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| PHOTOGRAPHY INTERNATIONAL | | 24 - 31 January 2024 | |
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| | From 25 January to 25 February PhotoBrussels Festival aims to bring together all enthusiasts, actors and professionals of contemporary photography. The Festival is an event that establishes Brussels as an essential player in the international photographic scene and is part of the European Month of Photography (EMOP).
A wide-ranging program of 50 exhibitions, workshops, conferences and guided tours takes place throughout the program, making it a must-attend event for photography lovers.
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| | Three online auctions are currently running:
At Dorotheum, Vienna there are more than 200 lots until Thursday, 25 January, 3pm.
Grisebach, Berlin offers 109 lots till 28 January.
Bonhams Skinner is presenting an online auction from 21 to 31 January.
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| | | Dialect, 2023 © Felipe Romero Beltrán. | | | | | | | | Winner of the Foam Paul Huf Award 2023 | | | | 26 January – 1 May 2024 | | | | Opening: Thursday, 25 January, 5:30 – 9 pm | | |  | | | | | | | | | | In 2023, Felipe Romero Beltrán won the 17th edition of the Foam Paul Huf Award. Now Foam is proud to announce his solo exhibition Dialect. The exhibition captures the journey of a group of young Moroccan men after their arrival from a dangerous journey crossing the sea to Spain. Romero Beltrán creates a multimedia narrative of the boys becoming young men, navigating a period of legal limbo in Spain. Through his work, Romero Beltrán sheds light on issues such as alienation and social inequity of migrants in today’s society.
Born in Colombia, Romero Beltrán often focuses in his practice on societal issues where he follows his subjects for several years. For Dialect he documented the lives of these young adults for three years –the period it takes to go through the legal process of obtaining citizenship. After a perilous journey where they have crossed the Strait of Gibraltar; the maritime border between Morocco and Spain, these young men settled in Seville. While their legal status is being reviewed, these young men find themselves in a void: estranged from the familiarity of their home country and separated from a new society they can’t take part in. Even when they manage to step out of the legal vacuum, they remain ‘the others’ , experiencing a sense of alienation in this newly adopted country.
Romero Beltrán relies on a strong, almost cinematic framing in his work. He combines documentary photography with elements of performance and choreography. Alongside his photography, the exhibition will showcase videowork and include an installation as a response to the inaccessible paperwork this legal process brings along. Felipe Romero Beltrán displays a powerful humane manner in his practice: the subject and method of his work a… | | |
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| | Papst, New York, 1990
from the series In einem Wind aus Sternenstaub
© Gundula Schulze Eldowy | | | | | | | | | | | 25 January – 1 April 2024 | | | | Opening: Wednesday 24 January 7pm | | | | | | | | | | | | | | Meeting the American photographer Robert Frank in East Berlin in 1985 became a key moment for Gundula Schulze Eldowy. Frank and Schulze Eldowy instantly discovered the artistic affinity they shared: their eye for misfits and outcasts, their coupling of social documentary photography and poetry and their absolute independence. A graduate of the Academy of Fine Arts Leipzig (HGB), who had been born in Erfurt in 1954, Schulze Eldowy refused from the outset to be shoehorned into any dogma. Her pictures were provocative: on the one hand, East Berlin neighbourhoods, where the vestiges of the war were everywhere to be seen, and, on the other, nude portraits, which were unsparing yet sensitive and full of dignity. On the other side of the Iron Curtain was the Swiss-American photographer Robert Frank (1924–2019) – regarded to this day as a pioneer of documentary photography – whose 1958 volume of photographs, The Americans, presented a sobering counterimage to the American Dream. Together, they embarked on an intensive exchange of letters that crossed borders and spanned continents. After the fall of the Berlin Wall, the young photographer took Frank up on his invitation to New York. There, in the Mecca of the avant-garde, she experienced the free-spiritedness of the art scene and the world of the beatniks, which led to a radical shift in her visual aesthetics. She used new techniques, experimenting with Polaroids, video, double exposures and different ways of processing the material to give form to her impressions and sense of Manhattan visualised as a hall of mirrors. Her photographs are no longer bound to unmediated reality; instead, they go in search of expanded ways of being and fluid forms of consciousness. The exhibition reconstructs Schulze Eldowy's career as she moved from East Berlin to New York, from straight photography to a poetic visual vocabulary that is expressed in the blending of photography, film, painting and poetry fused into an artistic cosmos. It presents the dialogue between the two artists Gundula Schulze Eldowy and Robert Frank as conveyed in their photographs, films, diary entries and innumerable letters. Filmmaker Helke Misselwitz presents their correspondence in a video installation. Supported by the Capital Cultural Fund | | |
