[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"sanity-h9hf9v-{\"slug\":\"states-of-rebirth-koerperbilder-in-bewegung\"}":3},{"_createdAt":4,"_id":5,"_rev":6,"_translations":7,"_type":8,"_updatedAt":9,"content":10,"date":47,"exhibitions":50,"seo":381,"slug":392,"thumbnail":395,"title":391,"titleEn":436,"venue":437},"2025-02-14T15:03:00Z","2c0957cc-444a-4ae9-98b3-31bfc6b98885","B18k2Qgd9WjLuzv1THxDPF",[],"exhibition","2026-06-29T10:13:44Z",[11,35],{"_key":12,"_type":13,"language":14,"value":15},"B18k2Qgd9WjLuzv1THxFKa","internationalizedArrayRichTextMediaValue","de",[16,27],{"_key":17,"_type":18,"children":19,"markDefs":25,"style":26},"b75ff9a8923b","block",[20],{"_key":21,"_type":22,"marks":23,"text":24},"39c91109be000","span",[],"STATES OF REBIRTH beleuchtet die Beziehungen zwischen Körper, Bewegung und gesellschaftlichen Strukturen in physischen und digitalen Räumen. Die Ausstellung setzt einen Fokus auf dokumentarische und konzeptuelle Projekte der zeitgenössischen Performance-, Porträt- und Tanzfotografie. Anhand einer Choreografie, die Aufnahmen bewegter Körper im Raum zueinander in Beziehung setzt, untersucht die Ausstellung, inwiefern Haltungen, Gesten und Posen die Aushandlungsprozesse gesellschaftlicher Veränderungen reflektieren, gestalten und transformieren.",[],"normal",{"_key":28,"_type":18,"children":29,"markDefs":34,"style":26},"b429f002c760",[30],{"_key":31,"_type":22,"marks":32,"text":33},"a3fda4aa12280",[],"Die Ausstellung bringt dabei Arbeiten der Künstler*innen KhingWei Bai, Felipe Romero Beltrán, Moshtari Hilal, Naomi Lulendo, Ana Maria Sales Prado, Roxana Rios, Aykan Safoğlu, Isaac Chong Wai und Farren van Wyk miteinander in Dialog, die »glokale Körper« fotografisch inszenieren. Als »glokal« bezeichnet die iranische Tanzwissenschaftlerin Elaheh Hatami Körper, die zugleich lokal präsent sind und Verbindungen zu mehr als einem Ort in sich tragen.",[],{"_key":36,"_type":13,"language":37,"value":38},"B18k2Qgd9WjLuzv1THxFN1","en",[39],{"_key":40,"_type":18,"children":41,"markDefs":46,"style":26},"fc22fe73eef6",[42],{"_key":43,"_type":22,"marks":44,"text":45},"d0f8d82601f50",[],"STATES OF REBIRTH examines the correlation between the body, movement and societal structures in physical and digital spaces, through a focus on documentary and conceptual projects in contemporary Performance-, Portrait and Dance-Photography.\n\nAs a choreography – of photographs concerning of the relationship between bodies in motion – this exhibition explores how our attitudes, gestures and affectations at once reflect, configure and transform how we negotiate societal change. In particular, how our normative, algorithmic visual culture – and its discerning, deriding gaze – is visible in our restless bodies: how they move; how they slouch, grope, evade or repell; how they sink; or how they stand tall; suppose a gesture, strike a pose; how they influence and reflect each other; how they grasp for connection.",[],{"end":48,"start":49},"2025-08-17","2025-02-21",{"headline":51,"items":56},[52,54],{"_key":37,"language":37,"value":53},"Exhibitions",{"_key":14,"language":14,"value":55},"Aktuelle Ausstellungen",[57,241],{"_createdAt":58,"_id":59,"_rev":6,"_type":8,"_updatedAt":9,"content":60,"date":178,"route":181,"slug":182,"thumbnail":183,"title":237,"venue":238},"2026-05-12T15:35:56Z","2f596ab1-2046-45d9-9b73-0fec91b372a7",[61,117],{"_key":62,"_type":13,"language":14,"value":63},"B18k2Qgd9WjLuzv1THxGwR",[64,72,80,88,96],{"_key":65,"_type":18,"children":66,"markDefs":71,"style":26},"8fdf324dc169",[67],{"_key":68,"_type":22,"marks":69,"text":70},"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":73,"_type":18,"children":74,"markDefs":79,"style":26},"d0151dabb2dd",[75],{"_key":76,"_type":22,"marks":77,"text":78},"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":81,"_type":18,"children":82,"markDefs":87,"style":26},"4cf91431bf62",[83],{"_key":84,"_type":22,"marks":85,"text":86},"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":89,"_type":18,"children":90,"markDefs":95,"style":26},"bffc9c995300",[91],{"_key":92,"_type":22,"marks":93,"text":94},"133937811b26",[],"Kuratiert von Nadine Isabelle Henrich, Kuratorin des Haus der Photographie.