Exhibitions

Applying their different perspectives, the six curators of Farewell Photography will question photography’s materiality and forms of use and, equally, its socio-political potential in seven photographic fields.

  • How Your Camera Works
    What does the material promise, what does it miss?

    Peter Miller, Selfportrait (with Headlamp), 2009, Silbergelatineabzug, 20 × 25 cm, © Peter Miller

    The exhibition trail imitates a photography manual. It leads the visitor through various stages of the photographic production process and therein reverses the gaze through the viewfinder: not the outside world, but the inside of the camera, the logic of photography itself becomes the theme in the exhibited artistic works. In supplement to the current works, among others by F & D Cartier, Peter Miller and Adrian Sauer, 19th-century illustrated instruction books and manuals, containing original photographs, will be on show. (curated by Kathrin Schönegg)

  • Leaving the Still Image
    How high, wide, deep and flexible is an image?

    Pétrel I Roumagnac (duo), Reset/Résidus #3, 2015, Direktdruck auf Plexiglas (Installationsansicht, Galerie Escougnou-Cetraro, Paris), © Pétrel I Roumagnac (duo), courtesy die Künstler und Galerie Escougnou-Cetraro

    Today, more than ever, photography is a hybrid medium that we encounter in all kinds of forms. As a counterpart to How Your Camera Works, this exhibition chapter examines the medium’s opening and expansion. Its questioning will focus on recording perspective and outward appearances of image carriers, the temporal dimension, and the performative potential of photography. (curated by Christin Müller)

  • No Image is an Island
    How does sharing shape our interaction with images?

    Natalie Bookchin, My Meds, 2009/2016, aus: Testament, Mehrkanal-Videoinstallation, Farbe, Ton, © Natalie Bookchin

    With the shift away from an analogue towards a digital visual culture, the availability of photographic images has boomed. They are shared on social platforms in seconds. The image has had its time as a closed, singular unit. Sharing is the photographic usage of the hour. The exhibition questions images’ dissemination paths today. What gets brought into circulation, and out of what motivation? At the same time, a look will be taken at strategies that respond to images’ anarchic dynamism and attempt to enclose them and make them manipulable. As does sharing, regulating and collecting also takes on a ritual character. (curated by Fabian Knierim)

  • Who Are You? That's You!
    What portraits (do not) reveal of the portrayed?

    Andrzej Steinbach, Ohne Titel, 2015, aus: Figur I, Figur II, Inkjet-Print, 90 × 60 cm, © Andrzej Steinbach, courtesy Andrzej Steinbach und Galerie Conradi

    The portrait is a classic field of application of photography, where self-image and public image are negotiated between photographer and picture protagonist. How much can be said about a person’s identity and character via the illustration? As a technical medium, photography appears suitable for generating an analytical and objective image. Patient photographs from files and psychological research textbooks form the basis of this exhibition. These are contrasted by images that expose the instability of photographic description. (curated by Christin Müller)

  • Resisting Images
    How to resist, with and against, images?

    Merle Kröger und Philip Scheffner, Havarie, 2016, Projektion, 93 min, Farbe, Ton, © pong film GmbH

    Resisting Images explores the contentious presence of the photographic image within the political sphere. As the title of this section suggests, images can serve both as a means of resistance and a mode of control to resist against. Photographs can elicit sympathy and indignation and stir into action and revolt, but they can also affirm prejudice and render viewers immutable, distant and passive. The artworks and artefacts in the exhibition address this tension, questioning prevalent forms of political representation and articulating modes of opposition, with and against images. (curated by Boaz Levin)

  • Global Players
    How can we reflect the entanglement of photography, economy and migration?

    Serafettin Keskin, Karneval in Ulm, 1963, © Familie Keskin

    The planned exhibition at the Kunstverein Ludwigshafen thematizes the connection between photography, globality and economy and collates photographs from private and public archives and artistic positions, with regard to which “work” is constitutive at various levels. (curated by Kerstin Meincke)

  • Other Testimonies
    What does the setting reveal about the stance?

    Arwed Messmer Stammheim #12, Zelle 720 (Ensslin), 1977/2016 [AM_RAF_STH_STA_LB_EL_51/3_679_FILM_EN_01_NEG_10] aus: RAF – NO EVIDENCE / KEIN BEWEIS

    When societal upheavals, political events and traumatic moments are reduced to a few public images, it is rewarding to take a closer look at these and to consult others. For example, this exhibition poses the question of the connection between photographic and content-related perspective, of the direction of the camera and of the attitude behind the camera. What does the juxtaposition of images give away about an event, what other realities become visible, what functions of the shots and what contexts determine our reading of these images? What is the “stance behind the settings”? (curated by Florian Ebner)

    In cooperation with Museum Folkwang, Essen
    The project „Lampedusa – Bildgeschichten vom Rande Europas“ is promoted by Kulturstiftung des Bundes

  • Ghost Stories
    Breaking Images in the Mannheim Water Tower

    The photographic stock of Kunsthalle Mannheim is the source for a new work by Arno Gisinger. The glass plate archive comprising more than 7000 images – primarily art reproductions, exhibition documents and architecture photography from the museum’s founding in 1907 into the early 1960s – is the institution’s visual memory and was previously closed to visitors. It illustrates the museum’s exhibition policy, which has been characterized by political upheavals, as much as its extraordinary history, which Arno Gisinger will transfer into the public space and thus into a contemporary perceptual context.