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| PHOTOGRAPHY INTERNATIONAL | | 18 — 25 June 2025 | |
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| | | Cas Oorthuys demonstrates, shortly after the liberation, how he illegally photographed during the occupation, 1945 © Charles Breijer / Nederlands Fotomuseum. | | | | | | | UNESCO Memory of the World Register | | | | | | | | ... until 2 October 2025 | | |  | | | | | | | | | | In honor of Amsterdam’s 750th jubilee and the 80th remembrance of the Netherlands’ liberation, Foam presents The Underground Camera (De Ondergedoken Camera). The exhibition showcases images captured by the group of photographers who came to be known by the same name. They photographed the harsh realities of Amsterdam during the ‘Hunger Winter’ of 1944-1945, offering a rare glimpse into the courageous missions of the resistance group and their role in documenting the Nazi occupation. The exhibition features work by renowned Dutch photographers such as Cas Oorthuys, Charles Breijer and Emmy Andriesse.
The resistance group was led by Fritz Kahlenberg and Tonny van Renterghem. In November 1944, when the German administration banned public photography, they – alongside a network of fourteen photographers – worked in secrecy to document the occupation and the resistance. Their efforts, carried out at great personal risk, preserved a crucial visual record of this era. Kahlenberg, a German Jewish filmmaker who had migrated to Amsterdam in 1933, was involved in the forgery of identity cards for the resistance. Van Renterghem had a military background and was also actively involved in resistance work. Although he was not a photographer himself, he played a crucial role in the coordination between The Underground Camera and other resistance groups. The images taken by the photographers of The Underground Camera were intended to be smuggled to London to convince the Dutch government in exile of the need for Allied food droppings in the Netherlands. Today, the photos provide a realistic perspective of daily life in Amsterdam during the last months of the German occupation.
The historical material of the group was stored in various Dutch c… | | |
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| | | |  | | | Sharon Paz
Dare to Dream, 2020
Video Installation, Interactive Video, HD, Various length
© Videostill Sharon Paz |
| | | | Part II | | | | | | | Thu 19 Jun 19:00
20 Jun – 13 Jul 2025 | | | | | |
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| | | |  | | | Potsdamer Platz im Bau, November 1999 bis Juni 2000
© Nelly Rau-Häring |
| | | | | | | | | | | | Fri 20 Jun 19:00
21 Jun – 28 Sep 2025 | | | The exhibition unites the work – and life paths – of three photographers in Berlin in the 1990s, the first decade after the fall of the Berlin Wall. The three photographers share an outside perspective onto the foreign city that was just starting to become one again after the devastation caused by bombing and demolition, highway construction and the Wall. In 1990/91, their paths crossed for the first time through their joint interest in urban photography. | | |
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| | Harold Edgerton
Shooting the Apple, 1964/printed later
Dye Transfer Print
35.8 x 45.9 cm (40.7 x 50.8 cm) | | | Harold Edgerton »
Photographs from the Gerd Sander Collection | | | | ... until 10 July 2025 | | | | | | | | | | | | | "I'm an electrical engineer and I work with strobe lights and circuits and make useful things.” Harold Eugene Edgerton (1903 - 1990) once responded to the question of how he defined his work with this understatement, which was as tangible as it was modest. During his work at the Massachusetts Institute of Technology (MIT), which spanned more than six decades, he worked as an engineer, educator, researcher, entrepreneur - and as an extremely innovative photographer. Not only did he revolutionize his medium with the development of the modern electron flash. With his sensational high-speed photographs. he created some of the most famous photographic images of the 20th century. The delicate crown created by a drop falling into milk (Coronet, 1936 and Milk Drop Coronet, 1957), the projectile that smashes through an apple (Shooting the Apple, 1964), the tennis player whose motion sequence during the serve becomes visible in numerous individual moments (Gussie Moran, 1949) - they are all now firmly part of the canon of photographic history.
