TURNING POINT

TURNING WORLD
EXHIBITION GUIDE
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TABLE OF CONTENTS

WELCOME 5

CURATORIAL TEAM 7

ANNUAL THEME 8

EXHIBITION: #EGO 12

EXHIBITION: #FAKE 22

EXHIBITION: #NEXT 34

EXHIBITION: #RISK 48

DIGITAL ART EDUCATION 64

RAW PLUS EXHIBITIONS 67

VENUES 74

SUPPORTERS AND PARTNERS 77

COLOPHON 78

3
raw [noun]
raw file, digital negative, original

raw [adjective]
open, genuine, rough
WELCOME

Here it is, the fourth edition of the RAW Photo Triennial

Worpswede! Once again, the artists’ village in Northern
Germany is all about photography. Four main exhibitions
in museums, the special RAW Plus exhibitions, and a
diverse public programme await.

During RAW, the joy of photography, the fun of explo-

ring images, and the desire to share what you have seen
are key priorities. Worpswede is the perfect place for
all of this—the short distances between all the festival
venues make for easy walking. On such strolls, conver-
sation comes quickly.

The 2023 triennial’s title, Turning Point. Turning World ,

reflects the fact that RAW has evolved into a more
controversial and political festival. This spring, RAW
offers a cross-section of international contemporary
photography. We are thrilled to welcome artists from
all over the world to take part and bring together new
and exciting points of view in lively dialogue.

The entire RAW team is looking forward to your visit,

and to the conversations and exchanges that will
take place in Worpswede—about the turning points
in today’s world, and of photography itself!

Daria Bona, Jürgen Strasser, Wolfgang Zurborn, Björn Herrmann, Julia

Bunnemann, Cale Garrido (from left)

5
 BIKE IT! FILM NIGHT RIDE
TURNING POINT. TURNING WORLD
Mit Lastenrad, Beamer und internationalen Kurzfilmen durch
das Dunkel der Worpsweder Nacht.
06. Mai 2023, 21.15 Uhr ab Tourist-Information Worpswede, Bergstraße 13
Bitte ein verkehrssicheres Fahrrad und warme Kleidung mitbringen.
www.bremen.de/bike-it
© WFB / Sven Hermann

6
CURATORIAL TEAM

Daria Bona is a curator and photo historian based in

Cologne. From 2019 to 2022, she was a fellow in the
Museum Curators of Photography programme of the
Krupp-Foundation and worked in the photography
collections of the Museum Folkwang in Essen and the
Getty Research Institute in Los Angeles, among others.
She has studied art history, Romance languages and
literature, and international art management.

Julia Bunnemann is the curator of Photoworks,

a platform for contemporary photography in England,
where she is responsible for the development and
implementation of the curatorial programme, including
the Photoworks Festival and curatorial collaborations.
Recent projects include the Jerwood/Photoworks
Awards 4 and Laia Abril’s On Rape: And Institutional
Failure in collaboration with the V&A Parasol Foundation
Women in Photography Project.

Cale Garrido is a photo editor and curator based in

Hamburg. She focuses primarily on social issues and
climate justice when in her work on documentary and
artistic photography projects, exhibitions, and publica-
tions. She sat on the curatorial team of the 8th Triennial
of Photography Hamburg in 2022 as its coordinating
curator.

Wolfgang Zurborn pursued his education in photography

in Dortmund and Munich. He received the German
Society for Photography’s Otto Steinert Award in 1985,
and his book Drift won the German Photographic Book
Prize in 2008. His artwork has been displayed in exhi-
bitions worldwide. He has co-managed the Lichtblick
Gallery in Cologne for 37 years and established the
Lichtblick School in 2010. Zurborn leads workshops all
over the world and has been a member of the board of
the German Photographic Academy (DFA) since 1998.
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TURNING
POINT
TURNING
WORLD
The present is marked by changes, crises, and upheavals.
Our world is changing, and so is our perception of reality.
This transition can be attributed to technological advan-
ces, natural disasters, demographic upheavals, and socio-
cultural paradigm shifts.

Turning Point. Turning World , the fourth edition of

the RAW Photo Triennial Worpswede, aims to highlight
these processes of fundamental change and presents
artists whose work deal intensively with social, political,
and ecological conditions and their reception through-
out society. RAW thus takes up the task of using art to
question reality, rather than seeing it as an end in itself.
We accept this responsibility of asking questions and
daring to seek out answers.

Under the key terms #EGO, #FAKE, #NEXT, and

#RISK, RAW’s central exhibitions bring photography
and the moving image into dialogue. The respective
selections were made by a renowned team of curators,
who examine Turning Point. Turning World from a variety
of perspectives, developing individual concepts and
forms of presentation. This year, the festival empha-
sises local and international artists from the younger
generation.

9
 Guanyu Xu, p. 20

Laura C. Vela, p. 18

Suzette Bousema, p. 36

Torsten Schumann, p. 32

Prarthna Singh, p. 62

Weronika Gęsicka, p. 24

Marina Caneve, p. 52

Karina-Sirkku Kurz, p. 26

Fabian Hesse & Mitra Wakil,

p. 42

Alex Grein, p. 38
Laura Pannack, p. 58
Léa Habourdin, p. 40

Takashi Homma, p. 44

Silvia Rosi, p. 16

Victoria Pidust, p. 60

Max Pinckers, p. 30

Amak Mahmoodian, p. 14

Siu Wai Hang, p. 56

Lori Nix & Kathleen Gerber, p. 28

Hoda Afshar, p. 50

Tina Farifteh, p. 54 Shane Hynan, p. 46

HAUS IM SCHLUH

#EGO
18/03 –
11/06/2023

Curators
Daria Bona und Cale Garrido

Artists
Amak Mahmoodian (GB)
Silvia Rosi (IT)
Laura C. Vela (ES)
Guanyu Xu (US)
Four positions enter into a dialogue that confront ques-
tions of identity. Based on their own life stories or those
of others, the artists examine experiences of migration,
belonging, and alienation, and explore how living in mul-
tiple places and cultures affects the formation of perso-
nal identity. At the same time, they question the ways
in which photography and its inherent power operates—
for example in relation to the use of private images in
public contexts or negotiations of female representation.
In this way, they reflect on and investigate patterns of
perception that are closely linked to the production of
images of others and of the self.

By presenting herself in front of the camera, Silvia Rosi

traces the migration history of her Togolese family and
negotiates aspects of familial and collective memory
in the African diaspora. Guanyu Xu’s ongoing project
was created in dialogue with immigrants in the United
States, exploring their ambivalent living situation and
the relationship between legality and identity. Laura C.
Vela’s series tells of an intercultural friendship and the
attempt to find a home and a place in society in a for-
eign country. Together with other Iranian women, Amak
Mahmoodian formulates an emancipatory message and
unifying voice that demands justice and freedom.

In close and long-term collaboration with those portrayed,

or in the staging of their own personas, these artists
explore relationships between the photographer, the
photographed person, and the viewer from a variety of
perspectives, thus making different moments of encoun-
ter visual and tangible.

