[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"sanity-h9hf9v-{\"slug\":\"andrea-orejarena-and-caleb-stein-tactics-and-mythologies\"}":3},{"_createdAt":4,"_id":5,"_rev":6,"_translations":7,"_type":8,"_updatedAt":9,"content":10,"date":94,"exhibitions":97,"seo":670,"slug":681,"thumbnail":684,"title":680,"titleEn":723,"venue":724},"2024-08-08T13:27:54Z","c04c2a6b-108c-4132-8712-e1a4396fb7ac","kIBrRX1AqBVTsyd9yLWXzs",[],"exhibition","2026-06-29T10:13:44Z",[11,66],{"_key":12,"_type":13,"language":14,"value":15},"kIBrRX1AqBVTsyd9yLWYiX","internationalizedArrayRichTextMediaValue","de",[16,27],{"_key":17,"_type":18,"children":19,"markDefs":25,"style":26},"67d33e207566","block",[20],{"_key":21,"_type":22,"marks":23,"text":24},"8c45aa209d950","span",[],"»Tactics and Mythologies« ist die erste europäische Einzelausstellung des New Yorker Duos Andrea Orejarena und Caleb Stein und präsentiert vom 7. September 2024 bis 26 Januar 2025 einen fotografischen Roadtrip durch die Bildwelten viraler Verschwörungstheorien. Die fotografischen und filmischen Arbeiten von Orejarena & Stein setzen sich mit Simulationstechniken und Narrativen der Desinformation auseinander.\n\nDas Künstlerduo Andrea Orejarena (*1994, Kolumbien), Kognitionswissenschaftlerin und Fotografin, und Caleb Stein (*1994, UK), Dokumentarfotograf, ist bekannt für konzeptuell-dokumentarischen Projekte, die sich mit individueller Wahrnehmung und kollektiver Wirklichkeitskonstruktion beschäftigen. Ihr künstlerisches Archiv lässt ein Repertoire von Bildtypen, Codes, Mustern und Motiven erkennen, die eine dynamische Typologie und stetig wachsende Bildwelt visueller Desinformation und Simulationsfantasien manifestieren.",[],"normal",{"_key":28,"_type":18,"children":29,"markDefs":65,"style":26},"56309e84de45",[30,34,39,43,47,51,54,58,61],{"_key":31,"_type":22,"marks":32,"text":33},"59dbc520b0ec0",[],"Da ein wachsendes Misstrauen in die Unterscheidung von Realität und Fiktion unsere Gegenwart prägt, begab sich das Duo seit 2020 auf Social Media und fotografisch auf Erkundungstour. Entstanden ist ein erstes Archiv mit über 2.000 Fotografien und aktuellen Bildformen, das den Einfluss von Verschwörungsnarrativen auf die amerikanische Gesellschaft und die individuelle Wahrnehmung manifestiert.\n\nDiese Auseinandersetzung mit Bildern, die teils mit Augenzwinkern, teils mit paranoidem Blick, unser Verhältnis zur Wirklichkeit hinterfragen, haben Orejarena und Stein in ein eigenes fotografisches Konzept weiterentwickelt, das lose einem Atlas verschwörungstheoretischer Schauplätze in den USA folgt. Ihre Serie ",{"_key":35,"_type":22,"marks":36,"text":38},"59dbc520b0ec1",[37],"em","American Glitch",{"_key":40,"_type":22,"marks":41,"text":42},"59dbc520b0ec2",[]," dokumentiert die Landschaften der USA ausgehend von viralen Bildwelten als Simulation. Ihre Arbeiten werden u.a. in den New York Times, The Guardian, i-D Vice, Vogue Italia, und Wallpaper* publiziert.