Wednesday, 8 June 2022

 + studio, june twentytwentytwo +





Wednesday, 20 April 2022


 

Thursday, 7 April 2022

 
 
 
 
Sleek Magazine / LOVE
 

'Wenn wir bereit dafür sind, greifen uns die

Fotografien von Katrin Koenning mit einer

 Wucht von Gefühlen an. Sie sagt von sich 

selbst, dass sie nicht still sein kann. 

Sie hat so recht: ihre Fotos sprechen, flüstern, 

schreien, entführen, wühlen tief und 

umfassen die ganze Palette erzählerischer 

Momente einer geschichte. Es sind 

Wahrheiten über Menschen, die Liebe 

und sie selbst. Ein Protokoll.' - Anja Prinz



 

Friday, 25 March 2022

Considered Environment: In Discussion

+

Centre for Contemporary Photography 

 http://



Thursday, 13 January 2022

 



ZEIT Magazin New Year Special Edition, Dec 2021








INSTALLATION VIEW: Photography Exhibitions in Australia (1848-2020) offers a significant new account of photography in Australia, told through its most important exhibitions and modes of collection and display. From colonial records to contemporary art, the book presents a chronology of rarely seen installation views from both well-known and forgotten exhibitions, along with a series of essays that tell the story of the individuals and institutions that have proved intrinsic to the public circulation of photographs. At once specific and widely contextual in its scope, this longterm research project from two of Australia’s leading academics and educators in the field enriches our understanding of the diversity of Australian photography by looking at what lies beyond the frame. Installation View speaks not only to pictures, but to the people and the places that nurture them.







 WHERE WORLDS COLLIDE by Nilofer Khan

Better Photography Magazine India





 the kids are in trouble in Maps of Disquiet,

Chennai Photo Biennale, Dec 2021 - Feb 2022

 

  Curatorial note by Arko Datto, Boaz Levin, Kerstin Meincke and  Bhooma Padmanabhan

Titled Maps of Disquiet, the 3rd edition of the Chennai Photo Biennale, reflects on the exigencies of our times: resisting majoritarian impositions, ecological collapse, and technological dystopias by reclaiming pluralities of thought, voices, and art, and building new networks of solidarity and care. In today’s world of highly specialized fields of operation, rigid chains of command and niche disciplinary focus, a space such as a biennale offers the possibility of rethinking our futures through broader parameters that address the complexity of the disquiet that we are experiencing.

The site of the 'Great Trigonometrical Survey' of 1802, the first colonial attempt to measure and map the subcontinent, Chennai today is an arena for the creation of resistant cartographies. The biennale illuminates the invisible realms of power and knowledge that shape our global present while simultaneously navigating contested visions of our global future. It asks, whose resources? Whose rivers? Whose interests? Whose voices? Whose images?

 
 
 
 
 

 


Sunday, 2 January 2022

 PHOTOBOOKS ~ ART PAGE BY PAGE 

Exhibition and Publication

Grassi Museum of Applied Arts, Leipzig Germany, Nov 2021 - March 2022



Friday, 31 December 2021

 ++studio wall, december 2021++


 



Wednesday, 22 December 2021

Wednesday, 29 September 2021

 Jesse's Visual Interviews ~ Japan Camera Hunter



Tuesday, 14 September 2021

 Échappées belles, artistic invasion in urban space Exhibition, 

Saint-Gilles, Brussels, August - October 2021


 


  

 
 

                  

                          Keke Looking Sad, Serious, or Gloomy All The Time

Keke and I met toward the end of my photography degree, fourteen years ago. Like all the people whom I love and spend a lot of time with, he began appearing in my photographs right from the beginning: here he is sleeping, here he is running, here he is floating. At some point, however, I picked up the idea that for a portrait to be "proper" and worthy of consideration, the person in it needed to look serious. Surely if they weren't joyous, laughing or smiling, the picture couldn't be "decent". As a result, Keke would often look sad, serious, or gloomy in the photographs, even if he wasn't feeling that way at all. How silly, I knew absolutely nothing then. Fourteen years later, it still makes us laugh.

Tuesday, 31 August 2021








 
Ishara Art Foundation, September 2021 - December 2021, Dubai
 
 











Tuesday, 11 May 2021

 Fashion commission - UNIF


Friday, 18 December 2020