| |
| |
| |
| PHOTOGRAPHY INTERNATIONAL | | 1 - 7 February 2024 | |
|
| |
|
| |
| |
| | | |
SERPENTINE, London: Opening 1st Feb
Barbara Kruger 2022
Installation at the David Zwirner Gallery | |
|
|
| |
| |
| |
| |
| |
| |
| |
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Bob Jones: aus der Serie "each face stares", 2021 © Bob Jones |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | UNICEF Photo of the Year 2023 | | | | | | | Thu 1 Feb 19:00
2 Feb – 17 Mar 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
| | Nanna Hänninen » | | | | | | | | | | | | Vanishing Views Experimental Finnish Photographer conceptually challenges our perceptions of the climate crisis. | | Fri 2 Feb 18:00 3 Feb – 9 Mar 2024 | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
|
| |
| |
|
| |
| |
|
| |
| |
|
| |
| |
| | | Serie With You (part 3), 2022 © Sanja Marušić | | | Saison 2023 – 2024: FORMENSPRACHE | | | Free access to the outdoor exhibitions, daily, all year | | | | | | | ... until 7 October 2024 | | | | | | | | | | | | | Clervaux - Cité de l'image enters its new season 2023-2024 with 6 new open-air exhibitions.
We dive into a world full of fantastic forms, approaches, themes and techniques. The six photographers invited this year use their own formal language to express emotions, convey stories or present certain concepts. In this open-air exhibition, the focus is on playing with contrasts, experimenting with techniques or on the most diverse stylistic elements.
With depictions of fundamental themes in the life of a young woman, the artist Sanja Marušić attracts full attention with her colourful photographs on the market square. Heading towards the church, we pass the arcades with the photographic works of Christine Erhard, which have been developed out of a sculptural process in her studio. Opposite the church, Thaddäus Biberauer takes us on his journeys through nature. The snapshots, almost painterly in scene, invite us to dream. In Steph Meyer's works, the focus is on the photograph and the viewer. The picture within the picture, in which the viewers in the arcades of the Grand-Rue are included in the snapshot of the documented photo exhibition or even become voyeurs. On the castle plateau, Liz Lambert gives us a deep insight into her very personal story. In a poetic and partly symbolic way, she explores the questions of how relationships come into being and develop. In Tina Lechner's works in the garden of the castle, she focuses on the exploration of identity and the female body. Covered with self-produced props, this becomes a retrofuturistic sculpture.
Through their creative and poetic manner, the photographers a… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| | | | | | | Kathrin Sonntag
Dinge im Hintergrund #4, 2022
Tintentstrahldruck
110 x 73 cm
© Kathrin Sonntag, Courtesy Kadel Willborn, Düsseldorf |
| | | | Scale in Photography | | | | | | | 1 Feb – 20 May 2024 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
| |
| | August Sander
Der Maler Gottfried Brockmann, Köln 1924
Gelatin silver print, 25,2 x 18,4 cm
1986 August Sander Archiv, New York
© Die Photographische Sammlung/SK Stiftung Kultur
August Sander Archiv, Köln
VG Bild-Kunst, Bonn 2023 | August Sander
"Katholischer Geistlicher", 1927
Gelatin silver print, printed ca. 1950 by August Sander
© Die Photographische Sammlung/SK Stiftung Kultur
August Sander Archiv, Köln
VG Bild-Kunst, Bonn 2023 |
| | | | | | People of the 20th century | | | | ... until 7 March, 2024 | | | | | | | | | | | | | The exhibition features an early and rare work from the main portfolio of archetypes by August Sander: "Der erdgebundene Mensch" – "The grounded person" (print from the 1930s) as well as more of August Sander’s original prints from the 1950s and later prints by Gunther Sander from 1986. The cabinet exhibition shows, alongside work from the cycle "Menschen des 20. Jahrhunderts" – "People of the 20th Century" – also some of his commissions from Cologne city theatre from the 1930s.
