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| PHOTOGRAPHY INTERNATIONAL | | 25 Jun — 2 Jul 2025 | |
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| | A new best life, 2021
© Hiền Hoàng. | Made in Rice, backstage from the left video, 2021.
© Hiền Hoàng.
Performer: Kuoko. Photo: Julia Gaes. |
| | | | | | | | ... until 1 September 2025 | | | | | | | | | | | | | Foam proudly presents the solo exhibition Garden of Entanglement by Hièn Hoàng, which encourages a multi-sensory reflection on the connection between humans and nature. Her practice is deeply shaped by interdisciplinary collaborations with scientists and technologists which reveal the ambivalent role of technology as both a means to understand nature and a force that distances us from it.
Hoàng’s multidisciplinary practice seamlessly weaves together photography, sculpture, video, installation, and performance. Central to her work is the theme of migration—explored not only through the personal lens of her family’s history, but also through the lasting traces of colonialism embedded in nature. In the exhibition Garden of Entanglement, Hoàng explores these narratives through three of her recent projects: Garden of Entanglement, Scent from Heaven, and Across the Ocean.
Hièn Hoàng is a multimedia artist from Vietnam and is based in Germany. She is the winner of the 18th annual Foam Paul Huf Award. Her artistic journey is characterised by pushing the boundaries of perception through diverse media—from experimental films to immersive installations—engaging viewers in emotive landscapes and introspection. She holds a master's degree in photography and design from HAW Hamburg. Hoàng's exhibitions have been featured at prestigious venues, including Rencontres de la Photographie d'Arles, Robert Capa Contemporary Photography Center Budapest, Centro Cibeles Madrid, among others. Her project Asia Bistro was included in Foam Magazine #63 FOOD! | | |
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| | | | | | | | | | | | | ‘Om/Mother A participatory photography project from Hebron | | 28 Jun – 28 Sep 2025 | | | | | | | |
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| | Rico Puhlmann
Cindy Crawford mit Seidenhemd mit Marilyn Monroe-Print und abstrakt gemusterte Leggins von Gianni Versace, 1991, Farbdiapositiv, 4,2 x 5,6 cm,
© Rico Puhlmann Archive | | | | | | | | 27 June 2025 – 15 February 2026 | | | | Opening: Thursday 26 June 19:00 | | | | | | | | | | | | | Rico Puhlmann (1934‒1996) was a leading international fashion photographer of his generation whose influence shaped fashion photography over the last four decades of the 20th century. The exhibition pays tribute to Puhlmann’s career, particularly his work for fashion magazines from the 1950s to the 1990s. It reviews diverse aspects of the history of fashion, photography, the press, and culture.
The exhibition offers comprehensive insights into Puhlmann’s drawn and photographic oeuvre, which he created over a 40-year period, first as an illustrator and then as a fashion photographer working for important magazines, including Brigitte, petra, and Constanze, as well as internationally for Vogue, Harper’s Bazaar, Glamour, and GQ. The most sought-after photo models of the time posed for his camera: Gloria Friedrich and Gitta Schilling, Cheryl Tiegs and Jerry Hall, Cindy Crawford and Naomi Campbell. Puhlmann’s photos appeared on countless magazine covers and filled several consecutive double-page spreads on glossy paper.
The majority of the exhibits originate from Rico Puhlmann’s archive of works, which is administered by his brother and sister-in-law, Klaus and Anne Puhlmann. They have generously made works available to the exhibition | | |
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| | | Installation views METAMORPHOSIS: Heinz Hajek Halke’s Photomontages & The New Image-Makers. Photographs © Eyal Philip Peleg & CHAUSSEE 36 Photography | | | | | | | | | | | | | ... until 28 June 2025 | | | | | | | | | | | | | To mark the 100th anniversary of Heinz Hajek-Halke's first photomontages, the group exhibition "Metamorphosis" celebrates the Berlin artist's early work (1925 - 1935), rediscovers it and brings it together with works from a range of contemporary photomontage and collage artists.
Heinz Hajek-Halke (1898 - 1983) is an important photographic artist of the 20th century. While he explored the boundaries of the photographic medium in a completely new way in his abstract, camera-less works of the 1950s and 1960s, his photographic experiments coincided with the beginning of his career.