\n\nBereits seit ihrem Projekt ",{"_key":44,"_type":22,"marks":45,"text":46},"59dbc520b0ec3",[37],"Long Time No See",{"_key":48,"_type":22,"marks":49,"text":50},"59dbc520b0ec4",[]," (2015-2020) arbeitet das Duo an der drängenden Frage, welche Rolle die Fotografie für das Wechselverhältnis von Wahrnehmung und Imagination heute spielen kann. ",{"_key":52,"_type":22,"marks":53,"text":46},"59dbc520b0ec5",[37],{"_key":55,"_type":22,"marks":56,"text":57},"59dbc520b0ec6",[]," entstand zusammen mit jungen vietnamesischen Künstler*innen sowie Veteranen nahe Hanoi und zeichnet die künstlerische Auseinandersetzung mit den heutigen Erinnerungen und Folgen des Vietnamkrieges nach. In poetischen Porträts und Landschaftsansichten zeigt ",{"_key":59,"_type":22,"marks":60,"text":46},"59dbc520b0ec7",[37],{"_key":62,"_type":22,"marks":63,"text":64},"59dbc520b0ec8",[]," eine visuelle Spurensuche nach den Zwischentönen dissonanter Geschichtsschreibungen und Bildformen zwischen Dokumentation und subjektiver Wahrnehmung. Das Projekt reflektiert kritisch die amerikanischen Darstellungskonventionen des Krieges und erprobt kollaborative fotografische Formen. Die Soundinstallation »War Words« bringt konkurrierende historische (Des)Informationskampagnen in einen Dialog und öffnet einen Wahrnehmungsraum, zwischen lokalen Mythologien, militärischen Taktiken und emotionaler Medienwirksamkeit.\n\n»Tactics and Mythologies« ist die erste Ausstellung der neuen Ausstellungs- und Veranstaltungsreihe »Viral Hallucinations«, die von 2024 bis 2026 die Rolle fotografischer und KI-generierter Bilder für den wachsenden gesellschaftlichen Einfluss von Verschwörungstheorien adressiert. Die Reihe wird von der Deutschen Börse Photography Foundation gefördert.",[],{"_key":67,"_type":13,"language":68,"value":69},"kIBrRX1AqBVTsyd9yLWYjA","en",[70,78,86],{"_key":71,"_type":18,"children":72,"markDefs":77,"style":26},"5287a5896ba6",[73],{"_key":74,"_type":22,"marks":75,"text":76},"5c8d7001e1660",[],"This first European solo exhibition by the New York based duo Andrea Orejarena (*1994, Colombia) and Caleb Stein (*1994, United Kingdom) presents photographs and films that deal with practices of simulation and narratives of disinformation. As an artist duo, Orejarena, a cognitive scientist and photographer, and Stein, a documentary photographer, are known for their conceptually documentary projects on individual perception and the collective construction of reality. Their works have been published in the New York Times, the Guardian, i-D, Vice, Vogue Italia, and Wallpaper*, among others.\n\nIn reaction to the growing distrust in the distinction between reality and fiction that characterizes the present, the duo began an exploratory journey through social media and photography in 2020. They have created an initial archive of over 1.500 photographs and current visual forms that manifests the influence of conspiracy narratives on American society and individual perception.",[],{"_key":79,"_type":18,"children":80,"markDefs":85,"style":26},"88b8518319c6",[81],{"_key":82,"_type":22,"marks":83,"text":84},"18549f5c097f0",[],"This archive of photographic forms of “alternative facts” engages in dialogue with landscape photographs by Orejarena and Stein in the installation “American Glitch”, which documents and decodes the supposed locations of conspiratorial events. By embracing traditions such as road trips and street photography, American Glitch interweaves continuities from American photographic history with the new phenomena of contemporary online culture.