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| PHOTOGRAPHY INTERNATIONAL | | 2 — 9 July 2025 | |
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| | Tony Albert (Kuku Yalanji), David Charles Collins and Kieran Lawson.
Warakurna Superheroes #1, Warakurna Superheroes series, 2017.
Courtesy of the artists / Sullivan+Strumpf. | | | | | | | | | | | 7 July – 5 October 2025 | | | | | | | | | | | | | “Country” is a term embodied by First Peoples in Australia to describe the lands, waterways, seas and cosmos to which they are connected. It represents Ancestral ties to a place, and the living cultural presence of that place, and references the complex relationship land has to language, family and identity. Being “on Country” is more than just being situated somewhere, it is about being shaped by that place, connected to it, and having a responsibility to care for it.
Placing First Peoples’ practice and relationality at the core of this exhibition, On Country: Photography from Australia brings together Indigenous and non-Indigenous artists who bear witness to both the visible and invisible aspects of being on Country. Through their work, the exhibition explores old and new relationships between Country and colonialism, community, and identity in Australia today.
Australia has a complex history that is underpinned by over 60,000 years of continuous and unceded First Peoples connection—comprising over 250 different language groups or “countries”. There has since been over two centuries of colonization, whereby settler and diaspora communities have made the continent their home. The nation is a shared space of multifaceted histories and stories, and although colonialism has attempted to suppress First Nations People, their culture has continued and is strong and living today.
In contrast to its historic use as an early tool for ethnographic documentation in Australia, the artists in this exhibition embrace photography as a medium for truth telling, self-determination and collaboration, both acknowledging the past and suggesting possible futures. On Country: Photography from Australia presents artists who conn… | | |
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| | Rafa Bqueer.
Image from the film Themônias, 2021.
Courtesy of the artist / Instituto Moreira Salles. | | | | | | | | | | | 7 July – 5 October 2025 | | | | | | | | | | | | | Ancestral Futures presents a new and generation of artists working with photography, video and collage to address contemporary Brazil society and history by reinterpreting its visual archives and traditions.
With fierce irony and surprising beauty, these artists denounce the historical violence against Afro-Brazilian, immigrant, indigenous and LGBTQIA+ peoples by exposing the construction of stereotypes and disputing the narration of the country’s official history. Their political attitude is also expressed by challenging the integrity and the formal qualities of the photographic frame.
The title of the show echoes indigenous philosopher and activist Ailton Krenak’s book Ancestral Future, which challenges the Western idea of progress as a chronologically and linear time to propose a future that is built by looking back to essential elements of the past.
Artists like Denilson Baniwa, Ventura Profana, Gê Viana, Mayara Ferrão, Yhuri Cruz and Igi Lọ́lá Ayedun use photo collage and AI to criticize colonialism and create visual archives with new representations of beauty, affection and spirituality.
Collective Lakapoy and filmmaker Lincoln Péricles also challenge official narratives by presenting photographic archives produced by their own communities.
Indigenous leader Celia Tupinambá denounces the European colonial expropriation of indigenous peoples by reclaiming the return to Brazil of the sacred Tupinambá cloak and reviving its dormant sewing tradition with the women of her village.
Artists such as Rafa Bqueer, Castiel Vitorino Brasileiro and Melissa Oliveira use direct photography and video to show how people’s bodies can also function as an archival territory where ancestral a… | | |
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| | | | | | | Untitled # 11 Image
© Carine Krecké 2024 -
To be published in: Prête-moi tes yeux (Le dénonciateur),
short film by Carine Krecké, 2025 |
| | | | | | | | | | | | Lët'z Arles | Luxembourg Photography Award 2025 Winner | | | 7 Jul – 5 Oct 2025 | | | | | |
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| | | | | | | Geraldo de Barros.
Abstrato, Fotoformas series, Luz Station, São Paulo, circa 1949.