In 1924, a few years after completing his art and graphics studies in Berlin, he taught himself photography. From this point onwards, he worked as a press photographer for various agencies and was especially enthusiastic about experimental work in the darkroom. Between 1925 and 1931, he specialised in photomontage. Inspired by the aesthetics and special effects of silent film, Hajek-Halke set out in search of new visual forms and, during this period of intensive experimentation, explored complex techniques such as capturing a sequence of movements on a plate, the multiple exposure of several negatives in the enlarger or in the camera as well as the photo collage. By combining images from different contexts, he succeeded in creating dynamic compositions with a new meaning that drew on the montages of the surrealist avant-garde.
His iconic photomontages, which he designed freely or published in the illustrated press and as part of adverts, date from this period. A selection of vintage prints from the years 1925 to 1935, famous and rare works from the Heinz Hajek-Halke Collection, can be discovered in the exhibition. These unreal images, which were pa… | | |
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| | | © Liz Lambert | | | | | | | | 28 June – 21 September 2025 | | | | Opening: Saturday 28 June 11:00 | | | | | | | | | | | | | Liz Lambert, Winner of the Bourse CNA X LUGA 2024
In 2023, the practice of transhumance, the seasonal movement of people and livestock, was recognized by UNESCO as intangible cultural heritage. In Luxembourg, one of the few remaining transhumant sheep farms continues to traverse the country’s meadows, villages, and urban landscapes, maintaining a tradition that has shaped human-animal relationships and ecological systems for centuries.
Over several months, photographer Liz Lambert closely followed this farm, capturing the intricate dynamics between shepherds, sheep, and their shifting environments. Her work examines the broader implications of transhumance in contemporary society, considering its role in sustaining biodiversity and mediating the rural-urban divide. | | |
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| | | Foto: Caroline Martin | | | Facets of Humanity -
Works from the Teutloff Collection | | | | EMoPLux European Month of Photography Luxembourg 2025 | | | | | | | ... until 21 September 2025 | | | | | | | | | | | | | In 2025, the Centre national de l’audiovisuel proudly presents an inaugural look at the Teutloff Collection. The exhibition "Facets of Humanity: Works from the Teutloff Collection", on display from 17 May to 21 September 2025 at DISPLAY01 in Dudelange, marks the first public unveiling in Luxembourg of art collector Lutz Teutloff’s holdings since their acquisition by the CNA in 2017.
Lutz Teutloff, born in Berlin in 1938, began an apprenticeship as a textile merchant after boarding school, established his own label in the fashion industry and led his company to success. In 1989, Teutloff finally sold his thriving fashion label to start a new life as a gallery owner in contemporary art. His fascination with art stems from a desire to break away from the fast pace of the fashion business and devote himself to a higher, non-commercial goal. His long-standing engagement with fashion can also be interpreted as the foundation for his interest in humanistic photography: Fashion also deals with people, their desires, their social status, their affiliation to a particular mindset and their personality. The foundation for the collection was laid between 1998 and 2007 through exhibition projects with artists and collaborations with museums. From the turn of the millennium onwards, the collection was systematically expanded with a clear focus on the medium of photography.
The collector Teutloff became increasingly interested in people in photography, their physicality, but also their social circumstances and political structures. He was fascinated by the medium's ability to depict human existence in all its facets. It reflects living conditions and relationship systems in real time. An antiquarian exhibition catalogue of The Family of Man… | | |
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| | | | | | | | Jakob Schnetz: "Speicherlandschaft", 2017 |
| | | | Junge Kunst aus Münster | | | | | | | Fri 27 Jun 19:00
28 Jun – 5 Oct 2025 | | | | | |
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| | | © Romain, Mader. Courtoisie Enquête photographique vaudoise, État de Vaud, BCUL et Photo Elysée | | | Photographic Survey of the Canton of Vaud | | | | Six Photographers' Perspectives | | | | | | | 28 June – 28 September 2025 | | | | The opening will take place on Saturday, June 28 from 10 am to 6 pm. | | | | | | | | | | | | | With the aim of producing photographic documentation of its living traditions, which are included in the inventory of the Vaud’s intangible heritage, the Canton of Vaud has entrusted six photographers, selected by competition, to produce original projects. In this exhibition, Thomas Brasey, Olga Cafiero, Sarah Carp, Matthieu Gafsou, Yves Leresche and Romain Mader reveal the result of their photographic investigation before their pictures become part of Photo Elysée’s collection.