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| | | |  | | | Genowefa Wisnicka Blazejczyk (*1930) mit Urenkelin
Lydia Bergida & Marco Limberg |
| | | | | | | | the last of "The Righteous Among the Nations" | | | | | | | Thu 25 Jan 19:00
26 Jan – 7 Apr 2024 | | | | | |
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| | | from the series "Luriki" © Boris Mikhailov | | | | | | | PhotoBrussels Festival 08 | | | | | | | | 26 January – 23 March 2024 | | | | Opening: Thursday 25 January, 5:30 pm | | | | | | | | | | | | | | The exhibition shows the challenges, faced by several generations of Ukrainian photographers. Cyclical processes, historical events and unity erase the borderline between these generations. The collection of photos from the 1970s to present, from Boris Mikhailov to young emerging photographers, emphasises the spiral nature of the struggle for Ukraine’s independence and democratic development. The history of Ukraine is a struggle for the future, which continues through generations. Here photography and art become one of the main methods to record and archive changes and one of the ways to fight in the war and resist colonial policy. - Kateryna Radchenko | | |
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| | Christiane Feser
Lamellen 31, 2023
zweilagiges Fotoobjekt, Archival Fine Art Print
68 x 97 x 4 cm
Unikat
© Christiane Feser | | | | | | | | ... until 3 February 2024 | | | | | | | | | | | | | Christiane Feser's works operate at the border between reality and illusion, between two-dimensional photography and three-dimensional object. Her art examines the relationship between formal structures and the interplay of light and shadow. In her photo objects, the artist reveals how photography can deceive perception by intricately weaving real objects and their photographic representations together. Through the apparent merging of materiality and its photographic interpretation, Christiane Feser creates a visual disturbance that invites a closer look and challenges the boundaries of photographic representation.
"Über Flächen" showcases a selection of Christiane Feser's latest works, originating from the geometric basic form of the line. Cut paper strips assemble into precisely staged compositions of individual surfaces, forming an image motif that evolves through a multistage process into a paper object where nothing is as it seems. It is precisely the intersection of art, perception, and imagination that Christiane Feser explores here. She uses the camera not only as a tool for capture but as a medium for expanding reality. This approach reveals a profound philosophical foundation. Her works not only reflect the visible aspects of reality but aim to establish a connection between the known and unknown.
Christiane Feser's art encourages transcending the concrete and material, opening a space for contemplating complex interweaving of temporal and reality layers. "Beyond Surfaces" represents both aesthetic contemplation and an opportunity to penetrate the complexity of reality beyond what is purely visually perceptible. | | |
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| | Du Magazin, November 1959, Nr. 225
© Conzett + Huber | | | | | | | du Magazin 1959 - The rediscovery of an oeuvre | | | | ... extended until 2 March 2023 | | | | | | | | | | | | | With the exhibition "August Sander. du Magazin 1959 - The Rediscovery of an Oeuvre", Galerie Julian Sander refers to a special issue of the Swiss monthly magazine du from November 1959, which was dedicated to the work of the then 83-year-old photographer August Sander. Since it was founded in 1941, the magazine saw itself not only as a forum for humanistic educational journalism, but also as a presentation medium for historical and experimental photography. Internationally renowned photographers such as Werner Bischof, René Burri, Henri Cartier-Bresson, Bruce Davidson, Robert Frank and Herbert List were among its authors. The special issue on August Sander marked the end of a decade in which the photographer's epochal portrait work had gradually gained new recognition. The publication was preceded by exhibitions of his work at the second photokina in 1951 and the famous "Family of Man" show curated by Edward Steichen, which first opened in New York in 1955. The city of Cologne also acquired Sander's portfolio "Cologne as it was" in 1953. With the publication in the Schweizer du, August Sander's work was also extensively recognized in the media for the first time after the war.