The photographer Edgerton - or "Papa Flash", as his long-time collaborator, the deep-sea explorer Jacques-Yves Cousteau, called him - aimed to make visible phenomena that would otherwise remain hidden to the human eye due to their high speed. While Edgerton's photographs reflect both his scientific spirit of discovery and his unerring sense of visual aesthetics, they were published early on not only in a scientific context, but also in popular magazines such as Life magazine. In addition, they quickly found their way into museum exhibitions and collections due to their visual expressiveness. As early as 1937, Beaumont Newhall presented six of his works in New York's Museum of Modern Art - a presentation that was to be followed by many more in this and other museums and galleries worldwide.
The photographs now on display at the Julian Sander Gallery, which include small-format vintage prints of lesser-known motifs in black and white as well as later, color-intensive dye transfer prints of his best-known images, are largely from the estate of Gerd Sander. Since the late 1970s, his gallery has worked closely with the photographer and with Gus Kayafas, a friend and former student of the "Doc", who was not only responsible for producing the prints, but was also entrusted with publishing the portfolios and organizing the exhibitions, thus making a significant contribution to establishing Edgerton in the art world.
A catalog will be published to accompany the exhibition. | | |
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| | Tata Ronkholz
Kiosk, Cologne-Nippes, Merheimer Straße 294, 1983
© VAN HAM Art Estate: Tata Ronkholz, 2025 | | | Tata Ronkholz » Designed World. A Retrospective | | | | ... until 13 July 2025 | | | | | | | | | | | | | This retrospective is the first comprehensive tribute to the versatile work of Tata Ronkholz (born 1940 in Krefeld; died 1997 in Hürth-Kendenich, née Maria Juliana Roswitha Tölle). The exhibition features works by the photographer, product designer, and interior architect who was one of the early students of the Becher class at the Kunstakademie Düsseldorf. Among her fellow students were renowned artists such as Candida Höfer, Axel Hütte, Thomas Ruff, Thomas Struth, and Petra Wunderlich. Ronkholz’s estate, acquired in 2011 by VAN HAM Art Estate in Cologne, forms the basis of the exhibition alongside the holdings of Stadtmuseum Düsseldorf. Significant contributions have also been made from the in-house collections of Die Photographische Sammlung/ SK Stiftung Kultur and from other lenders.
The retrospective finds its stylistically fitting context in the Photographische Sammlung, with the on-site Bernd and Hilla Becher Archive. Ronkholz’s works follow in the tradition of objective, documentary photography – a tradition decisively shaped by the Bechers. Her work is characterized by clear compositions, a serial approach, and a documentary focus on architectural structures and everyday architectures. Using her large-format camera, she produced sharply defined and realistic photographs in which the subject matter, rather than the photographer’s personal signature, takes center stage. Her work is predominantly in black and white, although color images also appear, demonstrating her ambition to engage with the emerging artistic color photography in Germany during the 1970s and 80s.
Tata Ronkholz became known for her appealing series of kiosks and small shops that capture typical moments of urban everyday culture. | | |
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| | Elena Efeoglou
Leni, 2024, AI-generated image on August Sander
August Sander Bürgerkind, 1926
© Elena Efeoglou | | | Blurring Reality and Fiction – August Sander Meets AI. | | | | Artist Meets Archive#4/Internationale Photoszene Köln | | | | | | | ... until 13 July 2025 | | | | | | | | | | | | | At the heart of the exhibition project is the Greek artist Elena Efeoglou (*1978 in Drama, Greece) and her engagement with selected portraits by August Sander (1876–1964) from his portfolio “People of the 20th Century”. During a multi-week residency at Die Photographische Sammlung/SK Stiftung Kultur in summer 2024, Efeoglou reviewed a wide range of photographs by the renowned photographer, whose objective yet profound portraits form an impressive chronicle of German society between 1900 and 1950.
From this collection, Efeoglou selected ten photographs and wrote fictional texts imagining possible biographical contexts, emotional tensions, and social backgrounds of the depicted individuals. Using artificial intelligence, she then generated further corresponding images. These AI-generated visuals echo the atmosphere and appearance of the historical photographs, while deliberately diverging from their documentary character. Instead, they open up new narrative layers and question the boundaries between reality, memory, and projection. The AI-generated portraits serve as visual resonance spaces – inspired by historical imagery, but detached from an actual past.
