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| PHOTOGRAPHY INTERNATIONAL | | 16 - 23 October 2019 | |
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| | | Brown Fortuny, Mantas, Ccochinilla & Ccoli Dyed Yarn, Fishing Nets, Wood in Lazzaretto Vecchio from the series Caminantes, 2019 © Lorenzo Vitturi | | | | | | | | 18 October 2019 - 19 January 2020 | | | | The exhibition will open on 17 October 2019 in the presence of the artist from 17.30 hrs onwards. | | | | | | | | | | | | | | The body of work of Lorenzo Vitturi (1980, Italy) investigates urban changes beyond Western cities, processes of cultural mixing and their complexities, and the movement of people and goods in a globalised world. Playing with the combination of reality and fiction, mixing photography, sculpture, painting and performance, he builds temporary sets in his studio, drawing from specific geographical environments. His projects focus on cities including Lagos, London and Venice and selected areas in Peru; on their colours and shapes and the communities that inhabit them. Vitturi uses selected materials in his sculptures and photographs to investigate the passage of time in a globalised world, capturing its mutations. | | |
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| | f.l.t.r. Matyouz LaDurée, Vinii Legendary Father of the House of Revlon, Gigi Da Blizzard Revlon
at the ‘On The Cover of Vogue’ Ball under direction by Zueira Mizrahi, Berlin 2018,
from the series Opulence © Dustin Thierry | | | | | | | 18 October – 8 December 2019 | | | | The exhibitions will open on 17 October 2019 in the presence of the artists from 17.30 hrs onwards. | | | | | | | | | | | | | Amsterdam-based photographer Dustin Thierry (Willemstad, Curaçao, 1985) began documenting the Dutch Ballroom scene in 2013. This underground phenomenon originated in 19th-century America, where LGBTQ people gathered for drag masquerade Balls where they could freely express themselves. A contemporary manifestation of the Ballroom scene is rapidly expanding on a global scale, with its epicentres in New York and Paris. Following his ongoing series on ballrooms in the Netherlands, Thierry travelled to Paris, New York, London and Berlin to document the respective local scenes. His work testifies to a vibrant and timely revival of a centuries-old phenomenon, but also points to persistent discrimination and marginalisation of black and queer communities worldwide.
Thierry employs photography to empower, to reveal what is generally invisible, and to voice what is often muted. The balls he photographs are a ‘safe space’ for self-expression, but also a place where fierce competition forces its participants to stand up and defend their identity. Competitors engage in dance-off categories such as ‘voguing’: a highly stylised modern house dance inspired by hieroglyphs and modelling poses. The dance is said to have been invented by the inmates of Rikers Island, who were copying the poses struck by models in Vogue magazine in rapid succession. Others say it originated in Ballroom culture of Harlem and downtown Manhattan in the early 1960s. The dance-style became popularised by pop-artists such as Jeannet Jackson and Madonna in her video clip for "Vogue" (1990), and by the 1990 documentary Paris is Burning, which chronicled the African-American, Latino, gay, and transgender communities of the New York City bal… | | |
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| | | | | | | | zeinab el bouni from Postcards from Morocco 2019 © Ahmet Polat |
| | | | | | | | | | | | Thu 24 Oct 17:00
22 Oct – 1 Dec 2019 | | | | | |
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| | Antoine d'Agata » | | | | | | | | | | | | Eleven Voices Residency (Open to Public): 21 - 25 October, 12pm - 2pm
Exhibition Opening: Thursday 7 November, 6pm | | 21 Oct – 23 Nov 2019 | | | | | | | |
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| | | | | | | Pagode, 2018 Papiercollage, 65 x 50 cm, Foto: Ben Hermanni, Lemgo
© Frauke Dannert |
| | | | | | | | Fri 18 Oct 19:00
19 Oct – 1 Dec 2019 | | | | | |
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| | | | | | | Wohnst du schon oder lebst du noch?, 2019
C-Prints aus IKEA-KAtalogen der letzten 20 Jahre, 80 x 160 cm
© Gordon Endt |
| | | | Studierende der HBK Braunschweig, in Zusammenarbeit mit Frauke Dannert. | | | | | | | Fri 18 Oct 19:00