\nKuratorische Assistenz: Viktoria Rochambeau, kuratorisches Volontariat, Haus der Photographie",[],{"_key":97,"_type":18,"children":98,"markDefs":116,"style":26},"d6933f1f4ef9",[99,103,108,112],{"_key":100,"_type":22,"marks":101,"text":102},"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":104,"_type":22,"marks":105,"text":107},"5ab7a858dfaa",[106],"em","Rotting from Within ",{"_key":109,"_type":22,"marks":110,"text":111},"6504662945a9",[],"sowie einem Text von Nadine Isabelle Henrich",{"_key":113,"_type":22,"marks":114,"text":115},"3df58ca86a78",[106],".",[],{"_key":118,"_type":13,"language":37,"value":119},"B18k2Qgd9WjLuzv1THxGys",[120,128,144,152,160],{"_key":121,"_type":18,"children":122,"markDefs":127,"style":26},"6422a5364f56",[123],{"_key":124,"_type":22,"marks":125,"text":126},"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":129,"_type":18,"children":130,"markDefs":143,"style":26},"d47bca157498",[131,135,139],{"_key":132,"_type":22,"marks":133,"text":134},"32b9ed992838",[],"The exhibition ",{"_key":136,"_type":22,"marks":137,"text":138},"35b9b4bcc4d4",[106],"Rotting from Within",{"_key":140,"_type":22,"marks":141,"text":142},"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":145,"_type":18,"children":146,"markDefs":151,"style":26},"498ea4644e05",[147],{"_key":148,"_type":22,"marks":149,"text":150},"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":153,"_type":18,"children":154,"markDefs":159,"style":26},"6665f3ae3b22",[155],{"_key":156,"_type":22,"marks":157,"text":158},"30729d283f8e",[],"Curated by Nadine Isabelle Henrich, curator at the House of Photography.\nCuratorial assistance: Viktoria Rochambeau, curatorial trainee, House of Photography.",[],{"_key":161,"_type":18,"children":162,"markDefs":177,"style":26},"1c6d6935803e",[163,167,170,174],{"_key":164,"_type":22,"marks":165,"text":166},"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":168,"_type":22,"marks":169,"text":138},"97c48e479cab",[106],{"_key":171,"_type":22,"marks":172,"text":173},"9a42658c6fde",[],", as well as a text by Nadine Isabelle Henrich",{"_key":175,"_type":22,"marks":176,"text":115},"0c010d99977f",[106],[],{"end":179,"start":180},"2026-11-01","2026-06-05","haeuser-slug-ausstellungen-exhibitionslug","abdulhamid-kircher-rotting-from-within",{"_type":184,"alt":185,"asset":186},"image",null,{"_createdAt":187,"_id":188,"_rev":189,"_type":190,"_updatedAt":191,"altText":185,"assetId":192,"creditLine":185,"description":193,"extension":194,"metadata":195,"mimeType":229,"opt":230,"originalFilename":232,"path":233,"sha1hash":192,"size":234,"title":185,"uploadId":235,"url":236},"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":196,"blurHash":197,"dimensions":198,"hasAlpha":203,"isOpaque":204,"lqip":205,"palette":206,"thumbHash":228},"sanity.imageMetadata","V57TtND+04~nE2-nM|R*%KE30M-n^$4;kWIoxtahIV?F",{"_type":199,"aspectRatio":200,"height":201,"width":202},"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":207,"darkMuted":208,"darkVibrant":213,"dominant":216,"lightMuted":217,"lightVibrant":221,"muted":224,"vibrant":226},"sanity.imagePalette",{"_type":209,"background":210,"foreground":211,"population":212,"title":211},"sanity.imagePaletteSwatch","#5f4438","#fff",0.5,{"_type":209,"background":214,"foreground":211,"population":215,"title":211},"#500907",0.05,{"_type":209,"