Courtesy of the de Baros family / Instituto Moreira Salles. |
| | | | Brazilian Modernist Photography, 1939–1964 - Rencontres d'Arles 2025 | | | | | | | 7 Jul – 5 Oct 2025 | | | | | |
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| | | | | | | | Alice Springs, Christian Lacroix and wife Françoise Rosenthiel, Paris 1987 © Helmut Newton Foundation. |
| | | | | | | | In collaboration with the Helmut Newton Foundation | | | 7 Jul – 13 Aug 2025 | | | | | |
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| | | Héros, Jann HOFER & Martin LAMBERTY | | | | | | | | | | | 7 July – 5 October 2025 | | | | Opening: Wednesday 9 July‚ 19:00 | | | | | | | | | | | | | In 2025, the Manuel Rivera-Ortiz Foundation celebrates its 10th anniversary at H tel Blain with a captivating exploration of mystery, magic, and occult worlds. This program invites visitors to cross the threshold of the invisible, delve into the unknown, and question beliefs that defy reason. Each exhibition becomes a passage, an echo of hidden traditions, an immersion into the elusive. Far from certainties, this sensory journey opens the doors of imagination and reveals the aura of mystery.
Through the figure of the Black Madonna, Saint Sara, the program examines popular beliefs that, between devotion and transgression, transcend cultures and eras.
Fotohaus amplifies this program with the theme “Controversy and Paradox”, inviting an exploration of the tensions and contradictions that arise when beliefs collide with reality. In a French and European society shaped by rationalism, spirituality is often relegated to the periphery of dominant discourse, oscillating between fascination and rejection. | | |
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| | Weronika Gęsicka, Near Dark, & Stone louse,
from the series „Encyclopaedia“, 2023-2024
© Weronika Gęsicka | | | | | | | | 7 July – 5 October 2025 | | | | Opening: Wednesday 9 July 19:00 | | | | | | | | | | | | | As part of its commitment to supporting young talent, the Deutsche Börse Photography Foundation is showing an exciting international position for the sixth time as part of “Les Rencontres de la Photographie d'Arles”: this time the Polish artist Weronika Gęsicka. As in previous years, the exhibition is a collaboration with Fotohaus ParisBerlin and the Manuel Rivera-Ortiz Foundation.
With her latest project “Encyclopaedia”, Polish artist Weronika Gęsicka (*1984) visualizes incorrect text entries in encyclopaedias in a humorous and intelligent way.In a humorous and intelligent way, Gęsicka visualizes false text entries in encyclopedias. The bundled collection of facts and knowledge in the form of encyclopedias had its heyday in the 18th century. At that time, countless new reference works appeared, which became an important resource for research and general education. Although considered by many to be reliable sources of knowledge, almost all of them also reveal false entries on closer inspection. They were formulated so precisely and credibly that most readers did not recognize them as “fakes.” These deliberately placed fictitious entries had one main purpose: to prevent copyright infringement, as they could be used to quickly expose copies. This is what Weronika Gęsicka plays with: she illustrates the fake entries both with manipulated stock and archive photos and with AI-generated images. In this way, she creates humorous picture puzzles, whose inconsistencies only become apparent upon closer look. Similar to an encyclopedia, the terms she selected for her project come from all areas of knowledge. The spectrum ranges from fictional personalities and animal species to fashion brands and monsters. Gęsicka presents her images together with the corresponding historical entries. In a playful way, her group of works encourages us to reflect on the reliability of facts and sources of information in the age of fake news and artificial intelligence.
Weronika Gęsicka (*1984, Włocławek, Poland) graduated from the Graphics Faculty of the Academy of Fine Arts in Warsaw, Poland in 2009. In 2017, she was selected for the Foam Talent Programme. Parts of her series “Traces” were acquired for the Art Collection Deutsche Börse in 2018. | | |
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| | | | | | | | © Nora Bibel aus der Serie "Myanmar's Driving Force" |
| | | | | | | | | | | | Thu 3 Jul 19:00
4 Jul – 21 Sep 2025 | | | | | |
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| | Helmut Newton
Italian Vogue, Monte Carlo, 2003 (SX-70)
© Helmut Newton Foundation | | | | | | | | | | | extended until 17 August 2025 | | | | | | | | | | | | | The Polaroid process revolutionized photography in the 1960s. Those who have used Polaroid cameras often recall the distinctive smell of the developing emulsion and the magic of watching an image materialize instantly. Depending on the camera model, some prints developed automatically, while others required the application of a chemical coating to fix the image. In this sense, Polaroids can be seen as a precursor to today’s digital photography – not in technical terms, but because of their immediate accessibility.