\n\nSince their project “Long Time No See” (2015–2020), the duo has been working on the pressing question of what role photography can play today in the interplay of perception and imagination. Long Time No See, created in collaboration with young Vietnamese artists and veterans in Hanoi, traces the artistic engagement with current memories and consequences of the Vietnam War. In poetic portraits and landscape views, Long Time No See presents a visual exploration of the nuances between dissonant historical writings and visual forms, spanning documentation and subjective perception.\n\nThe exhibition is accompanied by image and media literacy workshops for different age groups.\n\nOn September 13, the transdisciplinary symposium \"Viral Hallucinations: Visual Worlds of Disinformation\" will take place in the auditorium of the Deichtorhallen. Participation is free of charge, registration is required.",[],{"_key":87,"_type":18,"children":88,"markDefs":93,"style":26},"73a360be1ce7",[89],{"_key":90,"_type":22,"marks":91,"text":92},"11b292b5fa4c0",[],"The new exhibition series “Viral Hallucinations” addresses the range of documentary strategies in a globally connected “post-truth era.”\n\nCurated by Nadine Isabelle Henrich, Curator House of Photography",[],{"end":95,"start":96},"2025-01-26","2024-09-07",{"headline":98,"items":103},[99,101],{"_key":68,"language":68,"value":100},"Exhibitions",{"_key":14,"language":14,"value":102},"Aktuelle Ausstellungen",[104,243,365,530],{"_createdAt":105,"_id":106,"_rev":107,"_type":8,"_updatedAt":9,"content":108,"date":179,"route":182,"slug":183,"thumbnail":184,"title":239,"venue":240},"2026-05-12T15:15:35Z","4d4efdab-8e40-4cbe-ab29-356bf2432de2","B18k2Qgd9WjLuzv1THxDPF",[109,152],{"_key":110,"_type":13,"language":14,"value":111},"B18k2Qgd9WjLuzv1THxDq2",[112,136,144],{"_key":113,"_type":18,"children":114,"markDefs":129,"style":26},"4eb9c07c9954",[115,119,125],{"_key":116,"_type":22,"marks":117,"text":118},"10f8ee456408",[],"Die von Mark Sealy kuratierte Hauptausstellung der ",{"_key":120,"_type":22,"marks":121,"text":124},"3cfae009d618",[122,123],"8082c0bff610","deb187518e71","9. Triennale der Photographie Hamburg",{"_key":126,"_type":22,"marks":127,"text":128},"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. ",[130,132],{"_key":122,"_type":131},"linkInternal",{"_key":123,"_type":133,"blank":134,"href":135},"linkExternal",true,"https:\u002F\u002F2026.phototriennale.de\u002F",{"_key":137,"_type":18,"children":138,"markDefs":143,"style":26},"b7cd2daac5b8",[139],{"_key":140,"_type":22,"marks":141,"text":142},"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":145,"_type":18,"children":146,"markDefs":151,"style":26},"4c1cfdc2fdb6",[147],{"_key":148,"_type":22,"marks":149,"text":150},"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":153,"_type":13,"language":68,"value":154},"B18k2Qgd9WjLuzv1THxDsT",[155,163,171],{"_key":156,"_type":18,"children":157,"markDefs":162,"style":26},"0fdd9d60a21d",[158],{"_key":159,"_type":22,"marks":160,"text":161},"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":164,"_type":18,"children":165,"markDefs":170,"style":26},"47cf0e0d3a46",[166],{"_key":167,"_type":22,"marks":168,"text":169},"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":172,"_type":18,"children":173,"markDefs":178,"style":26},"1acd25998a50",[174],{"_key":175,"_type":22,"marks":176,"text":177},"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":180,"start":181