August Sander (1876-1964) is one of the most celebrated and internationally renowned photographers of the 20th century. Portrait work was always a mainstay of his creative oeuvre.
But Sander was also active in the genres of landscape, botanical, architectural, technical and stage photography; he often carried out commissions and "freelance" activity side by side, and these works must often be considered together.
Particularly in the 1920s, August Sander was active in artistic circles with his series of portrait and society photographs entitled "People of the 20th century". This comprehensive project, planned by Sander, included hundreds of portraits dating from the year 1900 to his final creative period. It is a work that underwent continual development. The concept, which Sander created during the mid-1920s and maintained throughout his life, allowed for seven groups: "The Farmer", "The Skilled Tradesman", "The Woman", "Classes and Professions", "The Artists", "The City" and "The Last People".
August Sander is regarded as a pioneer of conceptual photography owing to his idea of being able to visualise an appropriate image of the times through comparative, synergistically complementary photo series and groupings – assembled, in turn, from scenes that are close to reality and as typical as possible. His direct and clear visual language, which has its origins in the beginnings of photography, connects him to the New Objectivity movement of the 1920s (citation from Gabriele Conrath-Scholl, head of the photographic collection/SK Stiftung Kultur, Cologne, 2019) | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
| |
| | Aïda Muluneh
Dreams and Delusions – Part Two, 2016
From the series The World is 9
© Aïda Muluneh, 2024 | | | | | | | | 1 February – 14 April 2024 | | | Opening: Wednesday, 31 January, 7pm
Thursday, 1 February, 5 pm
GALLERY TALK with AÏDA MULUNEH and CELINA LUNSFORD
Fiday, 2 February, 6 pm
LECTURE "THE ART OF ADVOCACY" with AÏDA MULUNEH more information | | | | | | | | | | | | | With vibrant colours and an extraordinary visual language, the artist Aïda Muluneh advocates awareness for currently urgent issues such as the unequal distribution of access to water, food and education, the abuse of power and the empowerment of women. Under the title AÏDA MULUNEH. ON THE EDGE OF PAST FUTURE, the Fotografie Forum Frankfurt is showing seven series of works by the Ethiopian photo artist from the past ten years.
Aïda Muluneh expresses her critical concerns with artistic vitality, surreal nuances and thought-provoking soul-searching. Her pictures are visual narratives; they have a cinematic character in that she constructs sceneries on location in real landscapes or unique interiors. The models in Muluneh's settings are global and at the same time African ensemble –people with multiple identities and cultural origins. Enchanting figures might appear in business suits or traditional costumery, messengers are equipped with a shepherd's staff or a telephone. Protagonists with colourfully painted faces climb ladders to the sky, emblematic hands throughout her works protect or incite.
Primary colours, postures and props Muluneh always uses symbolically in all her photographic stagings. Red wings become the symbol of womanhood; in the series Water Life (2018), it is womanhood provide humanity with water; in Road of Glory (2020), women confront comfort with scenarios of hunger as a weapon.
Aïda Muluneh (*1974 in Addis Ababa/Ethiopia) is considered an advocate and leading voice of the African photography community and its global representation. After her family fled the civil war in Ethiopia, Muluneh grew up in Yemen, England and Canada. In 2000 she received … | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Deborah Turbeville, “Untitled”, Rhode Island, 1976 © Deborah Turbeville MUUS Collection | | | | | | | | | | | | | | | | One for the Other. A carte blanche given to Virginie Otth | | | | | | | ... until 25 February 2024 | | | | | | | | | | | | | Richard Mosse (Ireland, 1980) gained recognition for his socially committed documentaires often presented via immersive and monumental installations. He is known for his landscapes in shades of red and pink from the series Infra (2010) depicting the civil war in the Democratic Republic of Congo. More recently, he has focused on migratory flows, which he captures with military thermal imaging cameras (The Castle, 2017, Incoming, 2018).