Polaroids are generally regarded as unique prints. This pioneering technology attracted enthusiastic users worldwide and in nearly all photographic genres – landscape, still life, portraits, fashion, and nude photography. Helmut Newton was particularly captivated by Polaroid photography, using a variety of Polaroid cameras and instant film backs, which replaced the roll film cassettes in his medium-format cameras. From the 1960s until his death in 2004, Newton relied on Polaroids primarily to prepare for fashion shoots. These instant photographs served as visual sketches, helping to test lighting conditions and refine his compositions. Despite their role as preparatory studies, Newton dedicated a book to these images in 1992, followed by a second book published posthumously in 2011. Some of Newton’s Polaroids, signed as standalone works, have since become highly prized on the art market.
The archive of the Helmut Newton Foundation in Berlin holds hundreds of Newton’s original Polaroids. A carefully chosen selection from this collection has been curated and accompanied by enlargements of select works. The photographs are arranged roughly chronologically rather than by genre, but they reveal Newton’s extensive use… | | |
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| | Kawauchi Rinko
Untitled, 2004
Form the series the eyes, the ears
Courtesy the artist and Aperture
© Kawauchi Rinko 2025 | | | | | | | Japanese Women Photographers from the 1950s to Now | | | | | | | | ... until 7 September 2025 | | | | | | | | | | | | | The influence of women in Japanese photography has been greatly underestimated. While the work of male Japanese photographers has been critically recognized internationally, their female colleagues have remained under the radar. The women artists featured in this exhibition have most often worked independently and experimentally, using their personal stories to explore the role of women, raise questions about gender and identity, and critique patriarchal norms.
By presenting "I’M SO HAPPY YOU ARE HERE" at the Fotografie Forum Frankfurt a revolutionary insight into Japanese photography from the 1950s to our times is highlighted. The focus is on women photographers and their perspectives on everyday life and society in Japan.
Co-Curator Takeuchi Mariko: "This exhibition celebrates the diversity and individuality of Japanese women photographers, and offers a fresh lens through which to rediscover Japanese photography. Importantly, it serves as a platform to amplify voices that have long been marginalized, and to imagine a more inclusive and affirming future."
The exhibition examines these different aspects in four distinct yet interconnected sections: 'The Pioneers' provides an overview of the women who paved the way since the introduction of the medium to Japan. 'The Elevation of the Everyday' brings together a look at common moments and their poetic interpretations. Through 'Critical Perspectives on Self, Gender, and Society', the photographers explore identity and society. 'Extensions of and Experiments with the Medium' explores a range of expanded approaches to the photographic.
The wide array of intergenerational perspectives gathered together in this … | | |
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| | | STATES OF REBIRTH - The photographed Body in Motion PHOXXI 2025 | | | | | | | The photographed Body in Motion | | | | | | | | ... until 17 August 2025 | | | | | | | | | | | | | The exhibition "States of Rebirth" at Deichtorhallen Hamburg examines the correlation between the body, movement and societal structures in physical and digital spaces, through a focus on documentary and conceptual projects in Performance-, Portrait and Dance-Photography. Through a choreography of photographs that explore the relationship between moving bodies, the exhibition examines how our attitudes, gestures and affections at once reflect, configure and transform how we negotiate societal change.
The exhibition brings current practices into urgent dialogue. Presented are works by KhingWei Bei, Felipe Romero Beltrán, Moshtari Hilal, Naomi Lulendo, Ana Maria Sales Prado, Roxana Rios, Aykan Safoğlu, Isaac Chong Wai und Farren van Wyk who stage so-called "glocal bodies". Iranian dance scholar Elaheh Hatami coined the term to describe bodies that hold ties to more than one place.
"States of Rebirth" traces how our understanding of the gaze – from one body to another, the seer to the seen – has reversed, and how these aesthetic principles might help dismantle our sense of belonging. As Moshtari Hilal formulates it in her at-once poetic, autobiographic and analytically precise essay Hässlichkeit (Ugliness, 2023): "The gaze has turned: it is not those who are looked at who are ugly, but those who look with the intention to dehumanize."
Bodies are storytellers, whether in everyday life or in choreographed movements. Experiences of migration, marginalisation and social exclusion shape our body language, our perception of the self and the other. Our poses and postures can be seen as the reflection on our embedding in social (power) structures.