The exhibition invites visitors to reflect on the possibilities of contemporary image-making and its relationship to photographic heritage. Efeoglou’s works offer a fresh perspective on historical portraiture, bridging documentary history and speculative present. | | |
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| | Installation view, Erwin Wurm. Photographic Sculptures,
07.03. – 07.09.25, Francisco Carolinum Linz
© kunst-dokumentation.com / Manuel Carreon Lopez | | | | | | | | ... until 7 September 2025 | | | | | | | | | | | | | Erwin Wurm is one of Austria’s most internationally renowned contemporary artists.
With its photographic works, FC Linz shows a part of its oeuvre that has rarely been seen before.
In the 1980s and 1990s, the artist began to rethink the concept of "sculpture." Wurm's ironic deconstruction of art-historical certainties ultimately led to a conception of sculpture that includes the processual, the temporary, the ephemeral, and the performative.
Media such as photography and video play an essential role in his oeuvre because they are suitable for capturing this ephemeral, processual character of his “sculptural actions” and sometimes transforming them back into objects.
Consequently, the artist also calls his photographic works Photographic Sculptures.
The exhibition shows collages, contact sheets and prints from the artist's archive, some of which are being exhibited for the first time, as well as works from the well-known series 59 Positions or One Minute Sculptures and provides insight into the considerations that culminated in his later large-format works such as 'Fat Car' or 'Narrow House'. | | |
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| | Installation view, Šejla Kamerić. YOU, WHO CAN FLY, Francisco Carolinum Linz
© Michael Maritsch | | | | | | | | ... until 27 July 2025 | | | | | | | | | | | | | | The exhibition "YOU, WHO CAN FLY – ŠEJLA KAMERIĆ" presents various groups of works by the artist from the last decades with current installations developed for the presentation in Linz. The multi-layered network offers an insight into the artistic self-image and the political and social intentions and hopes of the artist, who was born in 1976 in Sarajevo in the former Socialist Federal Republic of Yugoslavia. The exhibited self-stagings for photographic recordings, the self-portraits, which have been repeatedly conceived for over 20 years, run like a common thread through the thematic focus of the work. The representations of women and the female body, as they are coded and propagated in the visual and social media, find an equivalent in the artist's self-portraits and at the same time a provocative, self-determined de- and re-coding. | | |
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| | Installation view ANNA BREIT These days I think a lot about the days that I forgot, Francisco Carolinum Linz
© Michael Maritsch | | | | | | | These Days I Think a Lot About the Days that I Forgot | | | | ... until 27 July 2025 | | | | | | | | | | | | | Anna Breit (*1991 in Vienna) is a photographer whose work is at the interface between documentary, applied and artistic photography. Her working method is characterized by a profound examination of interpersonal relationships, which she captures with a precise eye and great sensitivity.
She often places people from her immediate environment at the center of her works, creating an intimate reflection on closeness, identity and connection. As part of her extensive exhibition at the Francisco Carolinum, Anna Breit presents a multi-layered photographic work that can be read as a portrait of three women and generations: her grandmother, her mother and herself.
Starting from her own childhood, the artist explores the conscious creation and reflection of memories. Using photography, she creates new moments with her mother that are not only lived, but preserved as images seemingly for eternity.
A particular focus is on gestures and textiles - these play a central role in her family. Textiles can be found in the life of both her grandmother and her mother, who worked as a seamstress and made clothes in her own workshop.
In "THESE DAYS I THINK A LOT ABOUT THE DAYS THAT I FORGOT", Anna Breit combines archive photos from family albums with newly created, analogue images, blurring the boundaries between past and present. Her work becomes a touching photographic love letter to her mother and grandmother, raising questions about transience, mortality and the meaning of memories. The result is an intimate homage in which present and past, archive material and new photographs are inextricably intertwined - a poetic echo that resonates both in the lived moment and in the images.
