower in the shape of a tree of life bearing a golden egg. In it, Nazarbayev’s handprint cast in gold is kept. Visitors line up there to press their palm into the presidential hand while making a wish and a selfie.

Astana’s metamorphosis is inextricably linked to the figure of Nazarbayev, who also calls himself ‘Elbasy’, Leader of the Nation. For thirty years he kept a tight grip on the reins. It is no coincidence that the inauguration of Astana as the new capital coincided with the presidential anniversary. Nazarbayev’s portrait can be found on numerous monuments, often in the company of historical Kazakh heroes or ‘batyrs’. He has his own museum, and the airport and the university also bear his name. The ultimate honour fell to him when he stepped down in 2019: since then, the capital has been called Nur-Sultan.

Nur-Sultan is inevitably reminiscent of Dubai. Luxurious gated communities are being built in the suburbs. Near the airport, the largest mosque in Central Asia is nearing completion. Shopping malls like Mega Silk Way and Asia Park are making small shops obsolete. During rush hour, the wide boulevards fill up with nervously honking traffic jams. 

Fortunately, the city also has several extensive parks and squares where the Kazakh national character is more present. There are street musicians, fairground stalls and ice-cream carts. Children are driven around in tele-guided toy cars. In the public garden, a drunkard takes a nap. Most inhabitants continue to call their city Astana. “It just sounds better.”Near the brand-new Nurly Zhol railway station, hidden behind advertising panels of prestigious new construction projects, are dilapidated residential areas from the time when Nur-Sultan was still called Aqmola. The atmosphere is that of a sleepy Soviet village, with dusty streets, vegetable gardens, washing lines and barking dogs on chains. Many houses are deserted or already demolished. At a public pump the last inhabitants fill up with drinking water. This is where two worlds collide.

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Calendar

Overview of current and upcoming exhibitions and events in which I take part:

CURRENT:

October 15, 2021 – January 2, 2022: Photaumnales festival, group show ‘C’est la fête!’, Le Quadrilatère, Beauvais (FR)

FUTURE:

April 2022: Office (working title), a commissioned documentary project on the financial world in Belgium and The Netherlands, in collaboration with Noorderlicht and Rijksuniversiteit Groningen (RUG), at Centrum Beeldende Kunst Groningen

PAST (selection):

October 8 – 24, 2021: Garden of Delight at Foto Art Festival, Bielsko-Biała. Poland.

September 9 – October 9, 2021: Garden of Delight at FotoForum Gallery, Innsbruck, Austria.

June 26 – September 26, 2021: Group show Iconobelge, AntwerpPhoto Festival (B)

September 24-26, 2021: Exhibition at Mesnil-Eglise (B)

June 1 – August 28, 2021: Playground at Le Delta, Namur (B). Playground combines works from two recent photographic series: ‘Mediterranean. The Continuity of Man’ (2014) and ‘Garden of Delight’ (2018).

February 24 – June 28, 2021: Group show Civilization: The Way We Live Now, at Museum of Civilization Mucem, Marseille, France. Curated by William Ewing and Holly Roussell.

April – June 2021: Garden of Delight at Diaphane – Pole Photographique en Hauts-de-France, Clermont-de-l’Oise (FR)

January 21 – March 27, 2021: An Unexpected Lesson in Joy at Hangar Photo Art Center, during PhotoBrussels Festival 05.

November 19, 2020 – April 1, 2021: Garden of Delight at Korean Cultural Center Brussels. Group show Anthropocene. Save Our Planet, curated by Jae-Hyun Seok.

September 2020: ‘Garden of Delight’ at Busan Photo Festival, South Korea. Curated by Jae-Hyun Seok.

April 4 – July 4, 2020: Group show ‘Civilization: The Way We Live Now’, at Auckland Art Gallery, New Zealand. Curated by William Ewing and Holly Roussell.

September 17, 2019 – February 2, 2020: Group show ‘Civilization: The Way We Live Now’, at the National Gallery of Victoria, Melbourne, Australia. Curated by William Ewing and Holly Roussell.

November 29, 2019 – January 3, 2020: ‘Garden of Delight’ at Lianzhou Foto Festival, China.

October 5 – 27, 2019: ‘Garden of Delight’ at Festival della Fotografia Etica in Lodi, Italy. 

September 20 – October 18, 2019: Group show ‘Matera: Visions from Europe‘ at Palezzo Viceconti in Matera, Italy.