Born in 1988, Romain Mader holds a Bachelor’s in photography from ECAL and a Master’s from the Zürcher Hochschule der Künste. He has taken part in many exhibitions and publications and received the FOAM Huf Awardin 2017. Some of his works have been acquired by public collections, including the Museum of Photography in Amsterdam.
His project seeks to highlight craftsmanship, local production, and social connections within his home district of Aigle. By interning with producers and artisans, he aims to document—with a touch of humor—each stage of preparing the famous Vaudois dish: from growing leeks and potatoes, to raising and butchering pigs, and finally making the cabbage sausages. | | |
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| | | Tyler Mitchell, 2025, Installation view © Khashayar Javanmardi / Photo Elyéee/ Plateforme 10 | | | | | | | | ... until 17 August 2025 | | | | | | | | | | | | | American photographer Tyler Mitchell is driven by dreams of paradise against the backdrop of history. Since his rise to prominence in the world of fashion, Mitchell has propelled a visual narrative of beauty, style, utopia, and the landscape that expands visions of Black life. Photo Elysée presents Mitchell’s first solo exhibition in Switzerland, offering new perspectives on his longstanding themes of self-determination and the extraordinary radiance of the everyday, and showing how photography can be rooted in the past while evoking imagined futures.
Wish This Was Real explores Mitchell’s work, from his early portraits and videos that pursue dreams of leisure and self-expression to his elaborate landscapes that revel in visions of paradise underscored by the complexities of history and social identity in the United States. Central to the exhibition is a display featuring photography and mixed-media sculptures by artists whose work deeply resonates with Mitchell’s own creative lineage, such as Rashid Johnson, Gordon Parks, and Carrie Mae Weems, a unique intergenerational dialogue that sets Mitchell’s photography within a wide spectrum of visual experimentation and intellectual heritage.
Wish This Was Real is curated by Brendan Embser and Sophia Greiff and is produced by the C/O Berlin Foundation.
Tyler Mitchell (b. 1995, USA) is a Brooklyn-based artist, photographer, and filmmaker. He received a bachelor of arts in film and television from New York University Tisch School of the Arts in 2017. Mitchell’s work is held in numerous private and public collections, including the High Museum of Art, Atlanta, Georgia; Brooklyn Museum; Detroit Institute of the Arts; FOAM Fotografiemuseum, Amsterdam; Hessel Museum of Art, Bard College, Annandale-On-Hudson, New York; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; Pizzuti Collection of Columbus Museum of Art; National Portrait Gallery, Washington, DC; and Cleveland Museum of Art. | | |
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| | | Installation view © Khashayar Javanmardi / Photo Elyéee/ Plateforme 10 | | | Sport in Focus | | | | Collections of the Olympic Museum and the Photo Elysée | | | | | | | ... until 17 August 2025 | | | | | | | | | | | | | | | For over a century, major sporting events have been accompanied by images. With the boom in amateur photography in the late 19th century, coinciding with the first modern Olympic Games in 1896, photography and sport have, in many ways, evolved together. This exhibition reveals the vast photographic collections of the Olympic Museum and Photo Elysée. The exhibition, which was unveiled at the Rencontres d'Arles for the Paris 2024 Games, explores a largely untold photographic heritage, offering us a narrative that shines the spotlight on sports photography.
The visibility given to sports events necessarily involves photographic imagery. Pursuing performance, combining effort with gesture, the practice of sports follows precise rules and is showcased when performed for competition. The staging of sports is relayed by photographers who position themselves around the stadium.
By exploring a largely unpublished photographic heritage, the exhibition reveals the visual grammar of sports photography through several themes: the mediatization that began in Athens in 1896; the technique that seeks to capture movement through freeze frames; the composition that influences visual narration and constructs the celebration of sports; the figures that take place in the stadium where athletes face a crowd gripped with emotions; and the photographers who use sports photography as pure documentation of achievement and others as an artistic means. The numerous focuses offer us a narrative that highlights sports photography and the Olympic Games in particular.