Curator: Maria Venzl | | |
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| | | Installation view Marius Glauer, Wait a Minute, Francisco Carolinum Linz Foto: kunst-dokumentation.at | | | | | | | | ... until 27 July 2025 | | | | | | | | | | | | | A shell found on the beach. Splashes of water between it and our gaze. The shell's surface, its grooves, reveal its age. The past time becomes a phenomenon of the surface. In the work of Marius Glauer (*1983 Oslo), it is this resonant relationship between surface, materiality and temporality that can be described as the artist's central interest. The medium in which the artist works, photography, has always had a particularly complex relationship to the concept of surface. In the era of analog film, it was still the light-sensitive place where images were recorded, but the contemporary media landscape is characterized by countless new digital surfaces on which images show themselves to us and come into contact with one another. Wait a Minute, Glauer's first institutional exhibition in Austria, challenges us to pause for a moment and focus the camera against the backdrop of these dizzying imagery. What image of temporality can photography create today? In response to this question, Marius Glauer shows us shiny, opulent surfaces that reflect images from art history and pop culture. He shows sensual liveliness in lifeless objects, visual tensions of materialities from 'high' and 'low' aesthetics, but above all he shows the manifold forms that photography can currently take. In a wide variety of display situations he allows photography to resonate with ideas from sculpture, installation and fashion. The material from which Glauer's photographs are made is permeable - artistic signatures, eras, forms and dates overlap, adapt to their surroundings and tell of the plural perspectives that photography can take on reality. Glauer approaches questions about the representation of temporality in the photographic image with a fusional and boundary-breaking attitude. Processuality becomes more important than finality. But maybe a final form is just a flash-like snapshot?
Curated by Susanne Watzenboeck
A catalogue will be published for the exhibition. | | |
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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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| | | |  | | | | Rui Ochoa, Armas ao alto no 25 de abril de 1974. ©Rui Ochoa |
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| | | ESPACE MVG 2025: Michael von Graffenried: "On the Edge" | | | | | | | | ... until 4 July 2025 | | | | | | | | | | | | | "On the Edge" presents impressions of the Indian city of Varanasi as seen by photographer Michael von Graffenried, which he took during a six-month stay in 2012. The photographs were exhibited that same year in the form of a large-format installation in the city center, though they were taken down again after just a few days.
Twenty panoramic photographs by Michael von Graffenried were mounted over a length of 125 meters on billboards along the busy Rathyatra Crossing in the city center of Varanasi. The exhibition was organized in collaboration with the local Kriti Gallery for Contemporary Art and its director Navneet Raman. With their large format of three by six meters, the images were highly visible and attracted a lot of attention. Perhaps too much - the exhibition was taken down again after just eleven days, after one photograph was vandalized on the very first night.
It is understandable that the photographs caused offense among the residents: an outsider is documenting their city with a radical view - a city that is known as the spiritual capital of India, which attracts countless Hindu pilgrims who bathe in the holy waters of the Ganges, and which is called "City of Light". The issues surrounding the exhibition in Varanasi were brought to a head by the provocative title “On the Edge”, which accompanied each of the large-format photographs. Graffenried used this to reflect his personal stay in the city, during which he would always have found himself "On the Edge".
The exhibition presented at ESPACE MVG in Paris aims to examine the installation presented in Varanasi and the reaction it provoked. It is important to note that "On the Edge" is the work of a photographer who spent only a few months in Varanasi. It is a view from the o… | | |
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| | | Mount Wilson Observatory, Nébuleuse à la tete de cheval, constellatin d'Orion, Nov.1920 | | | Deep Space & Celestial Objects | | | | ... until 21 June 2025 | | | | | | | | | | | | | The David Guiraud Gallery is pleased to present a second exhibition on the theme of deep space — that is, of the nebulae and galaxies in our universe photographed from Earth. This achievement is only possible through observatories and their telescopes. It is not the human eye that gazes at the sky through the giant lens, but rather light, traveling from the farthest reaches of the universe, imprinting itself on the silver gelatin of photographic paper to reveal what was once invisible to the human eye.
The exhibition runs until June 21, 2025, at 5 rue du Perche in the Marais, from Tuesday to Saturday, 2:30 p.m. to 7 p.m.
