[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"sanity-h9hf9v-{\"slug\":\"alliance-infinity-love-in-the-face-of-the-other\"}":3},{"_createdAt":4,"_id":5,"_rev":6,"_translations":7,"_type":8,"_updatedAt":9,"content":10,"date":90,"exhibitions":93,"seo":544,"slug":555,"thumbnail":558,"title":554,"venue":599},"2026-05-12T15:15:35Z","4d4efdab-8e40-4cbe-ab29-356bf2432de2","B18k2Qgd9WjLuzv1THxDPF",[],"exhibition","2026-06-29T10:13:44Z",[11,62],{"_key":12,"_type":13,"language":14,"value":15},"B18k2Qgd9WjLuzv1THxDq2","internationalizedArrayRichTextMediaValue","de",[16,46,54],{"_key":17,"_type":18,"children":19,"markDefs":35,"style":45},"4eb9c07c9954","block",[20,25,31],{"_key":21,"_type":22,"marks":23,"text":24},"10f8ee456408","span",[],"Die von Mark Sealy kuratierte Hauptausstellung der ",{"_key":26,"_type":22,"marks":27,"text":30},"3cfae009d618",[28,29],"8082c0bff610","deb187518e71","9. Triennale der Photographie Hamburg",{"_key":32,"_type":22,"marks":33,"text":34},"bff2ab12fdf0",[]," feiert die kulturelle und künstlerische Vielfalt der Fotografie, ihre heilende und transformative Kraft – und schafft einen offenen, vielstimmigen Raum der Begegnung, der gesellschaftliche Polarisierungen hinterfragt und die Trennung von »Wir« und den\u002Fdem »Anderen« überwinden will. Zugleich lässt sie die dem Festival zugrundeliegenden ethischen Prinzipien von »Alliance, Infinity, Love – in the Face of the Other« erlebbar werden. ",[36,41],{"_id":37,"_key":28,"_translations":38,"_type":39,"linkType":39,"route":40,"slug":37,"title":37},null,[],"linkInternal","index",{"_key":29,"_type":42,"blank":43,"href":44,"linkType":42,"title":44},"linkExternal",true,"https:\u002F\u002F2026.phototriennale.de\u002F","normal",{"_key":47,"_type":18,"children":48,"markDefs":53,"style":45},"b7cd2daac5b8",[49],{"_key":50,"_type":22,"marks":51,"text":52},"66b687e4f03c",[],"Präsentiert werden rund 30 künstlerische Positionen aus Fotografie, Video und Film, die von unterschiedlichsten Orten und kulturellen Erfahrungen erzählen: von Australien und Japan über Libanon und Palästina bis Brasilien und Jamaika, von Südafrika über Brüssel oder London bis Grönland.",[],{"_key":55,"_type":18,"children":56,"markDefs":61,"style":45},"4c1cfdc2fdb6",[57],{"_key":58,"_type":22,"marks":59,"text":60},"fe394f030a56",[],"Die Künstler*innen bilden eine transglobale Gemeinschaft, die neue Formen des Erlebens und des Austauschs erkundet. Ihre Werke spiegeln persönliche Geschichten, emotionale Zustände sowie soziopolitische Verflechtungen wider. Thematisch kreisen sie um Fragen von Identität, Befreiung und Gemeinschaft, von Sichtbarkeit und Unsichtbarkeit, von Spiritualität und Schmerz, von Begehren und Intimität – und in allem von der verwandelnden Kraft der Liebe und künstlerischer Kreativität.",[],{"_key":63,"_type":13,"language":64,"value":65},"B18k2Qgd9WjLuzv1THxDsT","en",[66,74,82],{"_key":67,"_type":18,"children":68,"markDefs":73,"style":45},"0fdd9d60a21d",[69],{"_key":70,"_type":22,"marks":71,"text":72},"0b129abe1d12",[],"The main exhibition of the 9th Triennial of Photography Hamburg, curated by Mark Sealy, celebrates the cultural and artistic diversity of photography and its healing and transformative power. It creates an open, polyphonic space of encounter that questions societal