13
AMAK MAHMOODIAN
Shenasnameh, 2016

In Amak Mahmoodian’s work, the observation of a sim-

ple administrative procedure transforms into a careful
analysis of women’s representations, as well as their
politicisation.

Shenasnameh is the term for the official Iranian birth

certificate, which requires a new photo every ten years.
The artist’s gaze shifted between her own image and
that of her mother while she sat in the citizens’ office
in Tehran. She became aware of what the photographs
showed, and what the Mullah administration had
decreed should remain hidden.

She then gathered the passport photographs and finger-

prints of other Iranian women for her project. Along
with the images that were officially approved, she also
gathered rejected copies, on which the authorities had
clearly redacted in black pen anything that was not to
be seen, such as heavily made-up eyes or strands of hair
peeking out from under the mandatory hijab.

Mahmoodian undermines the visual standardisation of

the women, emphasising their individuality and distinc-
tiveness in a sensitive narrative. Together, the individual
portraits speak for generations of Iranian women who
risk their lives every day to defend freedom and equality
in their home country.

Amak Mahmoodian is an Iranian artist based in Bristol. Her

work challenges ideas of identity and home while negotiating
the political and the intimate. Her books Shenasnameh (2016)
and Zanjir (2019) have been published by RRB Photobooks.
She earned her PhD from the University of South Wales in
2015. Previously, Mahmoodian studied at the Tehran University
of the Arts.

14
Amak Mahmoodian, from the series Shenasnameh , 2010–2016
© Amak Mahmoodian

15
SILVIA ROSI
Encounter, 2019

In her multimedia work, Silvia Rosi creates a fictional

family album centred on her parents’ migration from
Togo to Italy in the late 1980s. She combines self-
portraits, which draw on pictorial traditions of West
African photo studios, with text fragments and video.
Using a variety of props, the artist re-enacts specific
moments, memories, and traditions that have been
passed down through personal archives and oral his-
tories. Carefully arranged tomatoes symbolise Rosi’s
father’s first job as a harvester after his arrival in Italy.
In the recurring motif of carrying things on the head,
which the artist learned from her mother, she reacti-
vates the heritage of her female ancestors.

Encounter is an attempt to reunite with the culture

and legacy of one’s antecedents from a completely
different place and time. Furthermore, the work high-
lights the need to make visible and to archive migrant
histories, which are rarely historicised. Drawing on her
own family history, Rosi negotiates universal issues of
collective memory and personal identity among dias-
poric Afro-Europeans.

Silvia Rosi works with photography, text, and the moving image
to explore aspects of memory and migration. Drawing on her
own Togolese heritage, she examines tradition, matrilinearity,
and the construction of identity in the African diaspora through
self-portraits. Rosi obtained a BA in photography from the Lon-
don College of Communication and lives between England and
Italy. She was awarded the Jerwood/Photoworks Award in 2020
and was nominated for the MAXXI Bvlgari Prize in 2022. Her
work has been widely published and exhibited.

16
Silvia Rosi, Self Portrait as My Father , from the series Encounter, 2019 © Silvia Rosi

The work was originally commissioned through Jerwood/Photoworks Awards 2020.

17
7
LAURA C. VELA
Como la casa mía, 2014–2019

Como la casa mía tells the story of an encounter bet-

ween Xirou Xiao and photographer Laura C. Vela, who
both live in Madrid. The common goal shared by these
young women of different backgrounds is to create a
home and to find a place in society. For three-and-a-
half years, Vela accompanied Xiao, who, as a Chinese
immigrant, tries to orient herself and navigate her
unfamiliar and often hostile new environment.

Arranged on the wall, the series depicts the chronolo-

gical development of the pair’s growing intimacy. Xiao
gains confidence in each photograph, losing her aware-
ness of the camera’s presence in her daily activities.
Each image captures the essence of what it means
to perceive others while also being understood. Vela’s
images help the artist to express not only her very per-
sonal perspective on her friend’s life but also her own
ideas and aspirations.

Photographer Laura C. Vela resides in Madrid. Her art focuses

on the mundane, the infinitely small, and how people interact
with their environments. She communicates with others and
locates herself in this world using photography. Placing speci-
fic emphasis on minorities and underrepresented communities,
Vela works on projects across publishing, communication, and
education. Como la casa mía , her debut book of photography,
was released by Dalpine in 2019. She is the founding director of
the publishing house Comisura, which was established in 2021,
and the editor of the collection Esto es un cuerpo .

18
Laura C. Vela, from the series Como la casa mía, 2014–2019 © Laura C. Vela

19
GUANYU XU
Resident Aliens, 2020–ongoing

Drawing on the artist’s own experiences as a Chinese

immigrant in the United States, Guanyu Xu’s project
explores notions of citizenship, legality, and identity.
Xu meets people with various residency statuses and
photographs rooms in their homes upon invitation.
Combining the printed photos with an assortment of
the subject’s personal objects, Xu installs them as
collage-like compositions in the same rooms, which
he then re-photographs.

The resulting images visualise both the intimately

nuanced experiences of each individual, and the multi-
layered, complex construction of identity. The fragmen-
ted portraits refer to the temporary and ambivalent
state in which immigrants continuously find themselves,
living in homes that are neither private nor safe. During
the visa process, the most personal of photos become
evidence of one’s living situation and are thus suddenly
repurposed to stage the self publicly for authorities of
the state.

In its collaborative approach, Resident Aliens expands

on traditional approaches to portrait photography and
invites us to reflect on and question stereotyped images
and perceptions.

徐冠宇 Guanyu Xu’s artistic practice extends from examining the

production of power in photography to the question of personal
freedom and its relation to political regimes. Using photography,
new media, and installation, he combines influences of US visual
culture and ideology with experiences of a conservative upbrin-
ging in China. Xu lives and works in Chicago and teaches at the
University of Illinois. His work is held in numerous public collec-
tions and has been exhibited internationally, including at the ICP,
New York; the Museum of Contemporary Art, Chicago; and the
Fotomuseum Winterthur, Switzerland.

20
Guanyu Xu, RK-08282018-01142022 , 2022, from the series Resident Aliens © Guanyu Xu

21
WORPSWEDER
KUNSTHALLE

#FAKE
18/03 –
11/06/2023

Curator
Wolfgang Zurborn

Artists
Weronika Gęsicka (PL)
Karina-Sirkku Kurz (DE)
Lori Nix & Kathleen Gerber (US)
Max Pinckers (BE)
Torsten Schumann (DE/CN)
For the artistic positions in #FAKE , the search for
authenticity and the refinement of deception are not
contradictory while engaging with the medium of
photography. In this time of media overload, the line
between fiction and truth is increasingly blurred.
The works presented here are concerned with raising
awareness in this regard. Their broad spectrum of
photographic approaches—whether in the sense of
documentary, journalistic, conceptual, or even experi-
mental strategies—all question collective values.