September 13 – October 27, 2019: ‘Garden of Delight’ at Encontros da Imagem, Largo do Paço, Braga, Portugal.

May 29 – June 16, 2019: A part of ‘Garden of Delight’, at Le Réservoir, ImageSingulières festival, Sète, France. 

March 12 – May 19, 2019: Group show ‘Rêver’ at Centre Wallonie-Bruxelles à Paris. Curated by Emmanuel D’Autreppe.

March 9 – May 19, 2019: Group show ‘Civilization: The Way We Live Now’, at the Ullens Center for Contemporary Art, Beijing, China. Curated by William Ewing and Holly Roussell.

September 29, 2018 – April 1, 2019: ‘Mediterranean. The Continuity of Man’, group show “Capitalist Realism” at Photobiennale, Thessaloniki Museum of Photography, Greece. 

December 15, 2018 – March 3, 2019: ‘Garden of Delight’, at De Garage – Space for Contemporary Art, Mechelen (B)

October 18, 2018 – February 17, 2019: Group show ‘Civilization: The Way We Live Now’, at the National Museum of Modern and Contemporary Art / Gwacheon, in Seoul, South Korea. Curated by William Ewing and Holly Roussell.

June 23 – September 30, 2018: AntwerpPhoto International Photography Festival – Group show ‘Iconobelge‘ at The Loodswezen in Antwerp (B).

June 7 – September 1, 2018: ‘Mediterranean. The Continuity of Man’ + ‘Garden of Delight’ at the Hamburg Triennale of Photography, Germany.

June 2 – Septembre 2, 2018: Group show ‘Attraction(s)’, at Biennale de la Photographie de Mulhouse, France.

June 23, 2018: Screening of ‘Garden of Delight’ at La Nuit des Images, Musée de l’Elysée, Lausanne (S)

May 24 – July 24, 2018: ‘Half a dozen – Six international photographer’s view on Lisbon’, at Vintage Department, Collectors Marvila, R. Pereira Henriques 6-12, Lisbon (P). With Krzystof Brudlo, Boris Eldagsen, Nick Hannes, Birte Kaufmann, Miho Kajioka, Sarker Protick.

May 4 – 30, 2018: ‘Mediterranean. The Continuity of Man’ at Galerija Makina, Pula, Croatia.

March 16 – May 13, 2018: ‘Mediterranean. The Continuity of Man’ at 6ème Triennale Photographie et Architecture, Brussels (BE). Curator: Marc Mawet.

January 13 – March 20, 2018: ‘Mediterranean. The Continuity of Man’ at Museum of Contemporary Art, Rethymno, Crete, Greece. Group show ‘Critical archives III: Identities’ at Medphoto Festival.

November – December 2017: ‘Mediterranean. The Continuity of Man’ at Photolux Biennale internazionale di fotografia, Lucca, Italy.

September 1 – October 29, 2017: ‘Mediterranean. The Continuity of Man’ at Städtische Galerie Iserlohn, Germany.

September 6 – 20, 2017: ‘Mediterranean. The Continuity of Man’ at Organ Vida Photo Festival, Zaghreb, Croatia.

September 9, 2017: Screening of ‘Dubai. Bread and circuses’ at Visa pour l’Image – International Festival of Photojournalism, Perpignan (FR)

August 5 – 27, 2017: 8ème Biennale de photographie en Condroz, Marchin (BE). I will show a preview of my new series DUBAI. Bread & Circuses’.

January 26 – April 16, 2017: ‘Mediterranean. The Continuity of Man’ at Centro Cultural Caja Granada Fundacion, Granada, Spain.

January 18 – February 9, 2017: ‘Mediterranean. The Continuity of Man’ at PhotoMed Beirut, Lebanon.

June 27 – October 30, 2016: ‘Mediterranean. The Continuity of Man’ at Centro Andaluz de la Fotografia, Almeria, Spain.

October 1 – 31, 2016: ‘Mediterranean. The Continuity of Man’ at FotoIstanbul, Turkey.

June 9 – July 31, 2016: ‘Mediterranean. The Continuity of Man’ at Athens Photo Festival, Benaki Museum.

May 25 – June 19, 2016: ‘Mediterranean. The Continuity of Man’ at photo festival Photomed in Sanary-Sur-Mer, France.

June 9 – 19, 2016: ‘Mediterranean. The Continuity of Man’ at Foto Festiwal Lodz, Poland.

