[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"sanity-h9hf9v-{\"slug\":\"britta-thie-studio\"}":3},{"_createdAt":4,"_id":5,"_rev":6,"_translations":7,"_type":8,"_updatedAt":9,"content":10,"date":91,"exhibitions":94,"seo":423,"slug":434,"thumbnail":437,"title":433,"venue":478},"2025-03-04T14:41:46Z","2470ef66-d8e1-4b7e-9ba1-85422e3336a9","B18k2Qgd9WjLuzv1THxDPF",[],"exhibition","2026-06-29T10:13:44Z",[11,58],{"_key":12,"_type":13,"language":14,"value":15},"B18k2Qgd9WjLuzv1THxEwE","internationalizedArrayRichTextMediaValue","de",[16],{"_key":17,"_type":18,"children":19,"markDefs":56,"style":57},"76259f40f982","block",[20,25,30,34,38,42,45,49,52],{"_key":21,"_type":22,"marks":23,"text":24},"707654d7e16f0","span",[],"Die Künstlerin Britta Thie ist bekannt für ihre Arbeiten an der Schnittstelle von Malerei, Film und digitalen Medien, in denen sie die Ästhetik und Mechanismen unserer mediatisierten Welt thematisiert. Vom 7. März bis 4. Mai 2025 präsentieren die Deichtorhallen Hamburg Thies hyperrealistische Gemälde unter dem Titel ",{"_key":26,"_type":22,"marks":27,"text":29},"707654d7e16f1",[28],"em","Studio",{"_key":31,"_type":22,"marks":32,"text":33},"707654d7e16f2",[]," erstmals als installative Solo-Präsentation",{"_key":35,"_type":22,"marks":36,"text":37},"707654d7e16f3",[28],".",{"_key":39,"_type":22,"marks":40,"text":41},"707654d7e16f4",[],"\n\nFür ",{"_key":43,"_type":22,"marks":44,"text":29},"707654d7e16f5",[28],{"_key":46,"_type":22,"marks":47,"text":48},"707654d7e16f6",[]," bedient sich Britta Thie der Bildwelten der Filmindustrie und überführt diese in den Ausstellungsraum. Eine echte Filmkulisse wird zum Ausstellungssetting und das technische Equipment in den Malereien – Kamerawagen, Scheinwerfer und andere Apparaturen – zu Hauptfiguren. Deren hyperrealistische Darstellung eröffnet eine theatrale Dimension, die vom Leben vor, während und nach Ablauf der Dreharbeiten zu erzählen scheint. Britta Thie verweist mit ",{"_key":50,"_type":22,"marks":51,"text":29},"707654d7e16f7",[28],{"_key":53,"_type":22,"marks":54,"text":55},"707654d7e16f8",[]," auf sogenannte »Prop-Graveyards« – »Requisiten-Friedhöfe«, in denen gesamte Filmkullissen und deren Erzählungen losgelöst von Zeit und Raum darauf warten, für eine weitere Staffel wiederbelebt zu werden.",[],"normal",{"_key":59,"_type":13,"language":60,"value":61},"B18k2Qgd9WjLuzv1THxEyf","en",[62],{"_key":63,"_type":18,"children":64,"markDefs":90,"style":57},"e8fb253c8b4f",[65,69,72,76,79,83,86],{"_key":66,"_type":22,"marks":67,"text":68},"8f6a5bef472f0",[],"The artist Britta Thie is known for her works at the intersection of painting, film and digital media, in which she addresses the aesthetics and mechanisms of our mediatised world. From 7 March to 4 May 2025, the Deichtorhallen Hamburg will be showing Thie's hyperrealistic paintings for the first time as an installation-based solo presentation entitled ",{"_key":70,"_type":22,"marks":71,"text":29},"8f6a5bef472f1",[28],{"_key":73,"_type":22,"marks":74,"text":75},"8f6a5bef472f2",[],".\n\nFor ",{"_key":77,"_type":22,"marks":78,"text":29},"8f6a5bef472f3",[28],{"_key":80,"_type":22,"marks":81,"text":82},"8f6a5bef472f4",[],", Britta Thie draws on the visual worlds of the film industry and transposes them into the exhibition space. A real film set becomes the exhibition setting and the technical equipment in the paintings - camera cars, spotlights and other devices - become the main characters. Their hyperrealistic depiction opens up a theatrical dimension that seems to tell of life before, during and after filming. With ",{"_key":84,"_type":22,"marks":85,"text":29},"8f6a5bef472f5",[28],{"_key":87,"_type":22,"marks":88,"text":89},"8f6a5bef472f6",[],", Britta Thie refers to so-called ‘prop graveyards’, in which entire film sets and their narratives, detached from time and space, wait to be revived for another