By digitally processing photographs from the 1940s

to 1960s taken from online image databases, Weronika
Gęsicka transforms visions of an American way of
life into disturbing scenarios of a dystopian everyday,
which is part fact, part fiction. In contrast, transparent
manipulation of the human body is the central theme
of Karina-Sirkku Kurz’s conceptual work on aesthetic
plastic surgery. Max Pinckers’s multi-layered photo-
graphy work about the 2016 presidential election in
the United States calls into question what can still
be regarded as truth in a world of “alternative facts”.
Torsten Schumann uses unusual perspectives on
everyday objects and daily scenes in Chinese cities to
create a surrealism that brings out the paradoxical and
the absurd with subtle humour. Meticulous attention
to detail is Lori Nix and Kathleen Gerber’s method
of constructing models of living worlds in which the
monuments of civilisation are abandoned, and nature
reclaims its space.

23
WERONIKA GĘSICKA
Traces, 2015–2017

Traces are, by definition, signs or other indications

of the presence and disappearance of something.
Weronika Gęsicka’s Traces is based on old images
gleaned from an image database—family scenes,
holiday keepsakes, and ordinary life caught between
fact and imagination. It’s hard to tell if they are spon-
taneous or entirely contrived. We don’t know anything
about the relationships between the people in these
images; we can only speculate on the veracity of their
gestures and appearance. Who are these people?
Are they actors portraying happy families or real-
life people whose images are for sale on a database?
Gęsicka recreates these photographs in a variety
of ways and places them in a new context, so that
recollections of these people and situations are
transformed and gradually blurred into a new reality.

Weronika Gęsicka, born in Wrocław, is a visual artist

who specialises in photography as well as the creation
of things and artefacts. She received her diploma from
the Academy of Fine Arts in Warsaw. Among the many
awards she has received are the Paszport “Polityki”
Award for Visual Arts (2019), the EMOP Arendt Award
(2019), and the Foam Talent Award (2017). Gęsicka’s
work has been shown all over the world and is in the
collections of the Dom Museum Vienna, the Arendt
Collection in Luxembourg, the MuFo Museum of Photo-
graphy in Krakow, the National Museum in Wrocław, and
the Deutsche Börse Photography Foundation in Germany,
among others.

24
Weronika Gęsicka, Untitled #23, from the series Traces , 2015–2017. Courtesy: The artist and
Jednostka Gallery

25
KARINA-SIRKKU KURZ
Supernature, 2015–2019

The human body is the fundamental motif in Karina-

Sirkku Kurz’s Supernature . She describes her photo-
graphs as a visual amazement of objects, the world,
and what people do. As a result, aesthetic plastic
surgery enters her range of vision, which sees the
body as a flexible, sculptural object. Nature is aided
here by surgical intervention in order to adhere to
socially imposed aesthetic ideals. The photographer
uses a conceptual approach to merge displays of
various sizes that were created using specific
printing and exposure procedures. Beyond a linear
narrative of moralising value judgements, formally
compressed representations of bodily parts and
medical equipment are combined to generate a
story that questions the image of the self. In an
everyday environment created by advertising
myths, this becomes an increasingly weak construct.

Karina-Sirkku Kurz received her master’s degree in photo-

graphy from Aalto University’s School of Arts, Design, and
Architecture after studying in Bremen, Lahti, and Helsinki.
She has been working as a freelance artist in photography
since 2013. She creates three-dimensional objects and then
photographs them, in addition to recording or abstracting
found subjects. Kurz’s work has been displayed in exhibitions
and festivals nationally and internationally, and has been
featured in books and art journals. It is represented in
collections, has received grants, and has been recognised
by awards such as the Finnish Photobook of the Year.

26
Karina-Sirkku Kurz, Alien Element , from the series Supernature , 2012-2015 © Karina-Sirkku Kurz

27
LORI NIX & KATHLEEN GERBER
The City, 2007–2012

Lori Nix and Kathleen Gerber’s images do not follow

the pattern of the ideal landscape. Instead of display-
ing a beautiful or heroic outlook, they focus on the dark
side of life. Often, their scenes are devoid of humans.
Traces of people are still evident but the reason for
their absence is unknown, leaving the observer to
complete the story.

The City focuses on the ruins of urban landscapes.

The artists have chosen sites that celebrate modern
culture, knowledge, and innovation. Civilisation’s struc-
tures are abandoned and decaying here, while natural
elements such as plants, insects, and animals have
begun to repopulate the areas.

Lori Nix and Kathleen Gerber have been creating art together
for almost 23 years. They construct precise models of living
environments in Cleveland, Ohio, then photograph the results.
They consider themselves to be fictitious landscape photogra-
phers. These imagined settings are transformed into a surreal
space by the photographic process, where scale, perspective,
and the photographic document create a tension between the
physical truth of the scene and the impossibility of the narrative
conveyed. The method stimulates the viewer’s imagination.
They want their scenes to express complicated and ultimately
open storylines.

28
Lori Nix & Kathleen Gerber, Library from the series The City, 2007 © Lori Nix & Kathleen Gerber

29
MAX PINCKERS
Margins of Excess, 2018

For Margins of Excess , Max Pinckers and Victoria

Gonzalez-Figueras travelled across the United States
during the 2016 presidential election. They examined
stories in which people undergo “trial by the media”.
Each of their six protagonists were at the centre of
a media frenzy, accused of dishonesty while attemp-
ting to realise a personal desire. Fiction and fantasy
appear to be a part of their world. Pinckers lets his
subjects speak for themselves, combining their words
with visuals he conjured up in his own mind. In a world
of “alternative facts”, “fake news”, and “post-truth”,
Margins of Excess explores what we can or want
to accept as accurate. This idea proposes a freer,
more subjective approach to traditional notions of
documentary.

Max Pinckers was raised in Indonesia, India, Australia, and

Singapore after being born in Brussels, Belgium. He returned to
Belgium in 2007 to study photography at the Ghent University
of the Arts, where he graduated with a BA, an MA, and a PhD
in the Arts in 2021. Pinckers investigates the critical, techno-
logical, and ideological processes that surround the production
and consumption of documentary material. For him, documen-
tary photography is more than just a record of an external
reality: it is a speculative process in which reality and truth are
approached as numerous, flexible notions. He is represented
in Antwerp by Gallery Sofie Van de Velde and in London by
Tristan Lund.

30
Max Pinckers, X Marks the Spot , from the series Margins of Excess , 2018 © Max Pinckers

31
TORSTEN SCHUMANN
Vermilion Confusion, 2020–2022

Urban spaces, according to Torsten Schumann, are

puzzles and conundrums. With a subtle sense of
humour, he employs unexpected viewpoints to depict
everyday objects and situations in a way that vividly
represents the ambiguities and absurdities of modern
life. This is especially apparent in his most recent series,
Vermilion Confusion , which was made in China bet-
ween 2020 and 2022. Fragmentary views of urban
life are compressed into complex image montages
in pairs of images, butt to butt, where it’s easy to
lose track of what is still real and what is now fake.
Schumann’s photographic imagery provokes a healthy
scepticism towards an unambiguous truth in photo-
graphy whilst also bearing an empathetic interest
for the special in the daily by blurring the border
between appearance and reality.