polarizations and seeks to overcome the division between “us” and the “other”. At the same time, the exhibition renders tangible the ethical principles underpinning the festival “Alliance, Infinity, Love – In the Face of the Other” as a lived experience.",[],{"_key":75,"_type":18,"children":76,"markDefs":81,"style":45},"47cf0e0d3a46",[77],{"_key":78,"_type":22,"marks":79,"text":80},"d9903df7a21d",[],"The exhibition presents around 30 artistic positions spanning photography, video, and film, recounting stories rooted in a wide range of places and cultural experiences—from Australia and Japan to Lebanon and Palestine, from Brazil and Jamaica to South Africa, Brussels or London, and Greenland.",[],{"_key":83,"_type":18,"children":84,"markDefs":89,"style":45},"1acd25998a50",[85],{"_key":86,"_type":22,"marks":87,"text":88},"8fd89e923cb9",[],"The artists form a transglobal community, exploring new forms of experience and sharing. Their works reflect personal stories, emotional states, and socio-political entanglements. Thematically, they revolve around questions of identity, liberation, and community; visibility and invisibility; spirituality and pain; desire and intimacy and, throughout, the transformative power of love and artistic creativity.",[],{"end":91,"start":92},"2026-09-22","2026-06-05",{"headline":94,"items":99},[95,97],{"_key":64,"language":64,"value":96},"Exhibitions",{"_key":14,"language":14,"value":98},"Aktuelle Ausstellungen",[100,236,404],{"_createdAt":101,"_id":102,"_rev":6,"_type":8,"_updatedAt":9,"content":103,"date":175,"route":176,"slug":177,"thumbnail":178,"title":232,"venue":233},"2026-05-12T15:21:29Z","d3c6d43d-99ab-4d2f-9d37-8b1c2448971d",[104,123],{"_key":105,"_type":13,"language":14,"value":106},"B18k2Qgd9WjLuzv1THxFAq",[107,115],{"_key":108,"_type":18,"children":109,"markDefs":114,"style":45},"145ad539fc69",[110],{"_key":111,"_type":22,"marks":112,"text":113},"8d880e101e32",[],"Als einer der bedeutendsten deutschen Modefotografen der 1950er bis 1980er Jahre hat F.C. Gundlach die ästhetische Stilisierung des weiblichen Körpers entscheidend geprägt; als privater Sammler galt seine Leidenschaft provokanteren, ab- und tiefgründigeren Formen von Körperlichkeit. Extravaganz und Queerness artikulieren sich darin ebenso wie Verletzlichkeit und Unangepasstheit.\n\nAnhand von rund 300 Arbeiten aus der Sammlung F.C. Gundlach erkundet die Ausstellung »Cocktail Prolongé: F.C. Gundlach Special« die vielfältigen Inszenierungsmöglichkeiten von Körperlichkeit – immer daraufhin, wie der Körper dabei als Medium zur Darstellung von Rollen, Fantasien und Wünschen, aber auch kritischen Forderungen inszeniert wird.",[],{"_key":116,"_type":18,"children":117,"markDefs":122,"style":45},"014178dfaf9d",[118],{"_key":119,"_type":22,"marks":120,"text":121},"8a8e6534dc5d",[],"Hochaktuell sind die präsentierten Werke, die F.C. Gundlach seit Mitte der 1970er Jahre zusammengetragen hat, nicht nur im Hinblick auf das Sichtbarmachen der Queer Community, sie offenbaren auch einen spannenden und sehr intimen, weil persönlichen Bereich seiner privaten Sammlung: den verletzlichen und den wehrhaften, den gezähmten und den ungezähmten, den geduldigen und den unruhigen Körper, wie er aus unterschiedlichsten Perspektiven und Motivationen ins Bild gesetzt wird.