Timeless moments – art that breathes with you.

Eve Arnold

Eve Arnold was born in Philadelphia, Pennsylvania, in 1912, the daughter of Russian immigrants. She began taking photographs in 1946 while working in a photo-finishing factory in New York City. In 1948, she studied photography with Alexei Brodovitch at the New School for Social Research in New York.

Arnold was first associated with Magnum Photos in 1951 and became a full member in 1957. She lived in the United States during the 1950s but moved to England in 1962 to send her son to school. From then on, she lived in Great Britain, except for a six-year period when she worked in the United States and China.

In 1980, she had her first major solo exhibition at the Brooklyn Museum, where she showed the photographs she had taken during her time in China. That same year, she received the National Book Award for *In China* and the Lifetime Achievement Award.
American Society of Magazine Photographers Award.

In later years, she received many more honors and awards. In 1995, she was appointed a Fellow of the Royal Photographic Society and named a Master Photographer by the International Center of Photography in New York, the world's most prestigious photographic award. In 1996, she received the
Kraszna-Krausz Book Award for In Retrospect ; the following year she received an honorary doctorate from the University of St Andrews and Staffordshire University.
and the American International University in London. She was also appointed to the advisory board of the National Museum of Photography, Film & Television in Bradford, Great Britain. She published 12 books.

Eve Arnold died on January 4, 2012 in London.

Source: https://www.magnumphotos.com/photographer/eve-arnold/

Robert Capa

On December 3, 1938, Picture Post featured "the world's greatest war photographer: Robert Capa" with a two-page spread of 26 photographs taken during the Spanish Civil War. But the "greatest war photographer" hated war. Born André Friedmann in Budapest in 1913 to Jewish parents, he studied political science at the German Academy for Politics in Berlin. Capa settled in Paris in 1933 after being driven to exile by the threat of war.
had been expelled from Germany by a National Socialist regime.

He was represented by Alliance Photo and met the journalist and photographer Gerda Taro. Together they invented Robert Capa, the "famous" American photographer, and began selling his prints under that name. He met Pablo Picasso and Ernest Hemingway and formed friendships with his fellow photographers David "Chim" Seymour and Henri Cartier-Bresson.

From 1936 onwards, Capa's reporting on the Spanish Civil War appeared regularly. His image of a loyalist soldier who had just been mortally wounded earned Capa his international reputation and became a powerful symbol of the war.

After Taro, who had become his professional partner and companion, was murdered in Spain, Capa traveled to China in 1938 and emigrated to New York a year later. As a correspondent in Europe, he photographed World War II and reported on the landing of American troops on Omaha Beach.
D-Day, the liberation of Paris, and the Battle of the Bulge.

In 1947, Capa was the driving force behind the founding of Magnum Photos. On May 25, 1954, he was photographing life in Thai Binh, Indochina, when he arrived at a
He stepped on a landmine and was killed. The French army posthumously awarded him the
Croix de Guerre with Palm. The Robert Capa Gold Medal Award was established in 1955.
Created to recognize exceptional professional achievements.

Source: https://www.magnumphotos.com/photographer/robert-capa/

Richard Kalvar

Richard Kalvar, born in 1944, is an American. After studying English and American literature at Cornell University from 1961 to 1965, he worked
He worked in New York as an assistant to fashion photographer Jérôme Ducrot. It was an extensive trip to Europe with a camera in 1966 that led him to become a photographer. After another two years in New York, he settled in Paris and initially worked for the Vu photo agency before co-founding the Viva agency in 1972. In 1975, he became an associate member of Magnum Photos and two years later a full member, after which he served as vice president and
President acted.

In 1980, Kalvar had a solo exhibition at the Galerie Agathe Gaillard in Paris and has since participated in numerous group exhibitions. In 1993, he published Portrait de Conflans Sainte-Honorine . A major retrospective of his work was presented at the Maison Européenne de la Photographie in 2007, accompanied by the book Earthlings . His book Photofile was published by Thames & Hudson in 2019, and Selected Writings was published by Damiani in 2023. He has undertaken extensive personal, editorial, and commercial commissions worldwide, particularly in France, Italy, England, Japan, and the United States, and continues to work on a long-term project about the city of Rome.