Torsten Schumann is a German photographer who has been

living in China since 2020. His work has been exhibited around
the world, most notably at the Context Gallery of the Filter
Photo Festival Chicago; the Center for Fine Art Photography
in Fort Collins, Colorado; the Soiz Galerie Passau; the Galerie
Sehnsucht Rotterdam; and the Jarvis Dooney Galerie Berlin.
His work has also been exhibited at festivals including Circula-
tion(s) Paris, HeadOn Sydney, and Kaunas Photo. Schumann
has received several awards for his photographic work, inclu-
ding the Arte Laguna Prize, the PDN Photo Annual Award,
and the OPUS Magazine Photo Prize. Peperoni Publications
released his book More Cars, Clothes, and Cabbages in 2016.

32
Torsten Schumann, from the series Vermilion Confusion , 2020-2022 © Torsten Schumann

33
BARKENHOFF

#NEXT
18/03 –
11/06/2023

Curators
Daria Bona und Cale Garrido

Artists
Suzette Bousema (NL)
Alex Grein (DE)
Léa Habourdin (FR)
Fabian Hesse & Mitra Wakil (DE)
Takashi Homma (JP)
Shane Hynan (IE)
“Nearly everything we understand about global warming
was understood in 1979.” *
In response to the sometimes-paralysing question of
whether a viable future is still possible, artists respond
with poetic, inventive, and speculative ways of working
that stimulate critical as well as hopeful engagements
with the ecological crisis. Through a variety of artistic
strategies, #NEXT shows that our world is made up
of relationships and that local actions are closely inter-
twined with global socio-ecological developments.

Takashi Homma explores forests contaminated by

radioactivity and demonstrates what kind of survival
is possible in such areas. Shane Hynan addresses the
upheavals associated with the transition to climate-
neutral energy production in Ireland. The relationship
between humans and nature is also reflected in Léa
Habourdin’s work: using sustainable exposure and
printing techniques, she draws attention to the disap-
pearance of ancient ecosystems in Europe. Suzette
Bousema’s works are created in close cooperation
with marine researchers and enable a deeper under-
standing of complex and abstract natural phenomena.
Alex Grein negotiates the progressive exploitation and
surveying of Earth by humans as a consequence of
scientific colonialism. The duo Hesse & Wakil explores
the biotechnological optimisation of crops as well as the
use of artificial intelligence and its associated risks.

Aware of the destructive encroachment that the capita-

list mania for growth continues with great violence, these
six artistic positions enhance our perception of Earth,
offer food for thought, and dare look into the future.

*Nathaniel Rich: “Losing Earth: The Decade We almost Stopped

Climate Change”, The New York Times , August 1, 2018.

35
 SUZETTE BOUSEMA
Dead zones, 2021–2023

Suzette Bousema’s multimedia work focuses on oxygen-

depleted maritime zones—areas in coastal waters where
microalgae blooms are nourished by an overabundance
of agricultural fertiliser in the water. When these blooms
decompose, bacteria devour all the oxygen on the site.
This phenomenon endangers the existence of higher life
forms such as plants and animals, and has the potential
to spread disease. The largest human-made dead zone is
located in the Baltic Sea and takes up an area of about
49,000 square kilometres.

The screenprint series Written in sediment shows

images of sediment cores taken from the seabed in
the Mediterranean and Black Seas. Here, naturally
produced dead zones have suffered from a lack of
oxygen for millennia. Sediments are natural archives
of an eco-system that scientists use to forecast tip-
ping points in the future.

The installation Seaweedfilter investigates the potential

of algae farms as natural filters for excess nutrients in
the ocean. Seaweeds are macroalgae that, like microal-
gae, are excellent at absorbing nutrients while creating
oxygen.

Suzette Bousema visualises contemporary environmental

issues in collaboration with scientists. She works with photo-
graphy, printmaking, glass blowing, weaving, sound, smell, and
organic materials to gain a better understanding of environ-
mental hyper-objects, like climate change or global pollution.
Bousema graduated in photography from the Royal Academy
of Arts in The Hague in 2019. Her work has been exhibited and
published internationally.

36
Suzette Bousema, Written in sediment , 2023, from
the project Dead zones © Suzette Bousema

Dead zones is supported by the NATUURCULTUUR Prize

of the Fentener van Vlis-singen Fund and Stroom Invest.

37
ALEX GREIN
Anteos Clorinde, Peru, 2021
Zygaena Ionicerae, Northern Italy, 2021
Hyles euphorbiae, Europe, 2021

In Alex Grein’s video works, butterflies of various spe-

cies fly across the globe in a manual scrolling rhythm.
For this purpose, the artist placed specimens from the
Koenig Museum of Natural History in Bonn on tablet
displays and filmed them. The gaze follows the butter-
flies on their journeys, which begin at a random point
generated by Google Earth and conclude in each spe-
cies’ native area. Along the way, we keep coming across
signs of human intervention, like the massive shafts in
the Rhenish open-cast lignite mines or the vast stretch
of white greenhouses in southern Spain. By moving bet-
ween 2-D and 3-D views and zooming in on individual
pixelations and glitches, the supposedly smooth surface
created by algorithms of satellite photographs becomes
tangible as a digitally constructed world.

The voyage of the butterflies reflects on the repercussi-

ons of scientific colonialism and the exploitation of na-
tural resources. At the same time, it visualises Earth’s
continual subjugation to human-made systems, which
presents itself in both concrete interventions in nature
and its virtual measurement.

Alex Grein focuses on the experimental exploration of the

photographic medium. In her works, she negotiates both the
omnipresence and constant expansion of image production
and archives as well as their social relevance. She studied at
the University of Applied Sciences Düsseldorf and the Kunst-
akademie Düsseldorf as a Meisterschülerin of Andreas Gursky.
Since December 2022, she has been Professor for Photography
at Mainz University of Applied Sciences. Her work has been recog-
nised and shown on multiple occasions, and is represented in
numerous collections, including the DZ Bank Kunstsammlung
and the Sammlung Kunsthaus NRW.

38
Alex Grein, Anteos Clorinde, Peru, 2021 (video still), 1-channel-HD-video
Courtesy: The artist and Galerie Gisela Clement, Bonn

39
LÉA HABOURDIN
Images-Forests: Worlds in Expansion, 2020–2022

Despite its significant forests, no primary forests are

left in France today. The most natural forests, the
so-called “old forests”, have remained untouched for
over sixty years and are located in inaccessible, pro-
tected areas. Accompanying foresters and naturalists,
Léa Habourdin photographed these rare biotopes and
experimented with natural materials to create images
of the fragile places.

Using light-sensitive chlorophyll extracted from plants,

she produced anthotypes, which react permanently to
light and fade over time. Looking at them thus has an
immediate effect on the image itself, as the longer it is
exposed to light, the faster it disappears. In addition,
she used a variety of natural pigments to create silk-
screens of different colours. They not only depict the
variety and diversity of the seasonal forests but also
refer to collective images and ideas of the mystified
“primeval forest”.