season.",[],{"end":92,"start":93},"2025-05-04","2025-03-06",{"headline":95,"items":100},[96,98],{"_key":60,"language":60,"value":97},"Exhibitions",{"_key":14,"language":14,"value":99},"Aktuelle Ausstellungen",[101,283],{"_createdAt":102,"_id":103,"_rev":6,"_type":8,"_updatedAt":9,"content":104,"date":220,"route":223,"slug":224,"thumbnail":225,"title":279,"venue":280},"2026-05-12T15:35:56Z","2f596ab1-2046-45d9-9b73-0fec91b372a7",[105,159],{"_key":106,"_type":13,"language":14,"value":107},"B18k2Qgd9WjLuzv1THxGwR",[108,116,124,132,140],{"_key":109,"_type":18,"children":110,"markDefs":115,"style":57},"8fdf324dc169",[111],{"_key":112,"_type":22,"marks":113,"text":114},"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":117,"_type":18,"children":118,"markDefs":123,"style":57},"d0151dabb2dd",[119],{"_key":120,"_type":22,"marks":121,"text":122},"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":125,"_type":18,"children":126,"markDefs":131,"style":57},"4cf91431bf62",[127],{"_key":128,"_type":22,"marks":129,"text":130},"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":133,"_type":18,"children":134,"markDefs":139,"style":57},"bffc9c995300",[135],{"_key":136,"_type":22,"marks":137,"text":138},"133937811b26",[],"Kuratiert von Nadine Isabelle Henrich, Kuratorin des Haus der Photographie.\nKuratorische Assistenz: Viktoria Rochambeau, kuratorisches Volontariat, Haus der Photographie",[],{"_key":141,"_type":18,"children":142,"markDefs":158,"style":57},"d6933f1f4ef9",[143,147,151,155],{"_key":144,"_type":22,"marks":145,"text":146},"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":148,"_type":22,"marks":149,"text":150},"5ab7a858dfaa",[28],"Rotting from Within ",{"_key":152,"_type":22,"marks":153,"text":154},"6504662945a9",[],"sowie einem Text von Nadine Isabelle Henrich",{"_key":156,"_type":22,"marks":157,"text":37},"3df58ca86a78",[28],[],{"_key":160,"_type":13,"language":60,"value":161},"B18k2Qgd9WjLuzv1THxGys",[162,170,186,194,202],{"_key":163,"_type":18,"children":164,"markDefs":169,"style":57},"6422a5364f56",[165],{"_key":166,"_type":22,"marks":167,"text":168},"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":171,"_type":18,"children":172,"markDefs":185,"style":57},"d47bca157498",[173,177,181],{"_key":174,"_type":22,"marks":175,"text":176},"32b9ed992838",[],"The exhibition ",{"_key":178,"_type":22,"marks":179,"text":180},"35b9b4bcc4d4",[28],"Rotting from Within",{"_key":182,"_type":22,"marks":183,"text":184},"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":187,"_type":18,"children":188,"markDefs":193,"style":57},"498ea4644e05",[189],{"_key":190,"_type":22,"marks":191,"text":192},"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":195,"_type":18,"children":196,"markDefs":201,"style":57},"6665f3ae3b22",[197],{"_key":198,"_type":22,"marks":199,"text":200},"30729d283f8e",[],"Curated by Nadine Isabelle Henrich, curator at the House of Photography.\nCuratorial assistance: Viktoria Rochambeau, curatorial trainee, House of Photography.",[],{"_key":203,"_type":18,"children":204,"markDefs":219,"style":57},"1c6d6935803e",[205,209,212,216],{"_key":206,"_type":22,"marks":207,"text":208},"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":210,"_type":22,"marks":211,"text":180},"97c48e479cab",[28],{"_key":213,"_type":22,"marks":214,"text":215},"9a42658c6fde",[],", as well as a text by Nadine Isabelle Henrich",{"_key":217,"_type":22,"marks":218,"text":37},"0c010d99977f",[28],[],{"end":221,"start":222},"2026-11-01","2026-06-05","haeuser-slug-ausstellungen-exhibitionslug","abdulhamid-kircher-rotting-from-within",{"_type":226,"alt":227,"asset":228},"image",null,{"_createdAt":229,"_id":230,"_rev":231,"_type":232,"_updatedAt":233,"altText":227,"assetId":234,"creditLine":227,"description":235,"extension":236,"metadata":237,"mimeType":271,"opt":272,"originalFilename":274,"path":275,"sha1hash":234,"size":276,"title":227,"uploadId":277,"url":278},"2026-05-12T15:39:29Z","image-2353cab0c9bf0d2ba8126ac06e80a7a527148dfd-2000x1600-jpg","L6d9l0ZyBBnPql9Df0RIXO","sanity.imageAsset","2026-05-12T15:40:04Z","2353cab0c9bf0d2ba8126ac06e80a7a527148dfd","Abdulhamid