19 Oct – 1 Dec 2019 | | | | | |
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| | August Sander
Portraits from "People of the 20th Century". 1912-32
70 Gelatin silver prints by Gunther Sander 1961/63.
Unique set of large-format exhibition prints
Estimate EUR 300.000 - 500.000; USD 330,000 - 549,000
Modern and Contemporary Photography Wednesday 27th November 2019 | | | | | | | Preview to the Auction "Modern and Contemporary Photography" | | | | 18 October – 8 November 2019 | | | Opening: Thursday, 17 October, 6-8pm
Auction "Modern and Contemporary Photography" Grisebach, Berlin 27. November 2019 | | | | | | | | | | | | | When people speak about masterpieces of modern photography, when the question is which one is the pioneering incunabulum among them, and when talks is of singling out the most famous photographic project in history, then many would readily agree that August Sander’s "Menschen des 20. Jahrhunderts" ("People of the 20th Century") merits that honor.
Grisebach has the pleasure to announce that at the auction on November 27th, 2019, there will be 70 portraits on offer as part of a unique set that has never before been available on the auction market. From 1961 to 1963, shortly before his death, Sander himself compiled these photographs for a final exhibition. The unique set of images available at the auction bears his own personal stamp and serves as the epitome of his life’s work and legacy.
Sander developed this collection over the course of several decades as a "Kulturwerk in Lichtbildern" ("cultural oeuvre in photographs"), one that would be "divided into seven groups based on social classes [...]." The collection was to encompass 600 images.
Sander’s objective was nothing less than "to create a true-to-life visual document of our times by means of photography." With his visual aesthetic, Sander – who is considered the pioneering exponent of conceptual realism in documentary photography – became a seminal influence for countless other photographers, including Walker Evans, Bernd and Hilla Becher, and Thomas Ruff.
The world which he shows is a vulnerable and fragile one – and thus invites the contemporary viewer to carefully observe his own self and surroundings.
"How to write sociology without actually writing but instea… | | |
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| | | | | | | Fred Stein
Girl and Balloon, um 1944
Silbergelatineprint
22 x 19,7 cm
Fred Stein Archiv
© Fred Stein Archiv, 2019 |
| | | | | | | | Im Rahmen der Hannah Ahrendt Tage | | | Tue 22 Oct 19:00
23 Oct 2019 – 26 Jan 2020 | | | | | |
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| | | | | | | Michael Najjar
"liquid gravity", 2013
182 x 280 cm |
| | | | | | | | | | | | Thu 17 Oct 18:00
18 Oct 2019 – 30 Sep 2020 | | | | | |
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| | | | | | | | | | | | | | sixteen artist/photographers participating in its London Creative Network (LCN) programme | | | | | | | Thu 17 Oct 18:30
18 Oct – 26 Oct 2019 | | | | | |
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| | ABINGDON BRANCH, WAITING FOR THE CREEPER IN THE GREEN COVE STATION
Green Cove, Virginia, 1956
© O. Winston Link / O. Winston Link Museum, Roanoke, Virginia | | | | | | | | 16 October 2019 – 26 January 2020 | | | | | | | | | | | | | A drive-in movie theater, a ghost town, three young ladies in bathing suits, children fishing, and ever-present in the photographs: the steam locomotives of the Norfolk & Western Railway – or sometimes just their white smoke trails. The chugging of the engines, the whistles blowing and bells ringing as the iron horses roll through town are all there – supplied by one’s imagination.
Ogle Winston Link (1914–2001), a civil engineer and commercial photographer from New York City, captured these scenes and moments in time with his camera between 1955 and 1960 in Virginia and neighboring states. His work has nothing in common with conventional rail photography. O. Winston Link preserved a multifaceted atmospheric record of rural America in a »time capsule« of sorts before many things changed there forever. His sole freelance, and therefore self-financed, project was intended to document the entire gamut of activity of the Norfolk & Western Railway. Because it manufactured its own locomotives and owned its own coal mines, the N&W was the last of the large rail companies in the United States to successfully employ steam locomotives while all others had already switched to diesel. But the age of steam also came to an end in Virginia in 1960.