The various works shed light on the sensitivity of these

places, as well as the omni-present influence of human
activity, which has reached even the last untouched
regions on Earth.

Léa Habourdin explores our relationship with animals and land-

scapes through photographs and drawings, specifically working
with notions of wilderness, survival, natural fragility, and recon-
struction. She studied printmaking at the École Estienne in Paris
and photography at the École nationale supérieure de la Photo-
graphie in Arles, and now lives and works in Paris. Her work has
won several awards and has been presented in numerous exhi-
bitions and festivals, including at the GoEun Museum of Photo-
graphy, Busan, in 2018, and at Rencontres d’Arles in 2022.

40
Léa Habourdin, from the series Images-Forests: Worlds in Expansion , 2020–2022 © Léa Habourdin

41
FABIAN HESSE & MITRA WAKIL
Crop, 2019–ongoing

Hesse & Wakil’s Crop reflects on our interaction with

other living beings and the changing relationships
between nature, humans, and artificial intelligence.
The artist duo uses 3-D scans of various cultivated
plants obtained from publicly accessible online data-
bases. They are created by research institutions and
corporations as part of biotechnological studies to
observe plant growth and genetically adapt them to
climatic changes.

Hesse & Wakil work with algorithms to speculatively

continue these data sets and recompute individual
fragments. The newly generated, random data finds its
final form in space as digital visualisations on prints
and 3-D prints. This creates a phantasmagorical world
of surreal plants, where botanical, human, and techno-
logical elements merge, and various questions arise:
What is the relationship between (agricultural) economic
benefit and environmental consequences? Where will
humanity’s increased influence over natural processes
lead in the future?

Fabian Hesse and Mitra Wakil investigate the materiality of

digital information. In doing so, they explore the possibility of
creating sculptures from data sets to make non-material infor-
mation tangible. They regard the internet as a sculptural tool,
and participatory processes and non-human actors as equally
vital components of their work. Both studied in Vienna and at
the Munich Academy of Fine Arts. Since 2020, they have held
a professorship in media art at the HGB Leipzig. Their works
have been frequently displayed nationally and abroad.

42
Fabian Hesse & Mitra Wakil, Screened Tabak Hirse , 2022, from the series Crop © Fabian
Hesse & Mitra Wakil, VG Bild-Kunst, Bonn 2023

43
TAKASHI HOMMA
Mushrooms from the forest, 2011–2019

Takashi Homma ventured into the Japanese forests

in the autumn of 2011, half a year after the Fukushima
nuclear disaster, searching for mushrooms that had
grown in these highly contaminated places. He placed
each specimen on a white back-ground and photo-
graphed it on site, still fresh and earthy. Just 25 years
prior, radioactive material spilt at Chernobyl contami-
nated a substantial part of the surface of Earth. Due
to the wind direction and rain, Sweden and Finland
were the most affected among European countries.
Between 2011 and 2015, Homma photographed multiple
examples of these enigmatic fungi there.

In keeping with current scientific discoveries, Mush-

rooms from the forest emphasises the importance of
subterranean and connected growth in the light of
the looming climate disaster. Mycelium—microscopic
cells that form above ground as fungi—can decompose
toxic waste and contaminants. It can also absorb
radioactive elements like caesium-137 and turn them
into energy for growth. Recognising these organisms
implies comprehending nature as an interconnected
web of humans and more-than-human beings capable
of resolving crises only when they work together.

Takashi Homma is a photographer based in Tokyo. With a

poetic vision, he observes the development of urban and rural
spaces in his images. His publications include Symphony –
Mushrooms from the forest (Case Publishing, 2019) and The
Narcissistic City (Mack, 2016). Currently, Homma is a visiting
professor at Tokyo Zokei University.

44
Takashi Homma, Scandinavia #12 , 2012, from the series Mushrooms from the forest
© Takashi Homma

45
SHANE HYNAN
Beneath | Beofhód, 2018–ongoing

Shane Hynan grew up with peat-cutting as a traditio-

nal form of fuel extraction. In a long-term project, he
chronicles the end of industrial peat-cutting in Ireland,
which was operated by the parastatal company Bord
na Móna until 2019 and was one of the country’s key
pillars of energy supply. Hynan captures the transfor-
mation photographically, telling the story of people’s
changing relationship with the bogs, whose protection
is becoming increasingly important from an ecological
standpoint. They are vital habitats for rare animal and
plant species and store more carbon dioxide than any
other ecosystem on the planet.

Beneath | Beofhód looks far beyond a simple topogra-

phical inventory, addressing ecological and social justice.
Many communities are aware of the environmental
damage, yet they associate peat with a strong sense of
belonging and part of their cultural identity. While they
are currently waiting for a comparable alternative to
ensure their continued energy independence, individual
communities are permitted to continue cutting and
burning for domestic use.

Shane Hynan is a visual artist and photographer based in

Kildare, Ireland. Drawing upon both conceptual and documen-
tary photographic approaches in his practice, Hynan focuses
on rural Ireland, peatlands, and the built environment. He
works primarily with photography and experiments with video,
sound, text, and sculpture. He has exhibited widely in Ireland
and internationally in China and the United Kingdom. In 2019,
he completed an MFA in Photography at Ulster University.

46
Shane Hynan, from the series Beneath | Beofhód, 2018–ongoing © Shane Hynan

Kildare Arts Service and Riverbank Arts Centre supported this work through the
Emerging Visual Artist Bursary Award 2020 and the Arts Council’s Visual Arts
Bursary Award 2020 and 2022.

47
GROSSE KUNSTSCHAU
WORPSWEDE

#RISK
18/03 –
11/06/2023

Curator
Julia Bunnemann

Artists
Hoda Afshar (AU)
Marina Caneve (IT)
Tina Farifteh (NL)
Siu Wai Hang (GB)
Laura Pannack (GB)
Victoria Pidust (DE)
Prarthna Singh (IN)
On a large scale, #RISK encompasses current political
and social themes such as protest, war, migration and
climate change. On a smaller scale, however, the works
in the exhibition explore personal turning points such as
dissociation from domestic arrangements or the ques-
tioning of religious and patriarchal norms in the private
sphere. Photography provides the basis of interdisci-
plinary inquiry, illustrating the underlying links between
the individual topics in the seven selected series.

To make the silenced heard and visible, Hoda Afshar

uses third-party materials to keep the ongoing atro-
cities committed by the Iranian regime in our collective
consciousness. This is also a concern for Prarthna
Singh, whose piece Har Shaam Shaheen Bagh (2020–
2021) depicts a political demonstration initiated by
Muslim women that was prohibited when the COVID-19
lockdowns began. Siu Wai Hang’s series Clean Hong
Kong Action (2019) illustrates the medium’s limitations
as well as the dangers posed by the photographic image
for political activists. In Are They Rocks or Clouds (2019),
Marina Caneve explores human oblivion and denial via
the history of natural disasters in the mountains, while
Tina Farifteh visualises the discourse on migration and
climate change in The Flood (2021). Victoria Pidust
reveals the risks of artistic activities in times of war
(2022), and Laura Pannack documents a young man’s
defection from an orthodox community in Baruch (2020).