The then editor-in-chief of the magazine and later co-founder of the Swiss "Foundation for Photography", Manuel Gasser, describes his first encounter with August Sander's 1929 photo book "Antlitz der Zeit" as a "shock". He first became aware of the photographer Sander through the book just one year after the end of the war. In his text, which follows the fifty portraits in the magazine du, Gasser notes: "What kind of man is this Sander? What attitude towards his environment and fellow hu… | | |
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| | | 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. | | |
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| | | |  | | | | Sergio Scabar, Silenzi di luce. Memorie di cose fotografiche n.3, 2007, 32 x 41 cm. Stampa alchemica ai sali d'argento su carta baritata, esemplare unico, collezione privata |
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| | | Installation view of the exhibition “An-My Lê: Between Two Rivers/Giữa hai giòng sông/Entre deux Rivières" | | | | | | | Between Two Rivers/Giữa hai giòng sông/Entre deux rivières | | | | ... until 16 March 2024 | | | | | | | | | | | | | | For 30 years, the photographs of artist An-My Lê have engaged the complex fictions that inform how we justify, represent, and mythologize warfare and other forms of conflict. Lê does not take a straightforward photojournalistic approach to depicting combat. Rather, with poetic attention to politics and landscape, she meditates on the meaning of perpetual violence, war’s environmental impact, and the significance of diaspora. “Being a landscape photographer,” she has said, “means creating a relationship between various categories—the individual within a larger construct such as the military, history, and culture.” An-My Lê: Between Two Rivers/Giữa hai giòng sông/Entre deux rivières is the first exhibition to present Lê’s powerful photographs alongside her forays into film, video, textiles, and sculpture. Never-before-seen embroideries—some large scale, others the size of a laptop screen—and rarely shown photographs from her Delta and Gabinetto series explore the relationship between mass media, gender, labor, and violence. And an immersive installation created especially for the exhibition attests to the artist’s long-standing consideration of the cinematic dimensions of photography and war. Born in Vietnam in 1960, Lê came to the United States in 1975, after the fall of Saigon, as a political refugee. The two rivers in the exhibition’s title refer to the Mekong and Mississippi river deltas, to Vietnam and the United States. The phrase also gestures toward other subjects that Lê has inflected with her own experiences of war and displacement, from the Seine, to the Hudson River, to the Mexican-American border along the Rio Grande. It is a metaphor that invites viewers… | | |
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| | | |  | | | | © Latoya Beechman |
| | | | | | | | 10 Years of Youth Photography at the BDC | | | Fri 26 Jan 18:00
26 Jan – 3 Mar 2024 | | | | | |
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| | | | | | | | | | | | | BAM Collectible 6 | | 24 Jan – 9 Mar 2024 | | | | | | | |
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| | | JEAN MORAL FRANÇAIS, LONDRES, 1934 | WILLY ZIELKE, VARIATION AFGA I, C. 1933 |
| | | | | | | Homage to Christian Bouqueret (1950-2013) | | | | | | | | ... until 24 February 2024 | | | | | | | | | | | | | 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… | | |
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| | | |  | | | | Cristina de Middel. from the series Gentlemen´s Club, 2018. Magnum PHotos |
| | | | | | | | | | | | Thu 25 Jan 18:30
25 Jan – 17 Mar 2024 | | | | | |
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| | | |  | | | | © Maki Hayashida |
| | | | | | | | 17th Shiseido Art Egg | | | 30 Jan – 3 Mar 2024 | | | | | |
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| | Christopher Anderson, Canada (1970)
from the series Family Trilogy, 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? | | |
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 | Fairs |
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| | | | | | | | | | | | | | Wed 24 Jan 14:00
25 – 28 Jan 2024 | | | | | |
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| | | | | | | | | | | | | | Wed 24 Jan 17:00
25 – 28 Jan 2024 | | | | | |
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| AUCTIONS |
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| | | Weeteng Poh. Lightness of Being, from the series “Nobody likes Plastic Roses”. 2022 Ditone print, 2023. Canson Platine Fibre Rag paper. 32.1 × 21.5 cm (34 × 23.5 cm). EUR 600–800 // Michael Wesely. 18.1.–25.1.1998, from the series “Tulpen”. 1996/98. C-print. 62 × 48 cm. EUR 3,000–4,000 | | | | | | | | | | | | | Auction: 19 – 28 January 2024 | | | Talk “Fotografische Begegnungen“ Saturday, 27 January, 1pm
Grisebach, Fasanenstraße 25, 10719 Berlin
Talk guests: Caroline von Courten (Der Greif), Christian Ganzenberg (freier Kurator), Diandra Donecker (Grisebach) | | | | | | | | | | | | | Photography “online only“ is delighted to present an exciting cooperation for the first auction of 2024 – together with the contemporary photography organization DER GREIF we bring to auction 15 contemporary photographs from not yet established artists that were submitted to DER GREIF as part of an open call. The sale juxtaposes classic photographic works from artists such as Roger Fenton, Herbert List, Jeanloup Sieff, Elliott Erwitt, Barbara Klemm and Larry Clark with outstanding contemporary pieces. Grisebach and DER GREIF playfully dedicate themselves to this experiment of encounter and dialogue, at the same time we also want to strengthen the young scene of contemporary photography.