Kircher, Untitled, 2016 Courtesy of the artist and carlier | gebauer, Berlin\u002FMadrid © Abdulhamid Kircher","jpg",{"_type":238,"blurHash":239,"dimensions":240,"hasAlpha":245,"isOpaque":246,"lqip":247,"palette":248,"thumbHash":270},"sanity.imageMetadata","V57TtND+04~nE2-nM|R*%KE30M-n^$4;kWIoxtahIV?F",{"_type":241,"aspectRatio":242,"height":243,"width":244},"sanity.imageDimensions",1.25,1600,2000,false,true,"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAQABQDASIAAhEBAxEB\u002F8QAGAAAAgMAAAAAAAAAAAAAAAAAAAYBBQj\u002FxAAkEAABAwIFBQEAAAAAAAAAAAACAAEDBBEFBhIUIRMjMUFxUf\u002FEABQBAQAAAAAAAAAAAAAAAAAAAAT\u002FxAAYEQEBAQEBAAAAAAAAAAAAAAACAQARIv\u002FaAAwDAQACEQMRAD8AzZl8IpDNpB5u3P4mTDMs70MbrQgGWjpKZzeRyswk\u002Fj6lGk6ujVA1vRP6VvX5mlfDNjQjtgkG0+gn7n1HZVXnIiMHLMtv5QoQkY+\u002F\u002F9k=",{"_type":249,"darkMuted":250,"darkVibrant":255,"dominant":258,"lightMuted":259,"lightVibrant":263,"muted":266,"vibrant":268},"sanity.imagePalette",{"_type":251,"background":252,"foreground":253,"population":254,"title":253},"sanity.imagePaletteSwatch","#5f4438","#fff",0.5,{"_type":251,"background":256,"foreground":253,"population":257,"title":253},"#500907",0.05,{"_type":251,"background":252,"foreground":253,"population":254,"title":253},{"_type":251,"background":260,"foreground":261,"population":262,"title":261},"#ccccbc","#000",0,{"_type":251,"background":264,"foreground":261,"population":265,"title":261},"#f7e989",0.32,{"_type":251,"background":267,"foreground":253,"population":262,"title":253},"#ac5454",{"_type":251,"background":269,"foreground":261,"population":262,"title":253},"#c4b42c","RRgGFoIHabZ6h4aSS2iIh3d3CHqjoEg=","image\u002Fjpeg",{"media":273},{"tags":227},"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":227,"slug":281,"title":282},"deichtorhallen-hamburg","Deichtorhallen Hamburg",{"_createdAt":284,"_id":285,"_rev":6,"_type":8,"_updatedAt":9,"content":286,"date":380,"route":223,"slug":381,"thumbnail":382,"title":421,"venue":422},"2026-05-12T15:40:31Z","b0a1db4b-3029-478e-8f5c-ed347870017c",[287,338],{"_key":288,"_type":13,"language":14,"value":289},"B18k2Qgd9WjLuzv1THxH3k",[290,298,306,314,322,330],{"_key":291,"_type":18,"children":292,"markDefs":297,"style":57},"39be6f45d1e9",[293],{"_key":294,"_type":22,"marks":295,"text":296},"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":299,"_type":18,"children":300,"markDefs":305,"style":57},"ba346502f211",[301],{"_key":302,"_type":22,"marks":303,"text":304},"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":307,"_type":18,"children":308,"markDefs":313,"style":57},"45612f1838f7",[309],{"_key":310,"_type":22,"marks":311,"text":312},"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":315,"_type":18,"children":316,"markDefs":321,"style":57},"928adfc9e031",[317],{"_key":318,"_type":22,"marks":319,"text":320},"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":323,"_type":18,"children":324,"markDefs":329,"style":57},"9e36cdf104f3",[325],{"_key":326,"_type":22,"marks":327,"text":328},"48d8290e51f4",[],"Kuratiert von Nadine Isabelle Henrich, Kuratorin des Haus der Photographie.\nKuratorische Assistenz: Viktoria Rochambeau, kuratorisches Volontariat am Haus der Photographie",[],{"_key":331,"_type":18,"children":332,"markDefs":337,"style":57},"9efaacc4aa7e",[333],{"_key":334,"_type":22,"marks":335,"text":336},"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":339,"_type":13,"language":60,"value":340},"B18k2Qgd9WjLuzv1THxH6B",[341,349,357,365,372],{"_key":342,"_type":18,"children":343,"markDefs":348,"style":57},"dc3383a07c9b",[344],{"_key":345,"_type":22,"marks":346,"text":347},"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":350,"_type":18,"children":351,"markDefs":356,"style":57},"a33e973fc9f7",[352],{"_key":353,"_type":22,"marks":354,"text":355},"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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