Often, the notion of risk carries connotations that are

commonly defined as masculine. A conscious effort
was made to platform a feminine perspective on the
topic, namely the inclusion of hope for a better future
as an outcome of risk. Thus, each artistic position indi-
rectly asks visitors: How far are you willing to go?

49
HODA AFSHAR
Woman Life Freedom, 2022–ongoing

The death of 22-year-old Mahsa Amini in police custody

in September 2022 ignited one of the strongest social
revolutions to date against the Iranian dictatorship,
spearheaded primarily by women fighting for their rights.

By restricting the internet, the Iranian government is

attempting to prevent the spread of images and infor-
mation. In response, Hoda Afshar has selected power-
fully symbolic photos from social media to make them
apparent to a large audience, purpose-fully using third-
party materials to bring the atrocities to the public’s
attention. These photographs are the demonstrators’
weapon in their struggle to end violence against women
and in their pursuit of life and freedom.

Since October 2022, the photo installation has been

displayed in front of the MuseumsQuartier Vienna,
with additional presentations in Brazil during the
SOLAR Photo Festival and at this RAW Photo Triennale
in Worpswede. The international dissemination of
these images keeps the ongoing injustice in Iran in
the public consciousness.

In solidarity with all women in Iran.

Hoda Afshar is an Iranian artist who lives and works in Naarm

(Melbourne, Australia). Coming from a background in documen-
tary photography, the artist critically explores issues of visual
representation. Afshar graduated from Tehran University with
a bachelor’s degree in fine art photography and from Curtin
University in Perth, Australia, with a PhD in creative arts.
Speak the Wind, her first monograph, was published by MACK
in London in 2021. Her work is in many private and public col-
lections. Afshar has received prestigious art awards, including
the Australian National Photographic Portrait Award (2015),
the Bowness Photography Prize (2018), and the Art Museum
of South Australia’s Ramsay Art Prize (2021).

50
Hoda Afshar, Photo installation on protests in Iran,
2022 © MuseumsQuartier Wien and Hoda Afshar

51
MARINA CANEVE
Are They Rocks or Clouds, 2019

Marina Caneve’s Are They Rocks or Clouds explores

both the history of Dolomite hydrogeological disasters
and how humans remember natural catastrophes.

The installation is composed of photographs, research,

archival images, and essays. The materials address
not only damage but also protection and resilience in
disaster-prone areas. The emphasis is on the technical
and anthropological knowledge required to appreciate
our natural world.

The series also forces us to address the dangers we

face by constantly straining natural resources to their
limits in the digital age.

In her photographic work, Marina Caneve explores how know-

ledge is shaped through research-based and multidisciplinary
approaches. Caneve studied architecture and sustainability at
IUAV Architecture University Venice before earning a bache-
lor’s degree in photography from the Royal Academy of Arts,
KABK, The Hague. Themes of environmental and societal risk
are central to her work. In 2019, the Museum of Contemporary
Photography and the Italian Ministry of Culture commissioned
Caneve to document national architectural heritage. Her publi-
cation Are They Rocks or Clouds received the Bastianelli Award
for Best Italian Photography Book in 2020. She lives and works
in Italy.

52
Marina Caneve, from the series Are They Rocks or Clouds , 2019 © Marina Caneve

53
TINA FARIFTEH
The Flood, 2021–ongoing

Tina Farifteh, an Iranian-Dutch artist, uses water as

a metaphor in The Flood, a two-channel video instal-
lation with sound, visualising the discourse on migra-
tion. The audience is surrounded by water, creating a
sense of danger simulating the risk people take when
trying to pass waters such as the Mediterranean Sea,
the Aegean Sea, or the English Channel. Moreover,
the debate around migration frequently begins with
a discussion of “waves of refugees” or a “flood” of
migrants, an analogue to natural disasters that leads
to dehumanisation and draws a connection with the
uncontrollable nature of water.

Living in the Netherlands, where flooding has been

occurring for centuries, Farifteh is fully aware of the
existential threat of water. In her installation, a computer-
generated voice reads aloud current numbers of refu-
gees who have tragically passed away—men, women,
and children—and emphasises that this apparent
“flood” is made up of individual drops, namely humans,
lives that are not an anonymous deluge.

The works of Tina Farifteh move at the interface of art, politics,

and philosophy, and her art frequently combines visuals, text, and
data. Due to her academic and cultural background, including an
MBA in economics from the Rotterdam School of Management
(2013) and a BA in photography from the Royal Academy of Art,
The Hague (2021), she is well-versed in seeing the world from dif-
ferent perspectives. Farifteh is a member of Futures, a European
photography platform that brings together talents and expertise.
She has won the Royal Academy Bachelor Award and the Foto-
festival Naarden Talent Award, and took second prize in the De
Zilveren Camera photography awards in the Storytelling category.
Farifteh lives and works in Sexbierum and Amsterdam.

54
Tina Farifteh, The Flood, Installation view, 2021 © Tina Farifteh/Charlotte Brand

Credits
Sound design: Tijmen Bergman
Video engineering: Daan Hazendonk
Data: UNITEDAgainstRefugeeDeaths.eu

55
SIU WAI HANG
Clean Hong Kong Action, 2019

In certain circumstances, the ability of photography

to depict reality is viewed as a risk rather than a
strength. Under authoritarian regimes, the photo-
graphic picture of protestors or those targeted for
ethnic or political reasons quickly becomes a tool of
denunciation. Siu Wai Hang, a Hong Kong photojour-
nalist, faced this strain when photographing protests
in his homeland in 2019.

To protect the people shown and to preserve photo-

graphy’s position as a documented medium during
these events, he opted to crop out all the faces in
the photographs.

The resulting series Clean Hong Kong Action includes

a variety of mediums, including large-format prints on
acrylic plates with laser-cut holes and a handmade
photobook with holes punched by the artist himself.

Siu Wai Hang uses many methodologies and photography

ideas to document social systems. He weaves landscapes and
items together to connect people to collective memories. His
work is distinguished by a combination of traditional photo-
graphy and contemporary digital work. Siu Wai Hang was
awarded the First Prize in the Hong Kong Photobook Dummy
Award (2021), the Hong Kong Human Rights Art Prize (2018),
and the WYNG Masters Award (2014 and 2016). His work has
been exhibited in Germany, Hong Kong, Taiwan, the United
States, and other locations. He currently resides and works in
the United Kingdom.

56
Siu Wai Hang, Admiralty, from the series Clean Hong Kong Action, 2019 © Siu Wai Hang

57
LAURA PANNACK
Baruch, 2020

Laura Pannack spent a year accompanying Baruch, a

young man leaving the Orthodox Jewish community
and embarking on a new life.