\n\nDie im Rahmen der 9. Triennale der Photographie Hamburg präsentierte Ausstellung versteht sich ebenso als Würdigung der Person F.C. Gundlachs, der nicht nur am 16. Juli 2026 seinen 100. Geburtstag begangen hätte, sondern auch der Initiator der Triennale war. Der Ausstellungstitel ist angelehnt an die Idee des Sammlers, Bekannte und Freund*innen zum Cocktail Prolongé zu bitten, um sich – die Sammlungsstücke gemeinsam betrachtend – über diese auszutauschen und sie in ihrer mannigfaltigen Fülle zu feiern.",[],{"_key":124,"_type":13,"language":64,"value":125},"B18k2Qgd9WjLuzv1THxFDH",[126,143,151,159,167],{"_key":127,"_type":18,"children":128,"markDefs":142,"style":45},"ffd163316c86",[129,133,138],{"_key":130,"_type":22,"marks":131,"text":132},"e7bb8d1d536e",[],"As one of the most influential German fashion photographers from the 1950s to the 1980s, F.C. Gundlach decisively shaped the aesthetic stylization of the female body. As a private collector, however, his passion was devoted to more provocative, ambiguous, and profound forms of corporeality. Extravagance and queerness are expressed in these works just as much as vulnerability and nonconformity. Drawing on around 300 works from the F.C. Gundlach Collection, the exhibition ",{"_key":134,"_type":22,"marks":135,"text":137},"f83e43a0a755",[136],"em","Cocktail Prolongé: F. C. Gundlach Special",{"_key":139,"_type":22,"marks":140,"text":141},"d5d7eaf6772d",[]," explores the diverse ways in which corporeality can be staged — always with an eye to how the body becomes a medium for the portrayal of roles, fantasies, and desires, as well as for articulating critical demands.",[],{"_key":144,"_type":18,"children":145,"markDefs":150,"style":45},"947637542466",[146],{"_key":147,"_type":22,"marks":148,"text":149},"c74afa23f745",[],"The works presented — which F.C. Gundlach began collecting in the mid-1970s — are highly topical, not only in light of the growing visibility of the queer community, but also because they reveal a fascinating and deeply intimate, indeed personal, aspect of his private collection: the vulnerable and the defiant body, the tamed and the untamed, the patient and the restless body — as captured from the most diverse perspectives and driven by a wide range of motivations.",[],{"_key":152,"_type":18,"children":153,"markDefs":158,"style":45},"61bb4585fc72",[154],{"_key":155,"_type":22,"marks":156,"text":157},"9d5d0f73142a",[],"Presented as part of the 9th Triennial of Photography Hamburg, the exhibition is conceived as a tribute to F.C. Gundlach himself — who would have celebrated his 100th birthday on July 16, 2026 — and who was also the initiator of the Triennial. The exhibition title draws on Gundlach’s idea of inviting friends and acquaintances to a Cocktail Prolongé — an extended gathering for viewing, discussing, and celebrating the collection’s manifold richness together.",[],{"_key":160,"_type":18,"children":161,"markDefs":166,"style":45},"d85d00e29c48",[162],{"_key":163,"_type":22,"marks":164,"text":165},"7bf99012f479",[],"A richly illustrated catalogue will be published by Kehrer Verlag to accompany the exhibition, featuring texts by Enno Kaufhold, Ulrich Pohlmann, Jana Haeckel, and Sabine