The 109 lots on offer take you on a journey through international photographic history with works by René Burri, Anton Corbijn, Nan Goldin, Candida Höfer, Heinrich Kühn, Robert Lebeck, Edward Muybridge, Bettina Rheims, Sebastião Salgado, Bert Stern, Wolfgang Tillmans and others. | | |
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| | Lot 145
VALIE EXPORT
3 Figurationszeichen/3 Konfigurationszeichen (3 parts), 1976
Vintages, gelatin silver prints
Estimate: EUR 30.000/45.000 | | | | | | | Online auction: Thursday 25 January 2024, 3pm | | | | | | | Download lot list as PDF »
View print catalogue » | | | | | | | | | | | | | Dorotheum's photography auction includes travel documentaries, studies and portraits spanning from the 19th to the 21st century.
Vienna at the turn of the century is represented by Moriz Nähr, a close friend of Gustav Klimt. The portrait of Adolf Loos, taken in 1926 by the photographer Steffi Brandl, who trained under Trude Fleischmann, features a personal dedication to the son of his master upholsterer. The offer also includes portraits by August Sander and Hugo Erfurth, amongst others.
Inscribing the female body in (public) space through "body configurations" was regarded as an essential component of VALIE EXPORT's feminist-conceptual works in the 1970s. The three-part work "3 Figurationszeichen/3 Konfigurationszeichen", produced in an edition of three in 1976, can be seen as the best example of this. The sale also includes works by other pioneers of the female avant-garde, such as Francesca Woodman and Elfriede Pezold.
One of Arnulf Rainer’s principles has always been to illuminate extremes. His overpaintings, erasures or works executed under the influence of drugs, bear witness to this. His existentialist "Perspectives of Destruction", created with the photographer Wolfgang Kudrnofsky in Paris in 1951, also show the possibilities of destruction and negation. This is a portfolio produced in a small edition with 12 black and white photographs depicting surrealist drawings as well as various materials. | | |
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| APPLICATIONS |
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| | | | Prix Elysée 2025 | | | | International Photography Prize | | | Apply until January 28, 2024
More information: prixelysee.ch | | | | | | | | | | | | | The Prix Elysée is one of the world's most prestigious photography awards, with a prize of CHF 80,000. Its aim is to support the photographic production of a mid-career artist. Thanks to this financial support, the artist can develop an original project on the theme of his or her choice.
The call for entries for the Prix Elysée 2025 is open from November 10, 2023 to January 28, 2024 on Picter.
Founded in 2014, the Prix Elysée is the result of an exclusive partnership between Photo Elysée and Parmigiani Fleurier. The eight nominees will be announced in June 2024, and the winner will be chosen by an international jury in 2025.
Who is the Prix Elysée for?
The aim of the Prix Elysée is to raise the international profile of a promising photographer, recognized in his or her own country, and to provide substantial financial support for an ambitious project. Photographers who have built their careers on exhibitions and publications, but who have not yet benefited from a mid-career retrospective, are eligible. Photographers must be recommended by a recognized professional in the field of photography or art (gallery, publishing house, etc.).
How to apply?
Entries can be submitted from November 10, 2023 to January 28, 2024 on the Picter platform. Instructions and prize regulations are available in English and French at prixelysee.ch
How does it work?
Eight nominated photographers are selected on the basis of the quality of their applications. Each nominee receives a contribution of CHF 5,000 to further his or her research. Photo Elysée announces the selection of the eight artists nominated for the Prix Elysée 2025. The winner is then chosen by a jury of international experts and receives CHF 40,000 to complete the project. A further CHF 40,000 is dedicated to promoting the project (publication and/or exhibition). | | | Timeline 10 November 2023: Application open 28 January 2024: Closing date for applications 22 June 2024: Announcement of the 8 nominees for the Prix Elysée 2025 and presentation of the finalized project by Debi Cornwall, winner of the Prix Elysée 2023. June 2025: Announcement of Prix Elysée 2025 winner | | |
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| | | |  | | | 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. | | |
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| | | | 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. | | | | |
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| Festivals |
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| Upcoming |
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| | | | | | European Month of Photography | | | | | | | 25 Jan – 25 Feb 2024 | | | | | |
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| | | | | | you’re doing amazing sweetie | | | | | | | 31 Jan – 4 Feb 2024 | | | | | |
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| Current |
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| | | | | | Aliments Terre | | | | | | | – 2 Mar 2024 | | | | | |
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| | | | | | Die Allgegenwärtigkeit fotografischer Bilder | | | | | | | – 4 Feb 2024 | | | | | |
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| | | | | | Memory is an Editing Station | | | | | | | – 28 Apr 2024 | | | | | |
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| | | | | | Cosmos Cinema | | | | | | | – 31 Mar 2024 | | | | | |
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| | | |  | | | 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 | | | | | |
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| | | | | | More than 100 photographers and artists from 18 countries of 25 exhibitions | | | | | | | – 11 Feb 2024 | | | | | |
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© 24 January 204 photography now UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Michael Steinke
contact@photography-now.com . T +49.30.24 34 27 80 |
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