},"2026-09-22","2026-06-05","haeuser-slug-ausstellungen-exhibitionslug","alliance-infinity-love-in-the-face-of-the-other",{"_type":185,"alt":186,"asset":187},"image",null,{"_createdAt":188,"_id":189,"_rev":190,"_type":191,"_updatedAt":192,"altText":186,"assetId":193,"creditLine":186,"description":194,"extension":195,"metadata":196,"mimeType":231,"opt":232,"originalFilename":234,"path":235,"sha1hash":193,"size":236,"title":186,"uploadId":237,"url":238},"2026-05-12T15:16:25Z","image-007a6912833d8bd273cebbcd7c006346ee4909c9-1000x662-jpg","SrLtFAfCOsAY9E0ezGGfp2","sanity.imageAsset","2026-05-12T15:20:31Z","007a6912833d8bd273cebbcd7c006346ee4909c9","Lee Shulman und Omar Victor Diop, The Anonymous Project präsentiert Being There, 2023. © Courtesy the artists","jpg",{"_type":197,"blurHash":198,"dimensions":199,"hasAlpha":204,"isOpaque":134,"lqip":205,"palette":206,"thumbHash":230},"sanity.imageMetadata","VPD,1R~qt6WXIUx]ofxtx[tRfkj[RjM{RPr?WAkCtRof",{"_type":200,"aspectRatio":201,"height":202,"width":203},"sanity.imageDimensions",1.5105740181268883,662,1000,false,"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAANABQDASIAAhEBAxEB\u002F8QAGAAAAwEBAAAAAAAAAAAAAAAAAAYHAQX\u002FxAAiEAACAQQCAgMBAAAAAAAAAAABAgMABAUSBhEiUQchMWH\u002FxAAVAQEBAAAAAAAAAAAAAAAAAAABAP\u002FEABoRAAIDAQEAAAAAAAAAAAAAAAERAAJREjH\u002F2gAMAwEAAhEDEQA\u002FAO5yi4igx7rK\u002FkyeKip7dTvDYyFR5OnQ9An3TT8dxLymxkkyBbd4NlPfeh\u002FlSjIZW6s+T5DH7CSBHIANVbFrYWScxMjFZl4r54xNsSdT9dUUgZW4efITO\u002F7sRRQRsOyPJ\u002F\u002FZ",{"_type":207,"darkMuted":208,"darkVibrant":213,"dominant":216,"lightMuted":220,"lightVibrant":221,"muted":224,"vibrant":227},"sanity.imagePalette",{"_type":209,"background":210,"foreground":211,"population":212,"title":211},"sanity.imagePaletteSwatch","#4a3c2e","#fff",4.12,{"_type":209,"background":214,"foreground":211,"population":215,"title":211},"#244c5c",0,{"_type":209,"background":217,"foreground":218,"population":219,"title":211},"#c2bebe","#000",7.11,{"_type":209,"background":217,"foreground":218,"population":219,"title":211},{"_type":209,"background":222,"foreground":211,"population":223,"title":211},"#b68064",0.18,{"_type":209,"background":225,"foreground":211,"population":226,"title":211},"#a07859",1.02,{"_type":209,"background":228,"foreground":211,"population":229,"title":211},"#c3673a",0.24,"2fcNDYJ\u002FWId7mGmHZ4aHiN9g9Wl2","image\u002Fjpeg",{"media":233},{"tags":186},"Lee Shulman und Omar Victor Diop_The Anonymous Project präsentiert Being There_2023_.jpg","images\u002Frd9dr4tt\u002Fproduction\u002F007a6912833d8bd273cebbcd7c006346ee4909c9-1000x662.jpg",344388,"MKr20T8FqXfhGItlnyDtvhSzhkINH3w4","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Frd9dr4tt\u002Fproduction\u002F007a6912833d8bd273cebbcd7c006346ee4909c9-1000x662.jpg","Alliance, Infinity, Love – in the Face of the Other",{"note":186,"slug":241,"title":242},"deichtorhallen-hamburg","Deichtorhallen