Schnakenberg.",[],{"_key":168,"_type":18,"children":169,"markDefs":174,"style":45},"4466ded2b9c4",[170],{"_key":171,"_type":22,"marks":172,"text":173},"039007161628",[],"The exhibition is part of the 9th Triennial of Photography Hamburg and is curated by Dr. Sabine Schnakenberg, Curator of the F.C. Gundlach Collection at the House of Photography, Deichtorhallen Hamburg.",[],{"end":91,"start":92},"haeuser-slug-ausstellungen-exhibitionslug","cocktail-prolonge-f-c-gundlach-special",{"_type":179,"alt":37,"asset":180},"image",{"_createdAt":181,"_id":182,"_rev":183,"_type":184,"_updatedAt":185,"altText":37,"assetId":186,"creditLine":37,"description":187,"extension":188,"metadata":189,"mimeType":224,"opt":225,"originalFilename":227,"path":228,"sha1hash":186,"size":229,"title":37,"uploadId":230,"url":231},"2026-05-12T15:22:13Z","image-ca20029f36b01a6cde04d3cbac9f8719014887f3-1000x718-png","L6d9l0ZyBBnPql9Df0JSxc","sanity.imageAsset","2026-05-12T15:25:14Z","ca20029f36b01a6cde04d3cbac9f8719014887f3","Jimmy DeSana, Coffee Table, 1979 © Jimmy DeSana Trust","png",{"_type":190,"blurHash":191,"dimensions":192,"hasAlpha":197,"isOpaque":43,"lqip":198,"palette":199,"thumbHash":223},"sanity.imageMetadata","VAHSTS1c0N}@JAk=v$n4^jxtxF-St6IqM|spM}s.k9jF",{"_type":193,"aspectRatio":194,"height":195,"width":196},"sanity.imageDimensions",1.392757660167131,718,1000,false,"data:image\u002Fpng;base64,iVBORw0KGgoAAAANSUhEUgAAABQAAAAOCAIAAACgpqunAAAACXBIWXMAAC4jAAAuIwF4pT92AAADV0lEQVR4nAXB\u002FVsSdwAA8PthT9qeahN1wMF974Xj7rjj5e5AEpJQSWGXqMl8zCdqKRkMY\u002FiCKExDcJoOpwPLtWk9PQ432dCmUI+z55HVU89eevY\u002F7fOB4iw7y+sXLppWLgtrbULWYUiLdFpkNjwXC7e7DiL+o4nho8lAZSpQjg0\u002Fvdk7axVmeV3CxI1oGOg+b1iwGB5c4lfbxFyHuNpqSBrJaQZfdwm\u002FDEuViVvHM3f\u002FSARPksGT5N3dYV\u002FKKkzR2nGKCmAU9N2nrrzHmfO0bEi2zatN6y5j0kjEWSznEX4LSiczn7+eD7\u002FJRN5kItW5YHHImxb1UYCNAs0doIVWuqRslzsrudY9jlxnU9rOBmk0zGJrklgKS9W5238vR\u002F9ZmfxrKXoav7nb58iwZBQGo2oiBEhogOT8FBdguAlOl9BrAwTwKpTXCSTVpi8MuU6T\u002FvfZ8f++nXqXGqkMuZ84dF+TSAxGxtT4PZSELB+rnHWq7kZ1AEaCsOp6g\u002FyGXP4ljSw66Cde88sR6d+FL94vjb4Kd+91Gh6bkGUcTsLqmAobR0nIWKd2ytT9ChBCiaAKBBTKGKFcEsH3Hcyuhy1\u002F1vwuPvg2PnDYZ96xIlt6xZpGmYLhBIxOoxqIlyHSJ2iIYuOiOUxSEQ0yZwAZEd30sKU+Q9knVKM9ryf7Kv3mohP\u002FuQXdthIrFJbR4BmGgiz1wIeQSfuludb2IElFSXWGR+\u002FzaK6DK\u002FVyz726lyH3n4nBarTr2N9c7udLvfyWU5+3cfkWE2RtwLoBNWa1TVqs91BsRqNa5NEHzeSPkvFAIg+uqA8HxOOQuzrWcxqRXtyyF3uFZ52mH9pND1sFyNKAX1EQfowO4mRMQ6QN5KJAZO3anW5DWQIV50fltsYjN1HxWQ4HLxeuWh41M+sCtcwz80YWMslQez3okaMBBJ3l6XyHKe+gsrzqqQM5am98YT9btpz5XTxfFJTbRjRHg28wZBGAFIpP4yTEyYAoAxKMjxuZTa9l\u002F469OKjfdsgLTef3zWf39WdKug9+1dbsgA8fwxceIbI8Il9DVcsYOk+QEFePiQ3YNVq36nMef3Xt7ZL31ZTt+Q3swHNh31ZbNNbsMTV7ZO0uUVvQnvuJrXvGyrd06g0Gz9LU\u002F4jUD0J\u002FN4I3AAAAAElFTkSuQmCC",{"_type":200,"darkMuted":201,"darkVibrant":206,"dominant":209,"lightMuted":212,"lightVibrant":216,"muted":219,"vibrant":220},"sanity.imagePalette",{"_type":202,"background":203,"foreground":204,"population":205,"title":204},"sanity.imagePaletteSwatch","#482c28","#fff",0.01,{"_type":202,"background":207,"foreground":204,"population":208,"title":204},"#701604",0.31,{"_type":202,"background":210,"foreground":204,"population":211,"title":204},"#b4735f",7.29,{"_type":202,"background":213,"foreground":214,"population":215,"title":204},"#c18786","#000",0.11,{"_type":202,"background":217,"foreground":214,"population":218