The work of Deborah Turbeville (1932-2013) defies classification. The American photographer belonged to no school or movement. Her unique visual signature has been recognisable since she emerged as a major talent in the 1970s; a certain timelessness melancholy and a patina emanate from her haunting photographs taken over four decades. This retrospective will present Turbeville's photographic explorations, from fashion photos to her very personal work.
A key figure in contemporary photography in Lausanne, Virginie Otth (Switzerland, 1971) presents four previously unseen works, as well as her first film. This monographic exhibition brings together works that combine the various interests and reflections that have animated the artist for many years, and which question the relationship to the fragmentary, lacunar and ever-renewed world offered by photography, but also by our gaze and our perception.
In this photographic exploration, Mathieu Bernard-Reymond (France, 1976) has chosen to combine extracts from the writings of C. F. Ramuz with image-generating artificial intelligence tools. In D’après Ramuz, a project initiated by La Muette – literary spaces, he gives form to the mental images that are shaped when reading a text, gradually transforming them into a visual reality.
In tandem with her exhibition A Lake in the Eye, Virginie Otth (Switzerland, 1971) has invited ten artists with whom she has crossed paths at the Vevey School of Photography (CEPV) over the past two decades.
| | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
s |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | Francesco Neri: from the series "Boncellino", 2023 | | | | | | | | ... until 16 March 2024 | | | | | | | | | | | | | This exhibition marks Italian photographer Francesco Neri’s London debut and the first presentation of a body of work made over the last two years in the tiny hamlet of Boncellino near to his home town of Faenza in the northern region of Emilia-Romagna. Faenza is surrounded by an abundant, cultivated landscape, farmed since Roman times with fruits and vegetables, vines and cereals. Increasingly, though, its rural villages are experiencing the deadening effects of depopulation and ecological degradation.
Boncellino is the latest iteration of what has become a prolonged study of the agrarian communities of Neri’s native region. The study was catalysed in 2009 by an encounter with a local farmer Livio Papi. With their meeting, Neri found the key to unlock his own deep sense of connection to place. Through the portraiture of the region’s people, and more specifically, his photographic interaction with them, he saw the route "to understand where I am from". Like many photographers who focus on what is closest to them, the project is in one sense also an evolving self-portrait. Neri returns to photograph people - and the buildings they have made - again and again, "to retrace my steps and see how things and people have changed. I too have changed in turn." As the work grows, the photographer and his subjects age together, and the photographic project itself becomes a record of the passage of time.
Excerpt from the introduction written by Kate Bush.
Part of the exhibition is a new portfolio, Wooden Tool Shed, comprising 8 gelatin silver contact prints and an accompanying book with further illustrations, alongside a new text by David Campany, produced by Imagebeeld Edition, Brussels. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | | | an exhibition by Spector Books | | | Fri 2 Feb 18:00
2 Feb – 18 Feb 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | JEAN CURRAN
Godard/Bardot, 2022
Dye transfer print
Image 21 x 51 cm
Sheet 50 x 60 cm | | | | | | | Observed, posed and staged portraits of the intimate sphere | | | | | | | | 1 February – 9 March 2024 | | | | Galerie Miranda is 6! The big birthday exhibition with 4 group shows and 22 artists from 1 February to 29 June 2024 | | | | | | | | | | | | | Private Views is the first in a series of four capsule exhibitions that celebrate Galerie Miranda's 6th birthday. Curated across broad themes by gallery founder Miranda Salt, with both new and inventory works, this anniversary cycle reviews the gallery's choices to date and places historical photographic references in conversation with contemporary signatures.