In a race against time, O. Winston Link began his project in 1955. He contacted the company and asked for assistance in finding suitable locations and for permission to enter their property. This elaborate and expensive photographic obsession would lead him over a railway network encompassing nearly 4,000 kilometers and result in 2,200 fascinating photographs. | | |
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| | | © Carolina Arantes | | | | | | | contemporary documentary photography / aktuelle Dokumentarfotografie | | | | | | | 16 October – 24 November 2019 | | | | Opening reception: Wednesday 16 October 19:00 | | | | | | | | | | | | | Since FOTODOKS 2017 with the guest country USA had a non-European focus, the seventh Munich edition of the FOTODOKS Festival concentrates on a close neighbour. In 2019, the Festival looks to France and with the theme Vis-à-vis opens the dialogue with the most long-standing and diverse culture in documentary photography.
France is Germany’s closest and most important partner in Europe. With almost no other country is there such a close collaboration and lively exchange in the area of culture and media. This solidarity combined with different impressions in dealing with socio-political situations promises to be an exciting encounter for the festival and the exhibition.
Vis-à-vis describes in its theme a seemingly simple and yet so complex situation in the encounter. This can be seen as a chance or as a burden, it can express rigid or flexible positions and perhaps can also be understood as a stimulus to devote oneself openly and responsibly to one’s counterpart.
„There is no such thing as a single-issue struggle, because we do not live single-issue lives“ writes the American author and activist Audre Lorde and describes the intellectual framework of this year’s festival edition.
In our globalised, networked and thoroughly complex world, we are dealing with conflicts and struggles on differing levels which touch on our social interaction as well as our individual values and plans for life.
The curator team presents an exemplary and concentrated selection of photographic positions which sheds light on economic, social and socio-political power structures and questions supposed „truths“. The works of the 15 invited photographers from France and the D-A-CH region, research intrigues of major corporations and follow traces which depict postcolonial, imperialistic and capitalistic structures. They describe politics and tradition, social values and gender roles. The contemporary documentary photography, following its tradition, expresses the diversity in thought and actions as well as individual strategies of empowerment in Europe and far beyond. The works irritate our viewing habits and question how one could possibly see and understand things differently. | | |
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| | | | | | | | Station de recharge des téléphones, bidonville d'état pour migrants, Calais, 2015 © Bruno Serralongue |
| | | | | | | | | | | | 16 Oct 2019 – 24 Feb 2020 | | | | | |
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| | | © Vittroia Gerardi | | | | | | | | ... until 10 November, 2019 | | | | | | | | | | | | | Following the remarkable success of her first series "Confine", exhibited at Galerie Thierry Bigaignon in 2017, the young italian artist, Vittoria Gerardi, confirms her irresistible talent with a new series dedicated to Pompeii. A delicate and powerful work that challenges the very nature of photography.
Pompeii, in itself, is a kind of oxymoron: it is a constantly evolving ruin, it has an objective existence but provides a subjective experience, it is past and present, fossilized and moving. It is all that has been discovered and all it still holds. It is a city and it is a name. And it is now the name of the new series by Italian artist, Vittoria Gerardi.
Like the ancient city immersed in oblivion by natural disaster, later revealed through the use of plaster, Vittoria Gerardi uses two different materials to visually translate the richness of Pompeii. Its memory is evoked through the plasticity of the plaster and its “return to the light” emerges as metaphor through the silver gelatin. “The pictures I was able to take of the city are trapped in the reduced space of the negative, the images stagnate at the border of latency before being revealed by the positive print. Though, in Pompeii, what is revealed is still somewhat veiled!" explains Vittoria Gerardi. | | |
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| | | Tokyo, Japan, 2019 © Bohnchang KOO | | | | | | | | ... until 11 January 2020 | | | | | | | | | | | | | | Since 1980s, KOO Bohnchang photographed cityscape through his personal experiences such as the alienation of newly recognized city, concerns about his identity and signs of the rapidly disappearing past. His latest work Incognito, captured the everyday landscape and experiences of the city where ordinary events occur based on his mature sight is presented for the first time through this exhibition. He captures anonymously the shabby spaces, the dreary and ambiguous landscapes, and the chaos of the city which still presses breathlessly. And now he traces the city's symbols that have been disappeared. The artist observes quietly from afar and represents a fragmentary image of time and traces that might disappear or already had. Photography works of KOO Bohnchang is the photographer's hidden self. Whether it is true or not, no matter it exists or not, that is the world he sees and that is himself he finds out as he faces the object. Whether it is inside or outside or even by the works itself, the desire to show himself through photographs is a monologue and diary that can unravel his story. | | |
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| | | | | | | Camille Henrot
The Pale Fox 2014
installation view at Palais de Tokyo, 2017
photo: Zachary Tyler Newton
courtesy the artist and galerie kamel mennour (Paris/London) Metro Pictures (New York) KÖNIG GALERIE (Berlin) © ADAGP, Paris & JASPAR, Tokyo 2019 |
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| | | Guido Baselgia, Tierra templada № 1, 2018, © Guido Baselgia | | | Guido Baselgia » As If the World Were There to Be Measured | | | | 19 October 2019 – 16 February 2020 | | | | Opening: Friday, 18 October, 6pm | | | | | | | | | | | | | Known for his photographs of landscapes of stone and ice – extremely dense black and white compositions on the verge of abstraction – Guido Baselgia ventures in a surprising new direction with his latest cycle of works. The specialist for austerity and emptiness has made the transition to abundance: his photographs of the tropical rainforest in the Amazon Basin explore the representability of a habitat that is so pervasive in the collec-tive visual consciousness, a landscape at the crossroads of geopolitical controversies due to its acute endangerment. The exhibition at the Fotostiftung Schweiz is showing Guido Baselgia’s photographs from eastern Ecuador for the very first time.