,"title":204},"#d6a182",3.86,{"_type":202,"background":210,"foreground":204,"population":211,"title":204},{"_type":202,"background":221,"foreground":204,"population":222,"title":204},"#b0320c",6.55,"lJkGHYQEa3R7tnmZaIaGhwOkCSSb","image\u002Fpng",{"media":226},{"tags":37},"08_JimmyDeSana_CoffeeTable_1979.png","images\u002Frd9dr4tt\u002Fproduction\u002Fca20029f36b01a6cde04d3cbac9f8719014887f3-1000x718.png",1233802,"DfDhMleMaY0D6UhFAwO3gkCQQ5a1dSr8","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Frd9dr4tt\u002Fproduction\u002Fca20029f36b01a6cde04d3cbac9f8719014887f3-1000x718.png","Cocktail Prolongé: F.C. Gundlach Special ",{"note":37,"slug":234,"title":235},"deichtorhallen-hamburg","Deichtorhallen Hamburg",{"_createdAt":237,"_id":238,"_rev":6,"_type":8,"_updatedAt":9,"content":239,"date":356,"route":176,"slug":358,"thumbnail":359,"title":402,"venue":403},"2026-05-12T15:35:56Z","2f596ab1-2046-45d9-9b73-0fec91b372a7",[240,295],{"_key":241,"_type":13,"language":14,"value":242},"B18k2Qgd9WjLuzv1THxGwR",[243,251,259,267,275],{"_key":244,"_type":18,"children":245,"markDefs":250,"style":45},"8fdf324dc169",[246],{"_key":247,"_type":22,"marks":248,"text":249},"38fbfb0e9402",[],"Der deutsch‑türkische Künstler Abdulhamid Kircher (*1996) setzt sich in seiner analogen fotografisch-installativen Arbeit mit den Folgen von Patriarchat und Gewalt sowie mit der Suche nach Versöhnung und Nähe auseinander. Seine Arbeit versteht er als fragmentarisches, lebendiges Familienalbum. Er umkreist dabei die Abwesenheit des Vaters, eine Leerstelle, die zur Sehnsuchts- und Projektionsfläche wird. »Vielleicht bin ich es, der ihn zuerst lieben muss«, so Abdulhamid Kircher",[],{"_key":252,"_type":18,"children":253,"markDefs":258,"style":45},"d0151dabb2dd",[254],{"_key":255,"_type":22,"marks":256,"text":257},"6c8b3686fe5a",[],"Die Ausstellung »Rotting from Within« empfängt Besucher*innen mit einem wuchernden Panorama aus Fotografien, Texten und Archivmaterial. Die neu entwickelte, 9 Meter breite und über 2 Meter hohe Installation verwebt Szenen, Begegnungen und Abschiede zwischen Berlin und der Türkei, aus denen sich puzzleartig die Dynamik einer Vater-Sohn-Beziehung zusammensetzt. In dieser Präsentation erweitert Abdulhamid Kircher den Fokus auch um seinen Großvater väterlicherseits.",[],{"_key":260,"_type":18,"children":261,"markDefs":266,"style":45},"4cf91431bf62",[262],{"_key":263,"_type":22,"marks":264,"text":265},"bd8f2e14a0c2",[],"Die Vater-Sohn-Konstellationen in den Aufnahmen erzählen von Einsamkeit, Sucht, Gewalt und Verletzungen, aber auch von Annäherung, Rausch, Berührung und Trauer. Kirchers Bildsprache – intensive Farben, kontrastreiche Lichtstimmungen und emotionale Frequenzen – verstärkt die Unmittelbarkeit und Verletzlichkeit seiner Motive. Die Dunkelkammer wird dabei zum Denk‑ und Erfahrungsraum, in dem Erinnerungen, Beziehungen und persönliche Geschichten sichtbar werden.",[],{"_key":268,"_type":18,"children":269,"markDefs":274,"style":45},"bffc9c995300",[270],{"_key":271,"_type":22,"marks":272,"text":273},"133937811b26",[],"Kuratiert von Nadine Isabelle Henrich, Kuratorin des Haus der Photographie.