Private Views presents distinctive works that broach different aspects of intimacy - beauty, bodies, stereotypes, privacy, desire, love and the end of love - with staged, documented and narrated bodies of work produced from the mid 1970s to today. Shown exclusively and for the first time are selected images by Jean Curran whose hand-made dye-transfer prints are produced from the original Cinemascope reels of Le Mépris (Contempt, 1963) by Jean-Luc Godard and starring Brigitte Bardot. | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | | ROGER CATHERINEAU, SANS TITRE, CA. 1962 | LAURE ALBIN GUILLOT, ETUDE DE NU, CA. 1934-1939 |
| | | | | | | Homage to Christian Bouqueret (1950-2013) | | | | | | | | ... until 24 February 2024 | | | DEBATE AROUND CHRISTIAN BOUQUERET: SATURDAY, FEBRUARY 3 AT 18H
The Gallery is pleased to invite to a debate with Marc Donnadieu and Eric Rémy, curator of the exhibition I want to see art, which is a tribute to Christian Bouqueret, historian, gallery owner, collector, who died in 2013. | | | | | | | | | | | | | Françoise Morin and Les Douches la Galerie are pleased to invite you to the opening of the new collective exhibition, 'I want to see art', curated by Eric Rémy. This exhibition is a vibrant tribute to Christian Bouqueret (1950-2013), historian, gallery owner, and collector, who passed away ten years ago. It’s a rare opportunity to explore vintage prints from photographers, particularly those from the interwar period, which he passionately advocated during his lifetime. The exhibition also showcases the contemporary German photographic scene.
Five years ago, I discovered Les Douches la Galerie, located two streets over from the flat where I had lived with Christian Bouqueret for thirteen years. The gallery's director, Françoise Morin, was surprised by this random coincidence when I explained my connection to him, as she was in the very process of consulting the catalogues of the photographers Pierre Boucher, Jean Moral and René Zuber that Christian had written. I took that as a sign pointing to a future collaboration to bring those photographs from the interwar period to light and thereby preserve the memory of his work. – Eric Rémy
As a young man drawn to the artistic avant-garde, Christian Bouqueret regularly visited the Musée d'art moderne de Paris and the galleries on the Boulevard Saint-Germain, especially those managed by Denise René. In 1973, while an active member of FAHR1, a romantic involvement led him to abandon his Chinese studies in Paris and head for Berlin where he studied art history and German. In the cosmopolitan city, where the wall still rose as a bulwark between two world views, he discovered the Bauhaus school that brought photography into the educat… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | Benoit Grimbert
"Los Feliz, Los Angeles", aus der Serie: "Horse Latitudes"
Archival Pigment Print, 41,6 x 52 cm |
| | | | | | | | Thu 1 Feb 19:00
2 Feb – 30 Mar 2024 | | | | | |
| | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Visvaldas Morkevičius
Youth #27, 2014
35 mm film, color, pigment print on paper
52 x 74 cm
Edition 3/8 + 2 AP | | | | | | | | 2 February – 15 March 2024 | | | Opening: Friday, 2 February, 6 – 9 p.m.
Sponsored by Lithuanian Culture Institute | | | | | | | | | | | | | The Galerie Elisabeth & Reinhard Hauff is excited to present the first solo exhibition of Vilnius, Lithuania and Lausanne, Switzerland based artist Visvaldas Morkevičius (*1990 in Sakiai, Lithuania).
"The ship on which Theseus sailed with the youths and returned in safety, the thirty-oared galley, was preserved by the Athenians down to the time of Demetrius Phalereus. They took away the old timbers from time to time, and put new and sound ones in their places, so that the vessel became a standing illustration for the philosophers in the mooted question of growth, some declaring that it remained the same, others that it was not the same vessel." — Plutarch, Life of Theseus 23.1
The photography of a young generation Lithuanian artist Visvaldas Morkevičius has been floating, rather than sailing, in a vast ocean of contemporary imagery for nearly a decade now. Some photographs, like the ones from earlier days – the youths – today seem coated with dregs of the times passed. Their truncated compositions, faded colours, and faceless protagonists stuck in sluggish limbos echoing events that once were. Others, from the artist's more recent voyages, those new timbers, feel bolder, sharper, rougher, and soaked in thick liquids of obscurity.