Photo Elysée houses unique collections of more than 1,200,000 phototypes covering the entire spectrum of photographic art in all its dimensions – historical, aesthetic, technical, social and cultural – from the earliest processes dating back to the 1840s through to today’s digital images. | | |
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| | Sohei Nishino
Tokyo , 2024 (Detail)
Light Jet print on Kodak colour paper
Accompanied by a signed artists label
Large: Paper size 241.6 x 181.5 cm, Edition of 5 + 2AP's
Small: Paper size 160 x 120.5 cm, Edition of 15 + 2AP's | | | | | | | | 17 June – 25 July 2025 | | | | | | | | | | | | | Sohei Nishino is internationally recognised for his Diorama Maps—large-scale photographic collages that blend photography, cartography, and psychogeography. These intricate works depict major cities not only as geographic entities but as lived, emotional landscapes. Tokyo, 2024 marks his third exploration of his home city, deepening his personal mapping practice while engaging with Japanese visual traditions and historical cartography.
The first Tokyo map, created in 2004, introduced Nishino’s technique of assembling thousands of 35mm photographs into a composite cityscape. A decade later, Tokyo, 2014 expanded this vision with greater complexity and scale. Now, Tokyo, 2024 reimagines the metropolis once more, this time in a vertical format reminiscent of traditional Japanese hanging scrolls (sankei mandara), extending the artist’s evolving visual language. | | |
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| | | | | | | Herbert List
Wasserspiegelung, Lago Maggiore, 1949
© Herbert List Estate |
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| | | | | | | Ray Jones.
Anna May Wong portrait for the film Limehouse Blues, Soul of a Dragon, 1934.
Gelatin silver print, 12 7/8 × 10″ (32.7 × 25.4 cm) |
| | | | Celebrity Press Photography by over 58 photographers | | | | | | | 28 Jun 2025 – 21 Jun 2026 | | | | | |
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| | Stéphane Couturier
Série E1027-123 - Villa E. Gray, Photo n°31, 2021-2023
C-print
© Stéphane Couturier / Fondation Le Corbusier, ADAGP
Courtesy Galerie Christophe Gaillard / Les Douches la Galerie, Paris | | | | | | | | | | | ... until 31 July 2025 | | | | | | | | | | | | | A tight framing on two hanging keys, a container, a sponge, four objects suspended on a white wall, and a few ceramic tiles... This 1939 photograph by Daniel Masclet is intriguing. It deliberately embraces its own banality, both through its subject matter and the title given by its author: Dans ma cuisine. There is nothing exotic, no promise of elsewhere, no event or decisive moment to capture. Daniel Masclet draws our attention to a seemingly insignificant corner of his apartment, inviting us to look differently, to linger on this arrangement of everyday objects that possess no apparent aesthetic value. This photograph serves as the starting point for our exhibition, bearing the same title, to explore how and why kitchens and culinary arts, along with their contents, have become subjects of interest for photographers over the decades.
La table servie1 (circa 1823-30), one of the earliest photographs in the history of the medium, attributed to Nicéphore Niépce (perhaps in collaboration with Louis Daguerre), features bottles, a glass, a spoon, a knife, and a piece of bread, all arranged on a white tablecloth draped over a table. In his pursuit of a new photographic process, Niépce adopted the visual codes of still life painting. This early attempt at recording reality was later pursued by photographers in the second half of the 19th century (Charles Aubry, Adolphe Braun, Charles Carey, etc.), who honed their craft on inanimate, docile subjects, favoring bouquets of flowers, still lifes with skulls, rabbits, and hanging pheasants, or other accumulations of antiques and sculptures, thus adhering to the conventions of fine art. | | |
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| | | | | | | | Haruto Hoshi “Shinjuku 1999-2008” |
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| | | | | | | Cao Fei
Hip Hop - Guangzhou
2003
DVD, color, sound
3 min. |
| | | | MAM Collection 020 | | | | | | | 2 Jul – 9 Nov 2025 | | | | | |
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| | | Isabelle Hayeur, from the series Borderlands 2024 | | | | | | | | ... until 26 July 2025 | | | | Curated by Scott McLeod | | | | | | | | | | | | | In early 2024, Isabelle Hayeur began documenting border areas of the United States, focusing mainly on southern California. At that time, the country was seeing a record number of illegal border crossings; the border patrols were clearly overwhelmed and the detention centres were inundated by the flood of migrants. Designed for an orderly migration process, the American system was folding under the weight of so many illegal entries, leaving the new arrivals in a dehumanizing limbo. Humanitarian groups observed that there was a lack of water, food and medical services in the overcrowded improvised camps.