\nKuratorische Assistenz: Viktoria Rochambeau, kuratorisches Volontariat, Haus der Photographie",[],{"_key":276,"_type":18,"children":277,"markDefs":294,"style":45},"d6933f1f4ef9",[278,282,286,290],{"_key":279,"_type":22,"marks":280,"text":281},"718630815729",[],"Zur Ausstellung erscheint im Rahmen der 9. Triennale der Photographie ein Leporello mit Bildsequenzen aus Abdulhamid Kirchers Familienarchiv und Arbeiten aus der Serie ",{"_key":283,"_type":22,"marks":284,"text":285},"5ab7a858dfaa",[136],"Rotting from Within ",{"_key":287,"_type":22,"marks":288,"text":289},"6504662945a9",[],"sowie einem Text von Nadine Isabelle Henrich",{"_key":291,"_type":22,"marks":292,"text":293},"3df58ca86a78",[136],".",[],{"_key":296,"_type":13,"language":64,"value":297},"B18k2Qgd9WjLuzv1THxGys",[298,306,322,330,338],{"_key":299,"_type":18,"children":300,"markDefs":305,"style":45},"6422a5364f56",[301],{"_key":302,"_type":22,"marks":303,"text":304},"c218d85e9272",[],"In his analogue photographic and installative practice, the German-Turkish artist Abdulhamid Kircher (b. 1996) reflects on the consequences of patriarchy and violence, as well as on the search for reconciliation and closeness. He understands his work as a fragmentary, living family album. In doing so, he circles around the absence of the father, a void that becomes a canvas for longing and projection. “Perhaps I am the one who has to love him first,” says Abdulhamid Kircher.",[],{"_key":307,"_type":18,"children":308,"markDefs":321,"style":45},"d47bca157498",[309,313,317],{"_key":310,"_type":22,"marks":311,"text":312},"32b9ed992838",[],"The exhibition ",{"_key":314,"_type":22,"marks":315,"text":316},"35b9b4bcc4d4",[136],"Rotting from Within",{"_key":318,"_type":22,"marks":319,"text":320},"1f8f8f9f8707",[]," welcomes visitors with a sprawling panorama of photographs, texts, and archival material. The newly developed installation, 9 meters wide and more than 2 meters high, interweaves scenes, encounters, and farewells between Berlin and Turkey, through which the dynamics of a father-son relationship gradually emerge, like pieces of a puzzle coming together. In this presentation, Abdulhamid Kircher also expands the focus to include his paternal grandfather.",[],{"_key":323,"_type":18,"children":324,"markDefs":329,"style":45},"498ea4644e05",[325],{"_key":326,"_type":22,"marks":327,"text":328},"2b12f81cb36e",[],"The father-son constellations in the photographs speak of loneliness, addiction, violence, and injury, but also of rapprochement, intoxication, touch, and grief. Kircher’s visual language – vibrant colors, high-contrast lighting moods and emotional frequencies – intensifies the immediacy and vulnerability of his subjects. 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In manuellen und chemischen Prozessen verschiebt und erweitert die deutsch-ghanaische Künstlerin die Grenzen der Fotografie. Indem sie die flüchtigen Zustände der analogen Entwicklung – sonst nur in der Dunkelkammer erlebbar – in den Ausstellungsraum überträgt, macht sie das Ungesehene, Latente und Prozesshafte des Mediums wahrnehmbar.",[],{"_key":420,"_type":18,"children":421,"markDefs":426,"style":45},"ba346502f211",[422],{"_key":423,"_type":22,"marks":424,"text":425},"bfe93b38ea79",[],"Ausgangspunkt für ihre aktuellen Arbeiten sind historische Fotografien aus der British Empire & Commonwealth Collection in Bristol, aufgenommen am Geburtsort ihres Vaters