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Erosion durch Wasser, das unhörbar, aber stetig von den Gipfeln der Berge über Gletscher, Tropenwälder, Sanddünen, Eisfelder in Patagonien und europäische Gletscher in den Ozean und die Gewässer des New Yorker Hafens hinabrieselt. Die Bilder der Künstlerin Renate Aller bezeugen die Verbundenheit dieser voneinander entfernten Umgebungen und regen zum Gespräch über die unterschiedlichen (politischen) Landschaften an, in denen wir leben.Renate Aller ist Deutsche und lebt und arbeitet in New York. Ihre großformatigen Fotografien sind in der Sammlung zahlreicher Museen vertreten, darunter in der Hamburger Kunsthalle, der National Gallery of Art, Washington D.C., der Yale University Art Gallery, dem George Eastman Museum, dem New York His-torical Society Museum, dem Musée des Beaux- Arts, Le Locle, und dem Parrish Art Museum.

Was, wenn es bei Fotografie mehr um Zuhören als um Sehen ginge? Die Fotoarbeit "Come Get Your Honey" nutzt diese Frage als eine Art Kompass beim Erzählen der Geschichten von trans* und queeren Geflüchteten in Berlin. Gleichzeitig ist sie der Weg des Fotografen, durch Verletzlichkeit, Freundschaft und Freude mit ihnen Beziehungen auf Augenhöhe einzugehen. Samet Durgun will sie als komplexe menschliche Wesen zeigen, die ihre neue Heimat in einem fremden Land und trotz eines extrem aufgeheizten politischen Klimas suchen. Andere Berichte über LGBTQIA+ und geflüchtete Menschen reduzieren diese häufig auf ihr Leid, indem sie ihre Körper mit dem Blick von Außen geradezu sezieren oder ihren Daseinskampf romantisieren.Samet Durgun (*1988) lebt in Berlin. Er ist Deutscher mit türkischem Migrationshintergrund und abchasischen Wurzeln. Er hat einen BA der Bogazici Universität, Türkei.

In early 2017, photographer Janet Holmes met a hen suffering from reproductive illness at the Wild Bird Fund in New York City, where she volunteered as a caregiver. During her search to find a permanent home for the hen after she was discharged from the Fund''s clinic, Janet Holmes discovered a network of people (primarily women) who turn their homes into sanctuaries for rescued chickens. She decided to make portraits of the chickens and their rescuers to honour both the birds who had suffered so much before their rescue and the people who invested so much love, time, and money caring for them.

At the beginning of her travels to China in 1998, Rosemarie Zens found a predominantly agrarian multi-ethnic state and initially photographed mainly landscapes and everyday scenes in urban and rural situations that reminded her of pre-modern times in our Western world. Within a time-frame of twenty years, ground-breaking developments took place. The memorable photographs show how China increasingly orients itself towards Western culture and how homogenizing forces such as science, technology and the global market influence individual life.

Beginning as a designer, Peter Fink (1907, Grand Rapids - 1984, New York City) travelled the globe from the 1950s to 1970s, moving in hidden streets and industrial towns of postwar Japan, France, Portugal, northern Africa, and the Middle East, photographing workers and street scenes. Arts and culture are recurring themes, as well as the life of workers, families or children in each new place he observed, but also expressive portraits and fashion, surreal still-lives, or his radical Refractions - reflections on architecture.

Israel has been in a near-continuous state of conflict since the day of its proclamation, some seventy years ago. It has sustained its military through compulsory service. The overwhelming majority of those in its Defense Forces were born in Israel, raised alongside this notion of service. But theirs is not the only story of Israel''s soldiers. There is a group of young men and women who come from countries around the world and volunteer into this legacy. For them, the price of admission into Israeli society is this very service. They are called ''lone soldiers.''

Susan Hefuna embraces a wide range of media, including drawing, sculpture, and installation as well as video, photography, and performance. Her textile works are exploring the visual and cultural signifiers that have come to embody her unique inter-cultural identity. The striking graffiti-like textile series Be One triggers varying emotions and feelings and reminds us that all is connected on this planet. This publication presents new textile works, drawings and films such as Angst Eats Soul, Munich, 2016, and Times Square, 2019.

Project Cleansweep takes its name from a Ministry of Defence report issued in 2011. The report assessed the risk of residual contamination at sites in the United Kingdom used in the manufacture, storage, and disposal of chemical and biological weapons from World War I to the present day. Photographs of more than eighty sites take us to Dorset and Devon, the Peak District, the woodlands of Yorkshire, and the countryside of the Salisbury Plain, from the coastlines of East Anglia, the West Counties and Wales to the remote Scottish Highlands and the Irish Sea.

Len Lye was one of the most important experimental filmmakers of the 1930s to 1950s. At the same time, initially in New Zealand and Australia, later in London and in New York City, he created a fascinating body of work embracing all artistic disciplines which the exhibition showcases in all its variety and breadth. The three-volume catalogue presents the exhibited works and new texts by leading experts on Len Lye in one volume each. The central volume is the first facsimile edition of his Totem & Taboo sketchbook.

Wine cellars are mysterious. Silent cathedrals, these spaces shelter a slow and continuous transformation. Wine evolves continuously, in absolute darkness imparted by the oak barrels. A cellar must guarantee three factors: a stable temperature, a constant hygrometry and a controlled darkness. The rest is pure creativity, uncorrelated to winemaking. Modern architectural creations, troglodyte caves, these unique places, where substance and form miraculously meet, allowed Alexis Cottin to capture photographs revealing the human aspiration for beauty.

Omatandangole is a term in the Oshiwambo language that is native to this part of Namibia where the photographs were made between 2016 and 2018. It refers to a kind of mirage that appears in heated air. The title reflects to a photographic pursuit of illusion that is rooted in actuality. Even though our surroundings are chaotic and broken it is possible to create photographs that show them as complete and pristine, so unlike what they are in reality. And yet - in that brief moment that is captured by the camera, wasn''t that sense of completeness true for a fleeting moment?

Petrus reflects on a certain rhetoric of masculinity in Western culture. It is about the human drive to define ourselves and the world through a definite form. Form is never stable though. It is the ever-changing result of a never-ending tension between forces pushing from within and pressures coming from without. Through a cynical, tender, and arbitrary analysis of what probably cannot be sliced and diced Francesca Catastini plays with archetypes and images considering the way they sculpt ourselves and shape our views.

The tourist season is over, the promenade is empty and Brexit is at the door when Benita Suchodrev returns to the British coastal town of Blackpool to photograph the hidden reality behind the famous Amusement Mile. She leads us to local churches, soup kitchens, youth shelters, old age homes and impoverished neighbourhoods, meets bizarre characters, underage mothers, drug-addicts, artists, and hermits. She photographs strangers on train platforms, homeless in torn rags feasting on ham sandwiches and coffee under a dark overpass, closed storefronts and deserted alleys on a rainy night.

On the occasion of the upcoming 90th birthday of Franz Gertsch, MASI Museum in Lugano invites the artist to plan an exhibition devoted to his oeuvre. This has led to a remarkable and striking meeting between Gertsch''s outstanding woodcuts and the wood engravings by two artists whom he regards as much more than simply pioneer revolutionaries of xylography, Paul Gauguin and Edvard Munch. Despite their historical distance and stylistic divergences, these three artists display profound and unexpected affinities, which extend far beyond the technique they share.