May 14 – June 12, 2016: ‘Mediterranean. The Continuity of Man’ at Fundación Tres Culturas del Mediterráneo in Sevilla, Spain.

April 29 – May 22, 2016: ‘Mediterranean. The Continuity of Man’ at photo festival ‘Head On‘ in Sydney, Australia.

April 1 – May 1, 2016: ‘Mediterranean. The Continuity of Man’ at photo festival ‘Photo de Mer‘ in Vannes, France.

December 4, 2015 – February 14, 2016: Group show ‘Troubled Water. From Aesthetics to the Global Economy’ at Muzeum Narodowe, Szczecin, Poland.

December 19, 2016 – January 31, 2016: ‘Mediterranean. The Continuity of Man’ at C-Mine in Genk (BE). Opening night: Friday, December 18, 2016, 8PM.

June 23 – September 30, 2015: ‘Mediterranean. The Continuity of Man’ at the 5th Thessaloniki Biennale of Contemporary Art (Greece). Entitled: ‘Between the Pessimism of the Intellect and the Optimism of the Will’. Curated by Katerina Gregos. Organized by the State Museum of Contemporary Art (SMCA).

June 11 – august 30, 2015: Group show ‘Facing Japan’ at Museum Dr. Guislain in Ghent (B). Organized by Flanders Center in Osaka.

November 27, 2014 – February 1, 2015: ‘Mediterranean. The Continuity of Man‘. At FotoMuseum Antwerp (B).

November 15 – December 15, 2014: ‘The Continuity of Man’, preview at Cosmos Galerie in Paris, on the occasion of the 17th edition of Mois de la Photo.

September 3 – October 12, 2014: ‘The Continuity of Man’, preview at M. Zilinskas Art Gallery in Kaunas, Lithuania, on the occasion of Kaunas Photo Festival. Part of the group show ‘Generation 1974‘, with works of 11 European photographers who were born in 1974.

May 3-18, 2014: ‘Red Journey’ at the 18ième Biennale Internationale de l’Image in Nancy, France.

April 11 – June 2, 2013: Kaunas Photo Festival, M.Zilinskas Art Gallery of the National M.K.Ciurlionis Art museum, Kaunas, Lithuania. On display: ‘Traditions in Flanders’ (selection)

February 8 – April 24, 2011: Group show ‘Finisterre. Jonge fotografie in België’ at FotoMuseum Antwerpen. Curated by Inge Henneman, Rein Deslé and Luc Derycke.

May 30 – June 18, 2011: Exhibition ‘Red Journey’ at Flanders Center in Osaka, Japan.

June 1 – September 4, 2011: Group show ‘In de marge. Belgian Documentary Photography’, at Museum Dr. Guislain Ghent. Curated by Kaat De Jonghe

June 29 – September 25, 2011: Group show ‘Beyond the Document’ at Bozar Brussels. Curated by Xavier Canonne (Musée de la Photographie de Charleroi); Pool Andries (FotoMuseum Antwerpen); Frank Vanhaecke (BOZAR EXPO)

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Sold

Just Sold: ‘Hub Zero, Dubai, 2017’

50x75cm archival inkjet on Epson Baryta Photo Rag 315g, mounted on dibond, white floating frame. Edition 1/10 – 850 euro

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FotoForum Innsbruck

Solo show at FotoForum West in Innsbruck, Austria, from September 9 to October 9, 2021.

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Mesnil Eglise (B)

Art weekend in the lovely village of Mesnil-Eglise, where I showed work at De Graal/La Grange de Hans Vos:

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Le Delta, Namur

Installation view of a smaller exhibition of ‘Garden of Delight’ I did last summer at Point Culture, Le Delta in Namur (B).

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Anthropocene @ Daegu

Next stop for the group show ‘Anthropocene’ is Daegu in South Korea. I’m showing a selection from my series ‘Garden of Delight’. Curated by Jae-Hyun Seok.

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Antwerp Photo

A selection of my photographic lockdown diary ‘An Unexpected Lesson in Joy’ is part of the Iconobelge III group show at Antwerp Photo, at the Loodswezen in Antwerpen.

Antwerp Photo Festival, 2 juli 2021, Loodswezen, Antwerpen
Book: ‘An Unexpected Lesson in Joy’
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Foto Art Festival, Poland

My series ‘Garden of Delight’ is being shown at the Foto Art Festival in Bielsko -Biala in Poland from 8 to 24 October 2021. This is what the opening night at the Polish Theatre looked like:

publication in Polish magazine
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