The new work opens up another chapter in the series of Baselgia’s work cycles. Seen in sequence, his projects of the past twenty years almost read like a creation myth: images of lifeless wasteland are followed by the stars above, then by vegetation and humankind. The photographer pursues elementary questions and crosses the paths of famous explorers on his travels, but his pictures testify to a very nuanced view. The world no longer needs to be mapped, there are no more white spots, today we have become critical of the utilitarian and colonialist gesture inherent in measuring the world. Looking at photographs from remote parts of the world now prompts us to reflect on the conditions of our reception.
Baselgia approaches the jungle by perceiving it as a multitude of small worlds. The photographs from the cloud forest overgrown with lichens, ferns and orchids suggest an external point of view: draped against a white curtain of condensed humidity, the plants appear as fragile silhouettes. But even in the thick of the tropics, he succeeds in photographical… | | |
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| | | Pinwall, C-prints on a wooden board (collage), 2003 © Daniele Buetti | | | | | | | | | | 19 October 2019 – 23 February 2020 | | | | Opening & Aperitif: Friday, 18 October 2019, from 18:00 | | | | | | | | | | | | | Photographic images capture and freeze moments: they fragment bodies, arrest movement and render our behaviours observable. Through photography, we can detect and categorise even the slightest deviations from the norm. In turn, photographs not only reinforce these norms, but can be instrumental in spawning new or deviating forms of behaviour: we may adapt to photographic models or tailor behaviours and appearances to the camera. SITUATIONS/Deviant examines the mechanisms of socio-cultural normalisation and deviation in the age of digital surveillance systems, algorithmic classification tools and preemptive technologies.
With works by Mitra Azar, Daniele Buetti, Esther Hovers, Simone C. Niquille, Carrie Mae Weems and Mushon Zer-Aviv.
Kindly supported by Ars Rhenia Foundation.
SITUATION #186: Esther Hovers, False Positives, 2015–2016
19.10.2019–16.02.2020
Video surveillance systems have become an integral part of public space. Like an omnipresent eye, they monitor our environment 24/7 and are crucial in the analysis and investigation of crimes. Intelligent surveillance systems not only reverse this temporal logic, but can even go one step further: they are able to detect deviant, potentially criminal behaviour based on specific corporeal signatures and can thus initiate an intervention even before a crime has occurred. For False Positives, Dutch artist Esther Hovers worked with intelligent surveillance system experts and based her project on a total of eight diagnosed ‘anomalies’: Deviations from the usual behavioural norms in public space, expressed through the body language and the movements of pedestrians. These deviations, tracked with visual technologies, are translated into data an… | | |
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| | | | | | | | | | | | | | Wed 16 Oct 19:00
17 – 20 Oct 2019 | | | | | |
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| | 261
LUCIEN CLERGUE (1934-2014)
Nu de la forêt varoise, 1974.
Épreuve argentique sous passepartout.
Au verso, cachets de l'auteur, signature et annotations manuscrites à l'encre "Tirage d'époque ...
Nu de la forêt varoise 1974 ©2012 by Lucien Clergue".
