Newly sequenced archival images of German upheaval in the wake of the fall of the Berlin Wall German photographer Arwed Messmer (born 1964) sequences previously unpublished pictures from his archive alongside re-edits of existing work documenting the upheavals in East Germany and Berlin after reunification in 1990. Problematic aspects of recent history are also exposed, highlighting the return of nationalism in contemporary Germany.

Hans Hansen's Analog Project, which the artist has been engaged with since the 1990s, comprises a more or less complete document of all the equipment, utensils, and materials that he has needed and accumulated over his many years as a photographer making analogue prints. Is this collection an evidential record of a world-or rather a photographic practice-documented before it disappears, perhaps for good? Does it address a time of upheaval, in which digital media have begun to dominate the world? Would we use the terminology of crisis and catastrophe to describe this revolution, which is akin to the turmoil that photography once brought about? And what kind of archive is being created in the process? (Reinhard Braun) Hans Hansen, b. 1940 in Bielefeld, completed a training as a lithographer before going on to study applied graphics at the Kunstakademie Dü sseldorf. In 1962 he became a freelance (self-taught) photographer. He has lived and worked in Hamburg since 1967.

First monograph dedicated to the widely acclaimed Gursky student, Berit Schneidereit Ever since its invention, the medium of photography has been in competition with the previously dominant genre of painting. Photography as a means of capturing the real world at first seemed to obviate the need for painting. Later, impressionists, cubists, and eventually abstract painters moved away from figurative imagery, until artists such as Richter or Polke transferred photography back into painting. These conflicting challenges are at the heart of Berit Schneidereit's work, who creates hybrids through analogue editing of digital images and joins together photographic methods with techniques used in painting, graphic art, and collage. Schneidereit mostly takes photographs in botanical gardens. In the darkroom, she then superimposes a grid or net-like structure over her motifs, which become blurred, ambiguous, and hazy. The artist thus achieves something that is close to painting once again. Like invisible curtains, her manipulations distort or obscure our view of the real image. Her work in this way questions the relationship between visibility and invisibility (also as a result of the media) and illustrates how the visual media, that are available today, force themselves between our gaze and the world. Text in English and German.

Estonian artist Marge Monko's (born 1976) work focuses on the role models given women in advertising. This book accompanies an exhibition of two groups of works: one features her own photographs paired with found pictures from advertisements, and the second examines a female-centered branding campaign by British diamond company De Beers.

Özlem Altın (geb. 1977 in Goch, lebt und arbeitet in Berlin) untersucht das Beziehungsgefüge von Fotografie, Archiv und Körper. Für ihre Arbeiten bezieht sich Altın auf eine fotografische Bildersammlung, die sie über viele Jahre hinweg zusammengetragen hat. Sie kombiniert gefundene mit eigenen Fotografien und Malereien zu dichten Kompositionen. Einige Motive, die emotionalen Widerhall finden - die Maske, die Meerjungfrau, der Reiher -, sind wiederkehrende Symbole und verkörpern einen Zustand des Dazwischenseins. Altın lädt die Betrachter*innen ein, in raumgreifenden Installationen Prozessen der Veränderung und des Werdens beizuwohnen. Altın ist Preisträgerin des Hannah-Höch-Förderpreises 2024. Die Ausstellung in der Berlinischen Galerie ist im Sinne einer "spekulativen Kartografie" lesbar. Die begleitende Publikation vereint zwei Bände und ist eine experimentelle Weiterführung der Ausstellung. Enthalten sind Essays von Maren Lübbke-Tidow und Federica Bueti sowie Vorworte von Katia Reich und Thomas Köhler.

In addition to the series LS and S the book also presents two new series: In the series I, she draws on the aesthetics and techniques of advertising and product photography, demonstrating how unspectacular und used objects can be transformed into covetable objects with the help of precise staging. In her most recent series Z, she interlinks photography and drawing, taking a documentary approach for the first time.