These migrants are forced to flee violent situations and conditions of scarcity, sometimes at the same time. To reach the U.S. border they set out on perilous voyages across deserts, rivers and forbidding terrain. By the time they set foot on U.S. soil, they are often exhausted and traumatised. There have been many deaths along the border, particularly from drowning in the Rio Grande, heatstroke and, again, exhaustion. Drug cartels take advantage of the situation, kidnapping migrants for ransom or forcing them to act as drug mules, which only makes an already precarious situation worse. People smugglers demand exorbitant payments and often abandon migrants in hazardous conditions, exposing them to increased risks of death, disappearance and rape.
These border territories have rich histories but these do not all belong to the same narrative. The real situation is a surrealist mashup in which Mexicans and Americans, legality and illegality, sacred and profane are all jumbled together. The land here looks more like a Martian landscape than a terrestrial one, sculpted as it is by the extreme climate and the winds that sweep across the vast, empty expanse… | | |
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| | | | | | | | | | Outdoor-Fotografie-Festival | | | Sat 28 Jun 17:00
29 Jun – 10 Aug 2025 | | | | | |
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| | | | | | | | | | | | | | 27 Jun 2025 – 13 Jan 2026 | | | | | |
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| | | © Narelle Autio; Festival La Gacilly-Baden Photo | | | Festival La Gacilly-Baden Photo 2025 | | | | AUSTRALIA & THE NEW WORLD | | | | | | | | | | | | | | | | | | | | Since its inception, our Festival La Gacilly-Baden Photo has been committed to placing nature, which gives us life, at the centre of the exhibitions. Photographic narratives describe the beauty of our planet Earth as well as its environmental problems.
In 2025, the Festival La Gacilly-Baden Photo is dedicated to the theme of AUSTRALIA & THE NEW WORLD. A gigantic open-air gallery 7 kilometres long, with around 1,500 large-format images in the parks and gardens and the old town of Baden, transforms the city into a city of images for four months for the eighth time. With free admission, over 30 exhibitions, 7 days a week, from midnight to midnight, invite you to linger.
Australia, almost a hundred times the size of Austria, has a population of barely 26 million. Australian photographers are ambassadors for the beauty of a unique continent that needs to be preserved. They love their country so much that they even use poetry to criticise its failings, and use a visual medium that overflows with creativity. Their works explore the themes of identity and environment, moving between drama, black humour, fiction and reality: Matthew Abbot, Narelle Autio, Tamara Dean, Adam Ferguson, Bobby Lockyer, Trent Parke, Anne Zahalka, Viviane Dalles and Agence France-Presse.
In the New World, we encounter the works of Louise Johns and Joel Meyerowitz in the USA, which we juxtapose with the perspectives of Austrian Alfred Seiland. Mitch Dobrowner's photographs bear witness to the apocalypse of extreme weather phenomena. George Steinmetz's magnum opus “Feed The Planet” answers the question of wh… | | |
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| | | | | | Passing the fugitive on | | | | | | | – 14 Sep 2025 | | | | | |
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| | | | | | open air festival - So British! | | | | | | | – 5 Oct 2025 | | | | | |
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| | | | | | Between/Worlds: Resonant Ecologies | | | | | | | – 12 Oct 2025 | | | | | |
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| | | | | | Festival de photographie international et gratuit | | | | | | | – 14 Jul 2025 | | | | | |
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| | | | | | 51 ARTISTS / 16 EXHIBITIONS | | | | | | | – 29 Jun 2025 | | | | | |
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© 18 June 2025 photography now UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editors: Claudia Stein & Michael Steinke
[email protected] . T +49.30.24 34 27 80 |
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