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Article by Hannah Carroll Harris // Mar. 20, 2020
Exceptionally detailed, minuscule rainforest lichen, soft fuzzy moss and extraterrestrial orchid forms inhabit the hyper-real world of Richard Mosse’s latest body of work ‘Ultra’…[read on]
Interview by Emily McDermott // Apr. 09, 2019
Following what he calls a “full-on mystical experience” in 2016 in Helsinki, photographer Alec Soth pressed pause on his familiar routine of traveling, giving talks, hosting workshops and taking photographs…[read on]
July 6, 2018
Lcc Program is a bi-annual award, supporting contemporary African photography through giving an emerging artist their first solo exhibition and a cash prize of 2000 USD. Established by Fondation Alliances…[read on]
Article by Louisa Stark // Jun. 2, 2018
Across Sexauer gallery’s walls Isabelle Graeff’s photographs are arranged either singularly or in groups of twos and threes at different heights, in a style that reminds me of Wolfgang Tilmans…[read on]
Blog post by Jennifer Florquin – in Berlin; Friaday, Nov. 22, 2013.
Blog post by Jazmina Figueroa, photos by Emelie Flood – in Berlin; Friday, Sep. 20, 2013.
Blog post by Anna C. Purcell – in Berlin; Thursday, Jun. 28, 2012.
Front Row Society and ArtStars* collaborate to present a new line of scarves from Bruce LaBruce, the Toronto-based filmmaker, director, photographer, writer, and artist. The line will be previewed on June 30th in Berlin at the new club Le Chat Gris, just off Rosa-Luxembourg- Platz. [read on…]
Article by Samantha Manton in Berlin // Feb. 04, 2012
Gundula Schulze Eldowy’s immunity to tragedy and despair is impressive. Fear of not only witnessing the most harrowing of existential circumstances, but capturing them forever through the…[read on…]
Blog entry by Samantha Manton – in Berlin; Tuesday, October 11, 2011.
It is the juxtaposition of small-scale, black and white, digitally produced prints with their much larger, full colour, analogously prepared counterparts on the walls of Klemm’s that arouses great curiosity at even the slightest glance through the gallery’s glass frontage. It is the relationship between the two that presents Viktoria Binschtok as a thoughtful and analytical artist whose pictorial explorations raise questions about visibility, function and artistic intent.