By an unforeseen miracle, or perhaps a happy coincidence, these nomadic artworks drifted ashore in Stuttgart, at the threshold of The Galerie Elisabeth & Reinhard Hauff. The photographs presented in Morkevičius' third solo exhibition in Germany come from four different series and can be seen as the young artist's retrospective, his "life’s work" thus far. The show which in part can be imagined as an ever-growing vessel th… | | |
| |
|
|
| |
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | Rapa Valley, Swedish Lapland
© Serkan Günes |
| | | | | | | | | |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| | | | | | | | Nakahira Takuma, Marseille, France from The Streets, or Traces of Terror , 1976 Collection of The National Museum of Modern Art, Tokyo © Gen Nakahira |
| | | | | | | | | |
|
| |
|
| |
|
| |
| |
|
| |
| |
| | Kristine Potter, from the series Dark Waters, 2020
| | | | | | | | | | | | | | | | ... until 14 April 2024 | | | | | | | | | | | | | Christopher Anderson naturally began photographing his family after his son Atlas came into the world in 2008. When his daughter Pia was born, he continued the fatherly attempt to stop time and not let a single moment of this new life slip away. Marion features throughout these albums, as a woman, mother, and partner. As a documentary photographer, Christopher Anderson had never considered these personal photos as a ‘series’, but his opinion changed when war photographer Tim Hetherington pointed out that “They’re all about the passage of time.” Christopher Anderson began seeing his family pictures in a new light and realised that they may well be his best work. Pia, Son and Marion were published as three separate books, forming a unique and moving intimate family trilogy.
Kristine Potter’s latest photobook, Dark Waters, focuses on the violence that permeates the territory and popular culture of the USA. She contrasts a series of portraits of women with scenery that appears serene but is in fact views of places with sordid names, such as Murder Creek, Bloody River, and Rape Pond, evoking the domestic violence that allegedly took place there in the past. Drawing on the musical genre of murder ballads from the 19th and 20th centuries, Kristine Potter alludes to the flippant popular glorification of violence towards women that still pervades today’s cultural landscape.
Advertisements generally encourage us to picture Santa Claus as a cheerful chubby man with a bushy white beard and a smart red suit, always smiling and huggable. But what’s he really like? Collector Jean-Marie Donat scoured flea markets all over Europe to compile this extraordinary collection of photographs from the 1930s to the 1970s, in which we see the beloved myth become a nightmare of triviality and awkward clumsiness. This witty series seems most likely to confirm our childhood suspicions: Is Santa Claus just an ordinary man, after all? | | |
| |
|
|
| |
| |
|
| |
|
| |
| |
|
| |
|
| |
|
| | | | | | | | | | | | | | Wed 31 Jan
1 – 4 Feb 2024 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | | | | | | | | | Wed 31 Jan
1 – 4 Feb 2024 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | curated section: photography and video (Photography and moving images) | | | | | | | 2 – 4 Feb 2024 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | ZsONA MACO Foto | | | | | | | 7 – 11 Feb 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
| |
|
| |
|
| |
|
| | | | | | | August Sander: High school student, 1926
© Die Photographische Sammlung/SK Stiftung Kultur - August Sander Archiv, Köln
VG Bild-Kunst, Bonn 2023 |
| | | | | | | | Prize for Portrait Photography | | | Artists up to and including the age of 40
Submissions are open until 9 February 2024
All details: here | | | The August Sander Award for portrait photography, donated by Ulla Bartenbach and Prof. Dr. Kurt Bartenbach, will be awarded for the fourth time in 2024 in cooperation with Die Photographische Sammlung/SK Stiftung Kultur, Cologne.