The result is a series of single photos, mostly taken

from behind, that represent his journey of letting go
and his new-found independence, while also revea-
ling the inner agony that comes with taking the risk
of leaving behind the frameworks of a fixed, prede-
termined life. Pannack manifested her protagonist’s
search for a new self by working closely with him.
Many of the pictures depict Baruch in a significant
and symbolic environment. A film accompanies the
photographs and pursues this metaphorical approach
further.

In telling Baruch’s story, Pannack aims to encourage

others to consider living a life without limits.

Laura Pannack’s portraits and social documentation ex-

plore the complex relationships between herself and her
photographed subjects. Many of her projects are con-
ducted over the course of several years. This enables her
to capture the intimacy of these relationships as well as
the shared ideas and experiences that result from them.
Pannack’s work has been exhibited at the National Por-
trait Gallery, the Houses of Parliament, Somerset House,
and the Royal Festival Hall in London, among others.
She has received multiple prizes for her work, including
the John Kobal Award, the Vic Odden Prize, the World
Photo Press Award, the Juliet Margaret Cameron Award,
and the HSBC Prix de la Photographie. Laura Pannack
lives and works in London.

58
Laura Pannack, from the series Baruch , 2020 © Laura Pannack

59
VICTORIA PIDUST
Untitled, 2022

Is it possible to continue working artistically during

wartime? Victoria Pidust and her partner, Volo Bevza,
were going to the opening of Bevza’s exhibition in Kyiv
at the end of February 2022 when the Russian invasi-
on began. Pidust chose to stay in Ukraine, where she
assisted in producing defence materials and documen-
ted daily life during wartime. Pidust’s images reflect
reality as seen from a new angle and rearrange realities
by employing software to make the original subjects of
the photographs unrecognisable. The works presented
in the exhibition combine steel mesh, ammunition, or
destroyed trees with small-format, painting-like pictures,
focusing on the opposing themes of destruction and
persistence.

Pidust continues to campaign for much-needed aid

in her home country and coordinate assistance for
artists and others who have been compelled to leave.

Victoria Pidust’s installations, which span space and media,

reflect on the possibilities of abstraction. She studied multi-
media at the Institut für Buchkunde und Drucktechnik in Berlin,
took photography courses at the Igor Sikorsky Kyiv Polytechnic
Institute in Kyiv, and studied fine art and painting at Weißensee
Kunsthochschule Berlin. She has received numerous awards,
including the Mart Stam Preis (2020) and the Ukrainian Natio-
nal Photography Award (2013, 2015, 2017). Pidust has had
solo shows at the Kunstverein Kjubh (2021) and ZERO FOLD
Cologne (2020), participated in various group exhibitions, and
was represented at the Curiosa Section at Paris Photo (2021).
She is currently based in Berlin.

60
Victoria Pidust, Untitled, Metal War 4, 2022 © Victoria Pidust

61
PRARTHNA SINGH
Har Shaam Shaheen Bagh, 2020–2021

Prarthna Singh’s Har Shaam Shaheen Bagh is a

picture of a women-led protest against the Citizen
Amendment Act. The naturalisation law, which allows
Hindus, Sikhs, Buddhists, Parsis, and Christians to
become Indian citizens but excludes Muslims, was
passed in December 2019. It diminishes India’s consti-
tutional notion of itself as a secular state.

The Shaheen Bagh Movement is the name of protest

led by Muslim women who occupied one of the busiest
highways in Delhi. These women, who had never pre-
viously been involved in politics, became an emblem
of democratic dissent, sparking sit-in strikes around
the country.

Singh’s series includes images, drawings, songs, and

letters she collected at the protest site. She photo-
graphed the protesters in carefully arranged portraits,
breaking with the demonisation of the “mob” portrayed
by the media. Protests were banned in March 2020
under the premise of alleged COVID-19 measures.

Prarthna Singh, an Indian photographer, is especially interes-

ted in issues of identity and gender. Her attention is drawn
to India’s tumultuous political situation and the rise of nation-
alism. Furthermore, her art is centred on uncertainty and fragi-
lity on the one hand, and bold radical gestures of humanity on
the other. Singh lived and worked in New York after receiving
her BFA in photography from the Rhode Island School of
Design and before returning to India. The artist now resides
in Mumbai.

62
Prarthna Singh, from the series Har Shaam Shaheen Bagh, 2020–2021 © Prarthna Singh

63
DIGITAL ART EDUCATION

The RAW Multimedia Guide accompanies you as you

navigate your way through the exhibitions. It offers
introductions from the curatorial team, background
information on artistic positions, audio commentary
created by the artists, and much more.

All you need is a smartphone with internet access. Scan

the QR codes at the beginning of each exhibition and
individual installation to access in-depth information.

Visit www.raw-frei-haus.de to access videos and

material from previous RAW events. Feel free as well
to browse using the QR code at the bottom of this page.

The RAW team wishes you an inspiring and informative

visit!

The digital art education programme of the RAW Photo

Triennale 2023 is supported by the VHG Foundation

64
Tourist-Information for Worpswede and the Teufelsmoor

Tourist-Information for
Worpswede and the Teufelsmoor
Bergstraße 13
27726 Worpswede

Not yet Tel. 0 47 92 - 93 58 20

Fax 0 47 92 - 93 58 23

seen info@worpswede-touristik.de
www.worpswede-touristik.de

everything? Opening hours:

April – October:
Feel free to come again … Mon – Sat 10am – 5pm
Sun 10am – 3pm
... or just stay longer!
November – March:
Accommodation booking, Mon – Sun 10am – 3pm

information, tickets, From 18th March:

RAW Festival Centre
guided tours Sun – Thurs 10am – 3pm
Fri + Sat 10am – 5pm
Current opening hours for
gastronomy and museums:
www.worpswede-touristik.de/
oeffnungszeiten/

65
Fotografien erzählen Geschichten.
Bücher tragen sie in die Welt.

www.bildperlen.de
RAW PLUS
#FOTOBOOKS

A selection of the best photo books submitted to the

Kassel Dummy Award 2022 will be exhibited at RAW
Plus , which takes place at the Philine-Vogeler-Haus in
collaboration with the Fotobookfestival Kassel and the
PhotoBookMuseum in Cologne. This worldwide award
seeks the best unpublished photo book of the year. In
2022 alone, 262 books from 32 countries were submitted.

PHILINE-VOGELER-HAUS (TOURIST INFORMATION)

18/03–02/04/2023
MON–SAT FROM 10 A.M.–5 P.M.
SUN FROM 10 A.M.–3 P.M.
67
RAW PLUS
#THANKS

The special exhibition #THANKS at Marcusheide is

devoted to Rüdiger Lubricht, a co-founder of RAW. The
first exhibition of Lubricht’s series Peripherie – Milieu-
bilder aus Norddeutschland (Periphery—Milieu Images
from Northern Germany) focuses on overlooked, peri-
pheral locales that lack distinctive style or functionality.
Through his extremely formal photography, Lubricht
draws the viewer’s attention to these forgotten loca-
tions, making them the focal points of his images.
This results in charming, fresh perspectives on the
seemingly ordinary, which through this outdoor instal-
lation find a double integration into the landscape.