Hamburg",{"_createdAt":244,"_id":245,"_rev":107,"_type":8,"_updatedAt":9,"content":246,"date":317,"route":182,"slug":318,"thumbnail":319,"title":363,"venue":364},"2026-05-12T15:21:29Z","d3c6d43d-99ab-4d2f-9d37-8b1c2448971d",[247,266],{"_key":248,"_type":13,"language":14,"value":249},"B18k2Qgd9WjLuzv1THxFAq",[250,258],{"_key":251,"_type":18,"children":252,"markDefs":257,"style":26},"145ad539fc69",[253],{"_key":254,"_type":22,"marks":255,"text":256},"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":259,"_type":18,"children":260,"markDefs":265,"style":26},"014178dfaf9d",[261],{"_key":262,"_type":22,"marks":263,"text":264},"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":267,"_type":13,"language":68,"value":268},"B18k2Qgd9WjLuzv1THxFDH",[269,285,293,301,309],{"_key":270,"_type":18,"children":271,"markDefs":284,"style":26},"ffd163316c86",[272,276,280],{"_key":273,"_type":22,"marks":274,"text":275},"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":277,"_type":22,"marks":278,"text":279},"f83e43a0a755",[37],"Cocktail Prolongé: F. C. Gundlach Special",{"_key":281,"_type":22,"marks":282,"text":283},"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":286,"_type":18,"children":287,"markDefs":292,"style":26},"947637542466",[288],{"_key":289,"_type":22,"marks":290,"text":291},"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":294,"_type":18,"children":295,"markDefs":300,"style":26},"61bb4585fc72",[296],{"_key":297,"_type":22,"marks":298,"text":299},"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":302,"_type":18,"children":303,"markDefs":308,"style":26},"d85d00e29c48",[304],{"_key":305,"_type":22,"marks":306,"text":307},"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":310,"_type":18,"children":311,"markDefs":316,"style":26},"4466ded2b9c4",[312],{"_key":313,"_type":22,"marks":314,"text":315},"039007161628",[],"The exhibition is part of the 9th Triennial of Photography Hamburg and is curated by Dr. Sabine Schnakenberg, Curator of the F.C. 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Gundlach Special ",{"note":186,"slug":241,"title":242},{"_createdAt":366,"_id":367,"_rev":107,"_type":8,"_updatedAt":9,"content":368,"date":485,"route":182,"slug":487,"thumbnail":488,"title":528,"venue":529},"2026-05-12T15:35:56Z","2f596ab1-2046-45d9-9b73-0fec91b372a7",[369,424],{"_key":370,"_type":13,"language":14,"value":371},"B18k2Qgd9WjLuzv1THxGwR",[372,380,388,396,404],{"_key":373,"_type":18,"children":374,"markDefs":379,"style":26},"8fdf324dc169",[375],{"_key":376,"_type":22,"marks":377,"text":378},"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":381,"_type":18,"children":382,"markDefs":387,"style":26},"d0151dabb2dd",[383],{"_key":384,"_type":22,"marks":385,"text":386},"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":389,"_type":18,"children":390,"markDefs":395,"style":26},"4cf91431bf62",[391],{"_key":392,"_type":22,"marks":393,"text":394},"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":397,"_type":18,"children":398,"markDefs":403,"style":26},"bffc9c995300",[399],{"_key":400,"_type":22,"marks":401,"text":402},"133937811b26",[],"Kuratiert von Nadine Isabelle Henrich, Kuratorin des Haus der Photographie.\nKuratorische Assistenz: Viktoria Rochambeau, kuratorisches Volontariat, Haus der Photographie",[],{"_key":405,"_type":18,"children":406,"markDefs":423,"style":26},"d6933f1f4ef9",[407,411,415,419],{"_key":408,"_type":22,"marks":409,"text":410},"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":412,"_type":22,"marks":413,"text":414},"5ab7a858dfaa",[37],"Rotting from Within ",{"_key":416,"_type":22,"marks":417,"text":418},"6504662945a9",[],"sowie einem Text von Nadine Isabelle