Piotr Zbierski (1987) is the first photographer to be exhibited in the Kehrer Berlin »Prime 21« series, which will be presenting the work of young photographers in loose succession. Zbierski studied at the State University for Film, Television, and Theatre »Leon Schiller« in Lodz, Poland. Since then his works have appeared frequently in publications and exhibitions. In 2012 he won the »Leica Oscar Barnack Newcomer Award«, and in 2014 he received the European Cultural Foundation Grant and a Polish Ministry of Culture fellowship. Piotr Zbierski lives and works in Lodz and while travelling. Taking photographs for him is a kind of intimacy with forgetting and remembering.
July 20 to September, 2014
Exhibition Opening: July 19, 2014, from 6 to 9 pm.
Iranian photographer Newsha Tavakolian wins the 5th Carmignac Gestion Photojournalism Award .
The award is promoted via an exhibition and the publication of a monograph. The book on the topic of Iran will be published by Kehrer in November.
Chewing Gum and Chocolate
Shomei Tomatsu, one of Japan’s foremost twentieth-century hotographers
Ute Mahler and Werner Mahler
Ute Mahler (b. 1949) and Werner Mahler (b. 1950), together since 40 years, were among the foremost photographers in East Germany during the Communist era and continue today to bring their humanistic view of the world to bear on various compelling photo projects.
North Philadelphia is a photographic portrait of a neighborhood in prolonged crisis. The book presents a compelling glimpse into an urban area that hovers between decay and possibility, and is emblematic of many such regions across the United States.
Using his images taken during the past ten years in Afghanistan, Iraq, Indonesia, Lebanon, and Gaza, Bangert started an experiment: What would happen if we suppressed our need for self-censorship for once? The result is a raw, intense, mysterious, brutal and at times maybe a shocking and controversial book.
Sylt - Meine Insel
Bleicken – a teacher by trade and later the mayor of the city of Kampen / Sylt – began with photography in the 1920s, capturing his home-island and its citizens on camera. Images from his estate comprising more than 3,600 photographs are presented to the public here for the very first time.
Series, 2005 - 2012
The raw material of Angelika Sher’s photographic work is supplied by her family and immediate environment. Personal relations and domestic spaces are captured in moments full of longing, remoteness, and a beauty that can hurt. Series, 2005 – 2012 is a survey of Sher’s work over a seven year period, structured around four different series.
Fränzi und Marzella. Wer sie waren und wie sie sind
The Brücke-Museum in Berlin is publishing a comprehensive exhibition catalog based on new findings about the two favorite models of the artists in the »Brücke« group, Fränzi and Marzella. The book looks at relevant works in the Berlin collection against the backdrop of the lives of these two girls.
Weiblicher Energie Austausch
By providing an overview of the more than 40 years of Ulrike Rosenbach’s artistic work, this catalog demonstrates her seminal influence on the development of video and performance art on national and international levels.
How do we perceive sculptures? How do they transform spaces? The interdisciplinary symposium Skulptur pur, which took place during the exhibition Nur Skulptur! at the Kunsthalle Mannheim tried to shed light on these and other questions.
When Vee Speers photographed these same children for series The Birthday Party (Kehrer 2008), they were already strong, strange and savage, yet beautiful. Since then, much has changed – their bodies are taller, longer. Their faces have thinned and transformed. Speers has recorded it.
Malerei als Revolte. Hommage an das Licht, die Schönheit und Camus
For over 30 years, the artist Oliver Jordan (b. 1958 in Essen) has been exploring Albert Camus and his texts, especially Nuptials et Tipasa and Return to Tipasa, through painting.
Homeland presents various ways of approaching the concept of home. How private must home be? Does »taking it public« make a mockery of this emotion? Or is there indeed something like a collective, world-wide feeling of home?