Rüdiger Lubricht, resides and works in Worpswede.

Since 1989, he has worked as a freelance photographer.
He has also served as a visiting professor at the HfK
Bremen. His works, which have been exhibited abroad
and received numerous honours, cover a variety of
topics, including architecture, landscapes, and portrai-
ture. His substantial work on the Chernobyl reactor
accident, in which he vividly yet sombrely portrayed its
repercussions and victims, contributed to his wide-
spread recognition outside of Germany. In 2016, together
with Jürgen Strasser, Lubricht co-founded RAW, where
he was mostly in charge of organising programmes and
exhibitions.

MARCUSHEIDE (OPEN-AIR)
18/03–11/06/2023
DAILY 24 h

68
Rüdiger Lubricht, from the series Peripherie – Milieubilder aus Norddeutschland, 2020-2022 © Rüdiger Lubricht

69
RAW PLUS
#REVERSIBILITY

The gap between rich and poor is widening. We have been

talking about this for decades, discussing topics like family,
children, mental health, digital worlds, the environment, and
life in megacities; none of this is new. But recently, some-
thing fundamental has changed: the dynamics, the irreversi-
bility, and thus the drama with which these issues
are coming to a head.

Within the framework of RAW Plus, the Ostkreuzschule

for Photography Berlin (OKS) presents works by alumni
and current students in Worpswede. Eight photographic
works by OKS students and alumni have been selected by
lecturers Lia Darjes and Ludwig Rauch for the exhibition
#REVERSIBILITY.

Jana Sophia Nolle, Living Room , 2017–ongoing

Elliott Kreyenberg, Endzeit , 2020–2021
Bimal Fabbri, Kälima , 2021
Natalia Kepesz, Niewybuch , 2021
Delia Friemel, Es klebt an mir wie Pech , 2020–2021
Noah Lübbe, Surfaces , 2022
Catharina Tews, Bela Woda , 2019–ongoing
Milan Koch, Territorium , 2019–2021

GALERIE ALTES RATHAUS

18/03–01/05/2023
TUE–FRI FROM 2 P.M.–6 P.M.
SAT/SUN FROM 11 A.M.–5 P.M.

70
Delia Friemel, from the series Es klebt an mir wie Pech , 2020-2021 © Delia Friemel

71
RAW PLUS
#WE_LOVE

#WE LOVE features the best entries from the German

Youth Photography Award 2022, including remarkable
single images, and series, collages, and inventive photo-
books. The artworks highlight the value and importance
of photography as personal, artistic, and social forms of
expression for children, teens, and young people. And
they illustrate one thing above all: a love of photography.

“It is fascinating and frightening how powerfully the

annual theme of the year has hit the mark. More than
ever, human relationships are in flux, and the question
of what constitutes togetherness—especially when you
can no longer embody it—is perpetually raised”, says
prize-winner Lara-Marie Weine

The German Youth Photography Award was founded in

1961 by the Federal Ministry of Youth and is organised by
the German Children’s and Youth Film Centre. It sees
itself as a source of inspiration for young photography
and educational projects. In 2022, 10,000 photos
were submitted, with the age of the award winners
ranging from 8 to 25 years

NEUER WORPSWEDER KUNSTVEREIN

01/05–11/06/2023
THU–SUN FROM 10 A.M.–6 P.M.

72
© Enya Weidner, from the series Mir ist langweilig, Deutscher Jugendfotopreis 2022

73
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6 p.m., admission: 7 € / 4 € Sat/Sun 11 a.m.–5 p.m., free admission

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Lindenallee 5, daily from 10 a.m.–6 p.m., Bergstraße 22, Thu–Sun 10 a.m.–6 p.m.,
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Sat/Sun from 10 a.m.–6 p.m., admission: 6 € /

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74
 LEICA SL- SYSTEM

EINE WEGWEISENDE
ENTSCHEIDUNG
Als Ergebnis von über 100 Jahren deutscher Ingenieurskunst bietet das SL-System optische Spitzenleistungen
und ermöglicht es Fotografen und Filmemachern, außergewöhnliche visuelle Arbeiten zu erschaffen.
Lassen Sie sich von diesem Meisterwerk der Handwerkskunst inspirieren und
erzählen Sie Ihre Geschichte wie kein anderer es kann.

Entdecken Sie unbegrenzte Möglichkeiten unter sl-system.leica-camera.com

CAPTURE ONE PRO CINE LENSES

GROSSE MOMENTE. EINFACH GERAHMT.
MIT MAGNETRAHMEN VON HALBE

Dank des einzigartigen Magnetrahmenprinzips von HALBE rahmen Sie

Ihre Bilder – anders als bei anderen Bilderrahmen – einfach und schnell von der
sichtbaren Vorderseite ein, ohne Wenden, Klammern oder Werkzeug.
Große Momente unter: halbe.de/einfach-einrahmen
SUPPORTERS AND PARTNERS
Without sponsorships and support, an ambitious and extensive project
like the RAW Photo Triennale Worpswede would not be possible. On
behalf of the Triennale team, we would like to thank all our sponsors,
partners, and friends for their commitment.

SUPPORTERS

LANDSCHAFTSVERBAND
DER EHEMALIGEN HERZOGTÜMER BREMEN UND VERDEN

PROJECT PARTNERS

HAHM
KOMMUNIKATION

MEDIA PARTNERS

PRINT PARTNERS

IN COLLABORATION WITH

77
COLOPHON
RAW PHOTO TRIENNALE WORPSWEDE
18/03–11/06/2023

Publisher
RAW Projektbüro gemeinnützige UG
Bergstraße 1
D-27726 Worpswede

info@raw-projektbuero.de
www.raw-phototriennale.de

Project management
Jürgen Strasser, Björn Herrmann

Curatorial Team
Daria Bona, Julia Bunnemann, Cale Garrido, Wolfgang Zurborn

Design
Jürgen Strasser

Text
Björn Herrmann (introduction, annual theme), Daria Bona and Cale Garrido
(#NEXT and #EGO), Julia Bunnemann (#RISK), Wolfgang Zurborn (#FAKE)

English Copyediting
Nicholas Davies

Photo credits
Laura C. Vela (cover), Rüdiger Lubricht (p. 6)

© RAW Projektbüro gUG as well as the authors and artists

The project managers and curators would like to thank the participating
artists and their studios and galleries, as well as the installation team,
museum directors, and everyone who helped with and contributed to RAW
2023.

All information in this document was correct at the time of printing (March
2023) and is subject to change without notice.

Printed in Germany 2023

78
FINE-ART-PRINTS
BRILLANT
HOCHWERTIG
LANGLEBIG

Vor dem Steintor 34 · 28203 Bremen

T (04 21) 72 66 00 · www.medienhaven.de
RAW Projektbüro gUG
Bergstraße 1
D-27726 Worpswede

info@raw-phototriennale.de

www.raw-phototriennale.de
www.raw-photofestival.de
www.raw-frei-haus.de

#rawphototriennale
@rawphototriennale