At the same time, they can be a medium of self-empowerment, resistance and transformation. T… | | |
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| | | | | | | VALIE EXPORT
Die Geburtenmadonna, 1976
Farbfotografie
© VALIE EXPORT / VG Bildkunst, Bonn
Courtesy of Gallery Thaddaeus Ropac, Paris
SAMMLUNG VERBUND, Wien |
| | | | FEMINISTISCHE AVANTGARDE. WERKE AUS DER SAMMLUNG VERBUND, WIEN | | | | | | | Fri 4 Jul 19:00
5 Jul – 28 Sep 2025 | | | | | |
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| | | | | | | Georges Rousse.
Project for La Celle 1, 2025.
Courtesy of the artist. |
| | | | | | | | | | | | Grand Express Arles 2025 | | | 7 Jul – 2 Nov 2025 | | | | | |
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| | Vivian Maier
Chicago, 1962
Archival pigment print, printed later
30.3 × 30.3 cm | From an edition of 15
Signed, authenticated, and numbered in ink on verso
© Estate of Vivian Maier
Courtesy Maloof Collection, Ira Stehmann Fine Art, Munich & Howard Greenberg Gallery, NY | | | Vivian Maier » Myth in the Shadows –
The Eye of Vivian Maier | | | | 3 July 2025 – 15 January 2026 | | | | | | | | | | | | | Ira Stehmann Fine Art presents an extraordinary exhibition offering a fresh and in-depth perspective on the work of the captivating photographer Vivian Maier. Titled "Myth in the Shadows – The Eye of Vivian Maier," the show features not only her iconic black-and-white photographs but also a wide selection of her color work – a frequently overlooked facet of her artistic legacy.
Vivian Maier (1926–2009) is one of the most fascinating figures in the history of photography. Discovered only after her death, her work is now recognized as a milestone in the field of street photography. For decades, she documented urban life with a sharp and sensitive eye – all while remaining virtually invisible herself.
Her archive, comprising over 140,000 negatives, prints, and film rolls, is a hidden treasure whose significance only came to light posthumously. The exhibition "Myth in the Shadows – The Eye of Vivian Maier" tells the story of a woman who worked as a nanny while simultaneously creating a remarkable photographic chronicle of 20th-century everyday life.
Maier’s photographs capture fleeting, poignant moments – street scenes, reflections, gestures – infused with intensity and empathy. The myth of Vivian Maier continues to raise questions to this day: Who was this woman who observed the world with such a keen eye, yet remained hidden from it? When does a body of work become art? And who decides what is seen – and what remains in the shadows?
Although Vivian Maier is best known today for her striking black-and-white photography, her oeuvre is often narrowly defined by this one visual style. In truth, her artistic output is far more diverse. This exhibition invites viewers to discover Maier’s color photographs as well – work… | | |
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| | Angel, Overtown, Miami, Florida, USA, 2022.
© Bruce Gilden / Magnum Photos | Dewayn, State Fair, Des Moines, Iowa, USA, 2014.
© Bruce Gilden / Magnum Photos |
| | | | | | | | ... until 7 September 2025 | | | | | | | | | | | | | Since 1995, the cultural commitment of the KUNSTFOYER exhibitions by the Versicherungskammer Bayern has been part of Munich's museum mile. The curatorial focus lies primarily on photography retrospectives and topics related to the world of film. After a short exhibition break (August 2024 – April 2025), the Kunstfoyer has moved from Maximilianstraße 53 to Thierschplatz 6 in Munich and continues to be a reliable venue for thought-provoking thematic exhibitions showcasing significant artistic positions. A former pizzeria has undergone a structural metamorphosis to become an exhibition space for everyone: the Kunstfoyer welcomes all visitors with socially relevant themes—free of charge. To date, around 100,000 people have visited the three exhibitions held each year, with over 300,000 digital visitors accessing our website in the same time span. We aim to build on this success with our future exhibition program.