This exhibition brings together around forty vintage photographic prints, taken between 1880 and 1930, from major observatories such as Meudon in France or Mount Wilson and Palomar in the United States. Each image is a fragment of the sky, captured with patience and brilliance, using massive telescopes and sensitive plates. These photographs are much more than scientific documents: they are the first works of astronomical art — testimonies of a time when science merged with cosmic contemplation.
• Photography and Astronomy at the Turn of the 20th Century: An Extended and Perfected Eye
Unlike direct visual observation, photography allows for the accumulation of light over long periods (long exposures), making it possible to reveal extremely faint or diffuse objects such as galaxies (then called "spiral nebulae") and nebulae — once blurry, elusive, and largely mysterious. Where the human eye is limited in sensitivity, the photographic plate continues to receive light and reveals unsuspected details. Thanks to photography, the deep universe becomes visible and transforms into a subject of study … | | |
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| | | |  | | | Fairies IV / 2, 2020
© Kathrin Linkersdorff / VG-BildKunst, Bonn 2025 |
| | | | | | | | | | | | Sun 22 Jun 11:30
22 Jun – 21 Sep 2025 | | | | | |
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| | Installation Ever Young © James Barnor
Image : Alizée Quinche | | | | | | | ... until 20 July 2025 | | | | | | | | | | | | | | | For its 11th exhibition session, L’Appartement brings together James Barnor and Nico Krijno: two artists from the African continent with complementary visions, two countries, two generations, two ways of approaching reality through images. On one side, James Barnor (born in 1929, Ghana) presents a series of images documenting the sociocultural transformations of Ghana and the United Kingdom from the 1950s to today. On the other, Nico Krijno (born in 1981, South Africa) deconstructs traditional photography through an experimental approach, blending digital collages, abstract compositions, and vibrant colors. Between memory and reinvention, this exhibition confronts Barnor’s historical and documentary narration with Krijno’s experimental approach. It highlights how these two artists, each in their own way, contribute to redefining the image of the continent.
James Barnor occupies Les Chambres with a selection of 80 images tracing his journey between Ghana and the United Kingdom. Each of the three rooms highlights a different aspect of his work.
The first focuses on his early years in Accra, where he captures the political fervor of Ghana on its path to independence in 1957.
The second presents his studio portraits, taken at his first studio, Ever Young, in Jamestown, then in London, and finally at his studio X23 upon his return to Ghana.
The third room explores his years in London, where he documented Swinging London for Drum magazine.
Celebrating a positive and dynamic image of West Africa in a time of emancipation, Barnor was one of the first photographers to use color photography and introduce it to the continent. His work forms a valuable visual archive of diasporic identities in the 20th century.
In collaboration with Galerie Clémentine de la Féronnière (Paris) | | |
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| | Installation Collages 2020 – 22 © Nico Krijno
Image : Alizée Quinche | | | In the Cave of the Lotus Eater
Collages 2020 – 22
The Mouth of Time | | | ... until 20 July 2025 | | | | | | | | | | | | | Nico Krijno (born in 1981, South Africa) transforms Le Couloir, Le Salon and Le Cinéma and deconstructs traditional photography through an experimental approach, blending digital collages, abstract compositions, and vibrant colors
LE COULOIR: Nico Krijno IN THE CAVE OF THE LOTUS EATER
In the Cave of the Lotus Eater is a video capturing a moment of transition: the photographer leaving a place he once called home. Shot spontaneously over 24 hours, this short film explores how each image preserves a fleeting memory before it fades away. Both a tribute to effort, a self-portrait, and a reflection on memory, the work highlights how the landscapes we pass through continue to exist within us, even long after we leave them. Alongside the video, Krijno presents an interactive installation created specifically for L’Appartement: layered prints that visitors are invited to lift, revealing hidden images. This gesture suggests that an image is never fixed but in constant transformation, shaped both by the person who captures it and the one who views it.