im heutigen Ghana. Auf der Suche nach alternativen Erzählungen löst sieHimmel, Baumkronen und Landschaften aus ihrem kolonialen Kontext und überträgt diese geborgenen Naturfragmente auf Farbnegative.",[],{"_key":428,"_type":18,"children":429,"markDefs":434,"style":45},"45612f1838f7",[430],{"_key":431,"_type":22,"marks":432,"text":433},"4a74df84e16e",[],"Ein wiederkehrendes Bild in ihrer Arbeit ist ein Porträt ihres Urgroßvaters Wilhelm Schlüter in der deutschen Luftwaffe. »Für mich fungiert dieses Foto weniger als historisches Dokument denn als eine Art Geist. […] Es stellt eine strukturelle Störung in meiner eigenen Existenz dar«, so die Künstlerin.",[],{"_key":436,"_type":18,"children":437,"markDefs":442,"style":45},"928adfc9e031",[438],{"_key":439,"_type":22,"marks":440,"text":441},"3e6c80322f87",[],"Die Dunkelkammer dient bei ihr nicht nur als Produktionsort, sondern als Raum der Reflexion, in dem Erfahrungen, Beziehungen und Erinnerungen Form annehmen, noch bevor sie vollständig sichtbar werden. »Residual Sky Under Contamination« zeigt rund 20 neue großformatige Werke, die sich installativ an und gegen den Ausstellungsraum lehnen.",[],{"_key":444,"_type":18,"children":445,"markDefs":450,"style":45},"9e36cdf104f3",[446],{"_key":447,"_type":22,"marks":448,"text":449},"48d8290e51f4",[],"Kuratiert von Nadine Isabelle Henrich, Kuratorin des Haus der Photographie.\nKuratorische Assistenz: Viktoria Rochambeau, kuratorisches Volontariat am Haus der Photographie",[],{"_key":452,"_type":18,"children":453,"markDefs":458,"style":45},"9efaacc4aa7e",[454],{"_key":455,"_type":22,"marks":456,"text":457},"0ec056048d4b",[],"Zur Ausstellung erscheint im Rahmen der 9. Triennale der Photographie ein Leporello mit einer neuen Arbeit sowie einem Interview mit Akosua Viktoria Adu-Sanyah.",[],{"_key":460,"_type":13,"language":64,"value":461},"B18k2Qgd9WjLuzv1THxH6B",[462,470,478,486,493],{"_key":463,"_type":18,"children":464,"markDefs":469,"style":45},"dc3383a07c9b",[465],{"_key":466,"_type":22,"marks":467,"text":468},"953f6d02bb29",[],"Large-format, hand-developed color prints are characteristic of the artistic work of Akosua Viktoria Adu-Sanyah (b. 1990). Through manual and chemical processes, the German-Ghanaian artist shifts and expands the boundaries of photography. By transferring the fleeting states of analogue development – otherwise only experienced in the darkroom – into the exhibition space, she makes the unseen, latent, and processual nature of the medium perceptible.",[],{"_key":471,"_type":18,"children":472,"markDefs":477,"style":45},"a33e973fc9f7",[473],{"_key":474,"_type":22,"marks":475,"text":476},"e9c895c6c38e",[],"The starting point for her current works are historical photographs from the British Empire & Commonwealth Collection in Bristol, taken at her father's birthplace in present-day Ghana. In search of alternative narratives, she detaches skies, treetops, and landscapes from their colonial context and transfers these extracted fragments of nature onto color negatives. A recurring image in her work is a portrait of her great-grandfather Wilhelm Schlüter in the German Air Force. “For me, this photograph functions less as a historical document than as a kind of ghost. (...) 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