Starting May 8, 2025, we will adopt a transatlantic change of perspective in our newly designed city-center exhibition space: most recently, we showcased photographs and photo reportages by the 14 current female Magnum photographers. Now, also from the legendary Magnum agency, comes the world-renowned street photographer and portraitist Bruce Gilden. The exhibition was conceived by Isabel Siben in collaboration with Bruce Gilden: it presents 50 black-and-white street photographs taken since 1969 in locations such as Coney Island, New York City, Haiti, Japan, Ireland, London, and Paris. In addition, 22 large-scale portraits—so-called "faces"—are featured, unleashing monumental power in the space through their authenticity. | | |
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| | | Lim Suk Je, Joyful Moments, 1955, 12.8×13.2cm, Collection of Photography Seoul Museum of Art | | | | | | | Beginnings of Korean Art Photography | | | | | | | | ... until 12 October 2025 | | | | | | | | | | | | | The Photography Seoul Museum of Art (Photo SeMA) launches its inaugural special exhibition, THE RADIANCE: BEGINNINGS OF KOREAN ART PHOTOGRAPHY, exploring photography’s journey to establish itself as an art form in Korea. Revisiting Korean photographic history extends beyond merely filling in historical gaps, presenting an attempt to raise new questions about the present through these intervals. Today, photography is not only a genre of art but is constantly being reinterpreted in terms of its social and cultural significance, value, and methods of appreciation. This exhibition responds to these ongoing reinterpretations by shedding new light on how photography established itself as an art form in Korea. The collection and research accumulated over the past decade since the Photo SeMA’s establishment plan was confirmed in 2015, has laid the groundwork for this exhibition. Building upon this body of work, this exhibition seeks to examine how the medium has captured the sensibilities and thoughts of different eras in Korea.
Since the beginning of Korean photography in the 1880s, photography developed beyond mere documentation to become a medium for aesthetic experimentation and conveying messages of social expression. This exhibition demonstrates that these streams of change were never singular, and focuses on the moments that transformed photography from technique to art. These turning points manifest through the diverse practices of five artists: Jung Haechang, Lim Suk Je, Lee Hyungrok, Cho Hyundu, and Park Youngsook. Through these practitioners, the exhibition connects the multilayered developments that Korean photography has established. Their works demonstrate methodologies for reconstructing photography as an artistic language within different … | | |
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| | Unfinished Architecture, Nature in Construction
Won Seoung Won 2025 | | | | | | | | | | | ... until 12 October 2025 | | | | | | | | | | | | | To mark its grand opening, the Photography Seoul Museum of Art presents Storage Story, an inaugural exhibition that reframes the museum’s formation not as a bureaucratic procedure or material outcome, but as a site of sensory and multivocal interpretation. This exhibition proposes that photography can extend beyond documentation to serve as a platform for artistic reflection and practice.
The exhibition title draws from the museum’s location in Chang-dong (倉洞)―a historical grain storage site. Today, the notion of storage shifts toward the museum’s role as a repository of images, memory, collections, and data. Yet, this archive is not static. Rather, it becomes a dynamic site of narrative emergence―an intersection of historical context and creative reinterpretation.
The exhibition defines photography’s representative functions as “Material,” “Record,” and “Information,” collaborating with six contemporary artists who engaged with the construction site, materials, collections and archives, and the cultural and ecological context of Chang-dong. This approach positions the museum’s emergence not merely as an institutional milestone but as a collective act shaped by memory, technology, and structural transformation. The exhibition simultaneously reconsiders the ontology of photography, exploring its multifaceted role in contemporary art.
As the museum’s first curatorial project, Storage Story asks how photography might be reimagined and recontextualized within the field of contemporary art. It considers the medium not only as a widely used and beloved form but also as a conduit for personal and collective memories. | | |
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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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| | | | | | | | | | | | | | 7 – 13 July 2025 | | | | | | | | | | | | | Throughout the city, day and night, photographers and curators of the program meet the public at evening screenings, exhibition tours, debates, lectures…
Monday 7 July 3:30 PM - 5:00 PM
EXHIBITIONS TOUR ITINERARY
Official tour of a selection of exhibitions.
5:00 PM - 6:00 PM
OPENING SPEECH OF THE 56TH EDITION OF THE RENCONTRES D’ARLES
Official opening of the Rencontres d’Arles 2025.
OPENING WEEK JULY 7 — 13, 2025 » | | |
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| | | | | | | | | | | | | | Thu 3 Jul 18:00
3 – 6 July 2025 | | | | | |
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| | | © Joel Meyerowitz; 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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| | | | | | | | | | Outdoor-Fotografie-Festival | | | – 10 Aug 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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© 2 July 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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