Format 30,3 x 23,8 cm.
Légers plis, manques et cornures. | | | PHOTOGRAPHIE | | | | MODERNE & CONTEMPORAINE | | | | Auction: Sunday 20 October 16:30pm | | | | | | | | | | AGUTTES - Salle 5 - Drouot-Richelieu 9, rue Drouot, 75009 Paris
T +33(0)1-47 45 55 55
www.aguttes.com
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| | | | | | CONTACTS
Departement photography
Ophélie Guillerot
+ 33 1 47 45 93 02
guillerot@aguttes.com
Expert
Isabelle Cazeils
+ 33 7 68 27 12 77
info@expertiseiclic.com | | |
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| | Guy Bourdin (1928-1991)
Charles Jourdan, Spring 1976
Fujiflex Crystal Archive print
Estimate : €20,000-25,000
© Copyright The Guy Bourdin Estate 2019 - Courtesy of Louise Alexander Gallery | | | Photographs | | | | | | Auction: Tuesday 5 November 2019, 4pm
Viewing: 2–5 November 2019
E-catalogue: www.christies.com/salelanding
Contact: Elodie Morel-Bazin, Head of Department
+33 (0) 1 40 76 84 16
EMorel-Bazin@christies.com
|
Peter Lindbergh (1944–2019)
Cindy Crawford, Tatjana Patitz, Helena Christensen, Linda Evangelista, Claudia Schiffer, Naomi Campbell, Karen Mulder & Stephanie Seymour, for American Vogue, Brooklyn, New York, 1991
gelatin silver print
Estimate: €8,000–10,000
© Peter Lindbergh, courtesy Peter Lindbergh, Paris |
| | | | | | | | | | | | | | Coinciding with Paris Photo, Christie’s presents its Photographs sale on 5 November in the French capital, offering around 150 works by the greatest photographers of the 20th and 21st centuries. Highlights include a magnificent portrait of Marilyn Monroe by Richard Avedon, important still lifes by Irving Penn, such as Frozen Foods, Three Wines of France and Aphrodisiacs, a series of never-before-seen images by Constantin Brancusi and Charles-Henri Favrod’s collection of Henri Cartier-Bresson prints. | | |
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| | | | | | contemporary documentary photography /
aktuelle Dokumentarfotografie | | | | | | | Wed 16 Oct 19:00
16 Oct – 20 Oct 2019 | | | | | |
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| | | | | | | | | | | | | FotoMéxico International Photography Festival | | Wed 23 Oct 19:00 23 Oct – 31 Dec 2019 | | | | | | | |
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| | | CORALIE VOGELAAR, Recognized / Not Recognized, A comparative movement analysis of popular and unpopular news images, Coralie Vogelaar, 2016 - 2017. (video still from two-channel high definition video) | | | | | | | TAXED TO THE MAX | | | | | | | | ... until 1 December 2019 | | | | | | | | | | | | | | | The 26th edition of the festival examines the societal tensions created by international conglomerates with their vast accumulations of capital and their influence on national and global politics. TAXED TO THE MAX asks: how does the increasingly perfected entanglement of corporatism, finance capital and modern government affect the lives of regular people?
With the 34 participants, the festival presents a refreshing mix of photo series, mixed media, video and sound installations, performances, and spatial work on this theme.
TAXED TO THE MAX
...at least you are not afraid to live life on the brink of chaos
Alan Gignoux | Anika Schwarzlose | Bérangère Fromont | Brigitte de Langen | Coralie Vogelaar | David Klammer | Davide Monteleone | Dorothée Elisa Baumann | Ezio D’Agostino | Gina Peyran Tan | Glenna Gordon | Igor Tereshkov | Ishan Tankha | Ivar Veermäe | John Vink | Jos Jansen | Joseph Rodríguez | Kanad Chakrabarti | Lana Mesić | Lena Dobrowolska & Teo Ormond-Skeaping | Mari Bastashevski | Mark Curran | Martin Toft | Marvin Leuvrey | Michele Borzoni | Oliver Ressler & Zanny Begg | Sergey Novikov & Max Sher | Sven Johne | Thomas Kuijpers | Tony Fouhse | Ursula Biemann Mentorship young curators: George Knegtel & Laura Carbonell Reyes
A new Noorderlicht initiative is a mentorship for young curators who are invited to curate an exhibition that will flank the festival. With this mentorship program Noorderlicht realizes the ambition to not only produce exhibitions and festivals, but to also facilitate the photographic community, invest in emerging voices and share its experience and knowledge. George Knegtel (Netherlands, 1992) and Laura Carbonell Reyes (Colombia, 1986) have been selected for this pilot edition. For their exhibition, they have invited the following participants.