background":210,"foreground":211,"population":212,"title":211},{"_type":209,"background":218,"foreground":219,"population":220,"title":219},"#ccccbc","#000",0,{"_type":209,"background":222,"foreground":219,"population":223,"title":219},"#f7e989",0.32,{"_type":209,"background":225,"foreground":211,"population":220,"title":211},"#ac5454",{"_type":209,"background":227,"foreground":219,"population":220,"title":211},"#c4b42c","RRgGFoIHabZ6h4aSS2iIh3d3CHqjoEg=","image\u002Fjpeg",{"media":231},{"tags":185},"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":185,"slug":239,"title":240},"deichtorhallen-hamburg","Deichtorhallen Hamburg",{"_createdAt":242,"_id":243,"_rev":6,"_type":8,"_updatedAt":9,"content":244,"date":338,"route":181,"slug":339,"thumbnail":340,"title":379,"venue":380},"2026-05-12T15:40:31Z","b0a1db4b-3029-478e-8f5c-ed347870017c",[245,296],{"_key":246,"_type":13,"language":14,"value":247},"B18k2Qgd9WjLuzv1THxH3k",[248,256,264,272,280,288],{"_key":249,"_type":18,"children":250,"markDefs":255,"style":26},"39be6f45d1e9",[251],{"_key":252,"_type":22,"marks":253,"text":254},"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":257,"_type":18,"children":258,"markDefs":263,"style":26},"ba346502f211",[259],{"_key":260,"_type":22,"marks":261,"text":262},"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":265,"_type":18,"children":266,"markDefs":271,"style":26},"45612f1838f7",[267],{"_key":268,"_type":22,"marks":269,"text":270},"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":273,"_type":18,"children":274,"markDefs":279,"style":26},"928adfc9e031",[275],{"_key":276,"_type":22,"marks":277,"text":278},"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":281,"_type":18,"children":282,"markDefs":287,"style":26},"9e36cdf104f3",[283],{"_key":284,"_type":22,"marks":285,"text":286},"48d8290e51f4",[],"Kuratiert von Nadine Isabelle Henrich, Kuratorin des Haus der Photographie.\nKuratorische Assistenz: Viktoria Rochambeau, kuratorisches Volontariat am Haus der Photographie",[],{"_key":289,"_type":18,"children":290,"markDefs":295,"style":26},"9efaacc4aa7e",[291],{"_key":292,"_type":22,"marks":293,"text":294},"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":297,"_type":13,"language":37,"value":298},"B18k2Qgd9WjLuzv1THxH6B",[299,307,315,323,330],{"_key":300,"_type":18,"children":301,"markDefs":306,"style":26},"dc3383a07c9b",[302],{"_key":303,"_type":22,"marks":304,"text":305},"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":308,"_type":18,"children":309,"markDefs":314,"style":26},"a33e973fc9f7",[310],{"_key":311,"_type":22,"marks":312,"text":313},"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. (...) The image represents a structural disturbance in my own existence,” says the artist.",[],{"_key":316,"_type":18,"children":317,"markDefs":322,"style":26},"599bcfd5f24b",[318],{"_key":319,"_type":22,"marks":320,"text":321},"90d031b81e29",[],"For her, the darkroom serves not only as a site of production, but as a space of reflection in which experiences, relationships, and memories take shape before they become fully visible. RESIDUAL SKY UNDER CONTAMINATION features approximately 20 new large-scale works installed in a tilted position “against” the exhibition space.",[],{"_key":324,"_type":18,"children":325,"markDefs":329,"style":26},"5d0eca50b93c",[326],{"_key":327,"_type":22,"marks":328,"text":158},"640395b4c14e",[],[],{"_key":331,"_type":18,"children":332,"markDefs":337,"style":26},"8113621b812a",[333],{"_key":334,"_type":22,"marks":335,"text":336},"5969e1ba05ef",[],"Accompanying the exhibition as part of the 9th Triennial of Photography, an accordion-fold booklet will be published featuring a new work and an interview with Akosua Viktoria 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