LE SALON: Nico Krijno COLLAGES 2020-22
The publication Collages 2020–22 explores Nico Krijno’s work at the intersection of photography, collage, and painting. His approach blends abstract compositions, vibrant colors, and both analog and digital techniques, creating images in constant motion. With its mirrored cover, the book offers a unique visual experience. Each page reveals a new combination of forms and textures, encouraging a nonlinear reading where nothing remains fixed.
Balancing playful spontaneity with obsessive research, Krijno’s creative process resembles an endless game, echoing the spirit of the Dada and Surrealist avant-gardes. Collages 2020–22 provides insight into Krijno’s powerful and intriguing visual universe.
In collaboration with ThirdSpace (Zurich)
Published by Art Paper Editions
LE CINÉMA: Nico Krijno THE MOUTH OF TIME
The Mouth of Time is an immersive short film created specifically for Images Vevey. The film takes the viewer into a space between two worlds, where reality wavers through a play of mise en abyme. Krijno uses mirrors and reflections to distort perception and blur the boundary between the image and its interpretation.
Sequences collide, merge, and fade away, creating an intense visual experience where each image seems to conceal another. What is our relationship to the world and to community in uncertain times? The Mouth of Time is a meditation on the nature of change—an invitation to explore the unknown, not as a loss, but as a space for revelation and inspiration. | | |
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 | Fairs |
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| | | | photo basel 2025 | | | | switzerland's first international art fair dedicated to photography | | | | | | | 17 - 22 June, 2025 | | | Wednesday, 18 June 12h-20h
Thursday, 19 June 12h-20h
Friday, 20 June 12h-20h
Saturday, 21 June 12h-20h
Sunday, 22 June 12h-18h | | | | | | | | | | | | | | In addition to showcasing the finest in photography from leading international galleries and over 150 exceptional artists, this year’s edition of photo basel presents an enriched and dynamic program dedicated entirely to the world of fine art photography. The 2025 lineup features a compelling mix of curated exhibitions, artist talks, panel discussions, and special projects that explore both classic and contemporary photographic practices. With a focus on innovation, critical dialogue, and cross-cultural exchange, photo basel continues to be a vital platform for collectors, curators, and photography enthusiasts alike. | | |
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| | | | | | | | | | | | | | Mon-Wed 16-18 June
19 – 22 June 2025 | | | | | |
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| | | | | | Zeitgenössische Fotokunst im Dialog mit Kunst, Kultur und Kommunikation | | | | | | | 18 – 24 Jun 2025 | | | | | |
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| Festivals |
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| Upcoming |
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| | | | | | | | | | | | | | Fri 20 Jun 18:00
20 Jun – 28 Sep 2025 | | | | | |
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| | | © Matthew Abbott; 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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| | | | | | | | | | | | – 22 June 2025 | | | | | | | | | | | | | To celebrate the opening of the festival, Photoville will present a free Community Weekend (June 7 and 8), a visual storytelling event bringing various artists to Brooklyn Bridge Park, featuring 60 exhibitions and free public programming from Leica Camera , Creatively Wild , The Pulitzer Center , The International Center of Photography , The Marshall Project , Cynthia Santos Briones , The End Fund , The Climate Museum , and food and beverage vendors from Photoville’s longtime friends at Smorgasburg .
The evening of Saturday June 7 will see visual stories projected on the big screen under the Brooklyn Bridge for Catchlight ’s “ Night of Photojournalism ,” in partnership with Dysturb, Enlight Foundation, and PhotoWings, taking viewers behind the lens to explore what it takes to document truth in a complex world. It will kick off with a special presentation—from the Chris Hondros Fund and Photoville—of Tamir Kalifa ’s “ WITNESS ,” a multimedia performance of story, song, and photography.
Our Photo Village, with its classic shipping containers will be returning to Brooklyn Bridge Park – with additional open-air exhibitions in NYC Parks, and other NYC cultural institutions and public spaces through the five boroughs.
The Festival will also feature artist-led walking tours, workshops, and opportunities for educators and students to connect with the Festival’s featured visual storytellers. | | |
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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
contact@photography-now.com . T +49.30.24 34 27 80 |
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