Daniël Siegersma | Keijiro Kai | Lonnie van Brummelen & Siebren de Haan & Tolin Alexander | Lucia Nimcova & Sholto Dobie | Marcos Ávila Forero | Roberto Huarcaya | | |
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| | | | | | | | | | | | | | Fri 11 Oct 19:00
11 Oct – 27 Oct 2019 | | | | | |
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| | | | | | 29th Edition - What now? | | | | | | | – 27 Oct 2019 | | | | | |
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| | | | | | The Seventh Continent | | | | | | | – 10 Nov 2019 | | | | | |
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| | | | | | | | © Johanna Heldebro, Night Watch II, from To Come Within Reach of You (Gunnar Heldebro, Hässelby Strandväg 55, 165 65 Hässelby, Sweden), 2009 |
| | | | | | | | | | | | Chapter One: 06 JUN - 25 SEP
Chapter Two: 17 OCT - 21 DEC | | | | | |
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| | | | photomeetings luxembourg 2019 | | | | 15th edition: TSUKIMI / MOON SHOW | | | | | | | ... until 26 October 2019 | | | | | | | | | | | | | 50 years ago, the first man stepped onto the moon and since this historic moment, it stimulates our imagination: it’s unbelievable beauty enchants us every time we look at it. photomeetings luxembourg 2019 will celebrate this occasion with an exhibition by Hiroyuki Masuyama, Robert Pufleb and Nadine Schlieper.
The exhibition will be opened on 13 September, while simultaneously the annual moon festival called "Tsukimi" takes place in Japan. This ancient Japanese tradition, which translates into "moon viewing", goes back to the 8th century.
Planned on the same date, the "Moon Show" will bring two unique photographic positions together. United by a common subject, but with a very different concept of visual imagery, the authors play with our "perception of images" in an age of fake news and alternative facts.
The spatial installation and presentation of the photographs create a state of suspense between fact and fiction, forming a field of magical tension. Fascinating photographic interpretations of William Turner and Caspar David Friedrich paintings meet mysterious black and white photographs of unknown moons, whose origins and provenance can’t be traced back without in-depth research: "Alternative Moons".
A selection of the two series mentioned above will be featured at Galerie Clairefontaine, Espace 1. | | |
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| | | | | | Terra Nostra - The Age of the Anthropocenee | | | | | | | – 5 Jan 2020 | | | | | |
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| | | | | | IMAGINED COMMUNITIES | | | | | | | 10 Oct 2019 – 2 Feb 2020 | | | | | |
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| | | | | | 72 DAYS OF FREE ART | | | | | | | – 1 Dec 2019 | | | | | |
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| | | Bárbara Wagner & Benjamin de Burca, Swinguerra, 2019. Film still. | | | | | | | May You Live in Interesting Times | | | | | | | | ...until 24 Nov 2019 | | | | | | | | | | | | | | | The 58th International Art Exhibition, titled May You Live In Interesting Times, will take place from 11 May to 24 November 2019 (Pre-opening on 8, 9, 10 May). The title is a phrase of English invention that has long been mistakenly cited as an ancient Chinese curse that invokes periods of uncertainty, crisis and turmoil; "interesting times", exactly as the ones we live in today. The 58th Exhibition is curated by Ralph Rugoff, currently the director of the Hayward Gallery in London. Between 1985 and 2002 he wrote art and cultural criticism for numerous periodicals, publishing widely in art magazines as well as newspapers, and published a collection of essays, Circus Americanus (1995). During the same period he began working as an independent curator. The Exhibition will also include 90 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the historic city centre of Venice. Four countries will be participating for the first time at the Biennale Arte: Ghana, Madagascar, Malaysia and Pakistan. The Dominican Republic exhibits for the first time at the Biennale Arte with its own national pavilion. | | |
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© 9 October 2019 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photo-index.art . T +49.30.24 34 27 80 |
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