The idea behind the award is to promote young contemporary artistic approaches in the sense of objective and conceptual photography. Against the background of August Sander's important portrait photographs, the photographic works of the applicants should primarily relate to the theme of the human portrait. The prize is awarded every two years.
Eligible are national and international artists up to and including the age of 40 with a focus on photography. The prize is endowed with 5,000 €. In addition, the Photographische Sammlung/SK Stiftung Kultur will organize an exhibition of the award winner's work, if possible and by individual agreement.
For the submission is suitable already largely developed series, from which a maximum of 20 photographic prints should be sent. Only works that follow a thematically bound image group or sequence will be evaluated; individual images will not be considered. The works submitted should not have won a prize in other competitions.
The jury is composed of five members: Bernhard Fuchs, artist, Düsseldorf, Prof. Dr. Martin Hochleitner, Salzburg Museum, Salzburg, Kirsten Degel, Louisiana Museum of Modern Art, Humlebæk, Dr. Anja Bartenbach, sponsor family; Gabriele Conrath-Scholl, director, Die Photographische Sammlung/SK Stiftung Kultur, Cologne.
The detailed call for entries can be downloaded here. | | |
| | | | | | | |
|
| |
| |
|
| |
| |
| | | | INTERNATIONAL DOCUMENTARY PHOTOGRAPHY PROGRAM | | | | 12 month program in Berlin starts 16/17 March 2024 | | | | Applications now open! | | | | | | | | | | | | | HWF is offering two 12 month programs; one in Berlin.
The Scottish filmmaker, John Grierson coined the term documentary in the 1920’s and defined it as "the creative treatment of actuality." HWF offers an educational program based on Grierson’s deceptively simple definition, designed with the purpose for students to engage with documentary photography, with reference to the complex and discursive history of this particular and rapidly evolving genre.
From the onset students will be set small yet stimulating assignments to begin the process of questioning the very essence of the photograph and the practical issues of effectively engaging with the subject. Conceptual, experimental and straight approaches are all encompassed. Passion is the fuel and an essential motivation for any photographer to actively and intellectually engage in the real world. Key issues are researching, shooting, editing and sequencing projects during the process of making the work. It is only in the doing of the work that the meaning of the work begins to make sense. A great emphasis is placed on finding a natural visual voice, via technique and the appropriate visual attitude to the subject.
The program is designed for 12 students. | | | | |
| |
|
|
| |
| |
| |
|
| |
|
| |
|
| |
|
| | | | | | | | | | | | | | Wed 31 Jan
1 Feb – 1 Apr 2024 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | Rotterdam Photo Fair 2024 | | | | | | | 1 – 4 Feb 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | 30 Ways to Go to the Moon | | | | | | | 2 – 18 Feb 2024 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | you’re doing amazing sweetie | | | | | | | 31 Jan – 4 Feb 2024 | | | | | |
| | | | | | | |
|
| |
| |
|
| |
|
|
| |
|
| | | | | | Aliments Terre | | | | | | | – 2 Mar 2024 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | European Month of Photography | | | | | | | – 25 Feb 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
|
| |
|
| | | | | | Die Allgegenwärtigkeit fotografischer Bilder | | | | | | | – 4 Feb 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | Memory is an Editing Station | | | | | | | – 28 Apr 2024 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | Cosmos Cinema | | | | | | | – 31 Mar 2024 | | | | | |
| | | | | | | |
|
| |
|
|
| |
|
| | | | | | | Noga Shadmi's series of the kidnapped penetrates the heart.
Keep sharing your images, together we will raise the global awareness and bring them back home. |
| | | | | | | | International Photography Festival | | | postponed >> March 2024 | | | | | |
| | | | | | | |
|
| |
|
| | | | | | More than 100 photographers and artists from 18 countries of 25 exhibitions | | | | | | | – 11 Feb 2024 | | | | | |
| | | | | | | |
|
| |
| |
| |
|
| |
| |
|
| |
© 31 January 204 photography now UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
| |