Henrich",{"_key":420,"_type":22,"marks":421,"text":422},"3df58ca86a78",[37],".",[],{"_key":425,"_type":13,"language":68,"value":426},"B18k2Qgd9WjLuzv1THxGys",[427,435,451,459,467],{"_key":428,"_type":18,"children":429,"markDefs":434,"style":26},"6422a5364f56",[430],{"_key":431,"_type":22,"marks":432,"text":433},"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":436,"_type":18,"children":437,"markDefs":450,"style":26},"d47bca157498",[438,442,446],{"_key":439,"_type":22,"marks":440,"text":441},"32b9ed992838",[],"The exhibition ",{"_key":443,"_type":22,"marks":444,"text":445},"35b9b4bcc4d4",[37],"Rotting from Within",{"_key":447,"_type":22,"marks":448,"text":449},"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":452,"_type":18,"children":453,"markDefs":458,"style":26},"498ea4644e05",[454],{"_key":455,"_type":22,"marks":456,"text":457},"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. The darkroom becomes a space of reflection and experience in which memories, relationships, and personal stories come to light.",[],{"_key":460,"_type":18,"children":461,"markDefs":466,"style":26},"6665f3ae3b22",[462],{"_key":463,"_type":22,"marks":464,"text":465},"30729d283f8e",[],"Curated by Nadine Isabelle Henrich, curator at the House of Photography.\nCuratorial assistance: Viktoria Rochambeau, curatorial trainee, House of Photography.",[],{"_key":468,"_type":18,"children":469,"markDefs":484,"style":26},"1c6d6935803e",[470,474,477,481],{"_key":471,"_type":22,"marks":472,"text":473},"c10365b2ee00",[],"Accompanying the exhibition as part of the 9th Triennial of Photography, an accordion-fold booklet will be published featuring image sequences from Abdulhamid Kircher’s family archive and works from the series ",{"_key":475,"_type":22,"marks":476,"text":445},"97c48e479cab",[37],{"_key":478,"_type":22,"marks":479,"text":480},"9a42658c6fde",[],", as well as a text by Nadine Isabelle Henrich",{"_key":482,"_type":22,"marks":483,"text":422},"0c010d99977f",[37],[],{"end":486,"start":181},"2026-11-01","abdulhamid-kircher-rotting-from-within",{"_type":185,"alt":186,"asset":489},{"_createdAt":490,"_id":491,"_rev":492,"_type":191,"_updatedAt":493,"altText":186,"assetId":494,"creditLine":186,"description":495,"extension":195,"metadata":496,"mimeType":231,"opt":521,"originalFilename":523,"path":524,"sha1hash":494,"size":525,"title":186,"uploadId":526,"url":527},"2026-05-12T15:39:29Z","image-2353cab0c9bf0d2ba8126ac06e80a7a527148dfd-2000x1600-jpg","L6d9l0ZyBBnPql9Df0RIXO","2026-05-12T15:40:04Z","2353cab0c9bf0d2ba8126ac06e80a7a527148dfd","Abdulhamid Kircher, Untitled, 2016 Courtesy of the artist and carlier | gebauer, Berlin\u002FMadrid © Abdulhamid Kircher",{"_type":197,"blurHash":497,"dimensions":498,"hasAlpha":204,"isOpaque":134,"lqip":502,"palette":503,"thumbHash":520},"V57TtND+04~nE2-nM|R*%KE30M-n^$4;kWIoxtahIV?F",{"_type":200,"aspectRatio":499,"height":500,"width":501},1.25,1600,2000,"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAQABQDASIAAhEBAxEB\u002F8QAGAAAAgMAAAAAAAAAAAAAAAAAAAYBBQj\u002FxAAkEAABAwIFBQEAAAAAAAAAAAACAAEDBBEFBhIUIRMjMUFxUf\u002FEABQBAQAAAAAAAAAAAAAAAAAAAAT\u002FxAAYEQEBAQEBAAAAAAAAAAAAAAACAQARIv\u002FaAAwDAQACEQMRAD8AzZl8IpDNpB5u3P4mTDMs70MbrQgGWjpKZzeRyswk\u002Fj6lGk6ujVA1vRP6VvX5mlfDNjQjtgkG0+gn7n1HZVXnIiMHLMtv5QoQkY+\u002F\u002F9k=",{"_type":207,"darkMuted":504,"darkVibrant":507,"dominant":510,"lightMuted":511,"lightVibrant":513,"muted":516,"vibrant":518},{"_type":209,"background":505,"foreground":211,"population":506,"title":211},"#5f4438",0.5,{"_type":209,"background":508,"foreground":211,"population":509,"title":211},"#500907",0.05,{"_type":209,"background":505,"foreground":211,"population":506,"title":211},{"_type":209,"background":512,"foreground":218,"population":215,"title":218},"#ccccbc",{"_type":209,"background":514,"foreground":218,"population":515,"title":218},"#f7e989",0.32,{"_type":209,"background":517,"foreground":211,"population":215,"title":211},"#ac5454",{"_type":209,"background":519,"foreground":218,"population":215,"title":211},"#c4b42c","RRgGFoIHabZ6h4aSS2iIh3d3CHqjoEg=",{"media":522},{"tags":186},"AK_RFW_23.jpg","images\u002Frd9dr4tt\u002Fproduction\u002F2353cab0c9bf0d2ba8126ac06e80a7a527148dfd-2000x1600.jpg",1166716,"tWD13irKYuamole37R83wRviHePOJVQV","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Frd9dr4tt\u002Fproduction\u002F2353cab0c9bf0d2ba8126ac06e80a7a527148dfd-2000x1600.jpg","Abdulhamid Kircher: Rotting from Within",{"note":186,"slug":241,"title":242},{"_createdAt":531,"_id":532,"_rev":107,"_type":8,"_updatedAt":9,"content":533,"date":627,"route":182,"slug":628,"thumbnail":629,"title":668,"venue":669},"2026-05-12T15:40:31Z","b0a1db4b-3029-478e-8f5c-ed347870017c",[534,585],{"_key":535,"_type":13,"language":14,"value":536},"B18k2Qgd9WjLuzv1THxH3k",[537,545,553,561,569,577],{"_key":538,"_type":18,"children":539,"markDefs":544,"style":26},"39be6f45d1e9",[540],{"_key":541,"_type":22,"marks":542,"text":543},"e99a8ad8a216",[],"Großformatige, von Hand entwickelte Farbabzüge sind charakteristisch für die künstlerische Arbeit von Akosua Viktoria Adu-Sanyah (*1990). 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":546,"_type":18,"children":547,"markDefs":552,"style":26},"ba346502f211",[548],{"_key":549,"_type":22,"marks":550,"text":551},"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":554,"_type":18,"children":555,"markDefs":560,"style":26},"45612f1838f7",[556],{"_key":557,"_type":22,"marks":558,"text":559},"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":562,"_type":18,"children":563,"markDefs":568,"style":26},"928adfc9e031",[564],{"_key":565,"_type":22,"marks":566,"text":567},"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":570,"_type":18,"children":571,"markDefs":576,"style":26},"9e36cdf104f3",[572],{"_key":573,"_type":22,"marks":574,"text":575},"48d8290e51f4",[],"Kuratiert von Nadine Isabelle Henrich, Kuratorin des Haus der Photographie.\nKuratorische Assistenz: Viktoria Rochambeau, kuratorisches Volontariat am Haus der Photographie",[],{"_key":578,"_type":18,"children":579,"markDefs":584,"style":26},"9efaacc4aa7e",[580],{"_key":581,"_type":22,"marks":582,"text":583},"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":586,"_type":13,"language":68,"value":587},"B18k2Qgd9WjLuzv1THxH6B",[588,596,604,612,619],{"_key":589,"_type":18,"children":590,"markDefs":595,"style":26},"dc3383a07c9b",[591],{"_key":592,"_type":22,"marks":593,"text":594},"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":597,"_type":18,"children":598,"markDefs":603,"style":26},"a33e973fc9f7",[599],{"_key":600,"_type":22,"marks":601,"text":602},"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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