Kalvar's photographs are characterized by a strong homogeneity of aesthetics and subject matter. His images often play with a discrepancy between the banality of a real situation and a feeling of strangeness that arises from a specific choice of timing and framing. This creates a tension between two levels of interpretation, which is softened by a touch of humor.

Source: https://www.magnumphotos.com/photographer/richard-kalvar/

Dennis Stock

Dennis Stock was born in New York City in 1928. At the age of 17, he left home to join the United States Navy. In 1947, he joined the He apprenticed to Gjon Mili, a photographer for Life magazine, and won first prize in Life's Young Photographers Contest. He joined Magnum Photos in 1951 and became a full member in 1954.

Stock managed to evoke the spirit of America through his memorable and iconic portraits of Hollywood stars, especially James Dean. From 1957 to 1960, Stock created vivid portraits of jazz musicians for his book Jazz Street, including Louis Armstrong, Billie Holiday, Sidney Bechet, and Gene.
Krupa and Duke Ellington. In 1968, Stock took a leave of absence from Magnum to found the film production company Visual Objectives, and he directed several documentaries. In the late 1960s, he documented the attempts of California hippies to reshape society according to the ideals of love and care. In the 1970s and 1980s, he worked on color books in which he emphasized the beauty of nature through details and landscapes. In the 1990s, he returned to his urban origins, exploring the modern architecture of major cities. After the turn of the century, his work focused primarily on the abstraction of flowers.

Stock produced a book or exhibition almost every year from the 1950s onward. He gave numerous workshops and exhibited his work in France, Germany, Italy, the United States, and Japan. He worked as an author,
Director and producer for television and film, and his photographs were
acquired by most major museum collections. In 1969 and 1970, he was president of Magnum's Film and New Media division.

Dennis Stock was married to author Susan Richards. He died on January 11, 2010, at her home in Sarasota, Florida.

Source: https://www.magnumphotos.com/photographer/dennis-stock/

There are images that haunt us. That look at us before we understand them. The MAGNUM PHOTOS collection brings together precisely such works – captured by four legends of photography.

I understand photography not only as an art form, but as a very personal language.
It is my way of bringing my inner self to the outside and the quiet, often overlooked
Making everyday stories visible. I work intuitively, without rigid concepts, and let myself be guided by light, moods, chance encounters, and chance meetings.
My work blends street photography, self-portraits, and experimental visual worlds. I move between observation and self-revelation: on the street, I capture fleeting moments; in my self-portraits, I process inner states and transform them into abstract, poetic images. My focus is not on the spectacular, but on the subtle – on moments you feel before you understand them.
With every photograph, I try to make my own sensitivity palpable while simultaneously carrying little stories into the world.

This collection reflects my intuitive view of the world: fleeting everyday moments captured in street photography and self-portraits, which transition into an abstract or even poetic visual language. Light, shadow, and blur create serene images that hover between reality and inner experience.
Each photo invites you to pause and discover your own stories within the images.

When Angèle Etoundi Essamba was born in Douala, Cameroon, in 1962, one of the least likely scenarios was that she would become one of the most important photographers in her country and on the African continent. Yet she overcame all obstacles and never lost faith in herself.

Today, Angèle Etoundi Essamba is not only known and appreciated in Cameroon. The Museum of Modern Art in New York has acquired some of her works. In 2026, the Dutch Museum of Photography in Rotterdam will honor her with a retrospective.

Although Angèle Etoundi Essamba attended the Dutch School for Professional Photography, she is self-taught in her artistic development. She is proficient in many styles. Some of her works are reminiscent of Man Ray or Robert Mapplethorpe, while others are rooted in the humanist tradition.
Photography embodies values ​​such as equality and equal rights, dignity, solidarity, but also individuality. In other works, she employs a new, impressive form of image montage to visualize content.

“Angèle Etoundi Essamba breaks with the stereotypes
It rejects depictions of Africa as a continent torn apart by famine, epidemics and wars, and instead celebrates its cultural richness and diversity.” (1)

Angèle Etoundi Essamba belongs to a new generation of African artists. They are proud of their cultural heritage and transform it into a modern form. We owe it to artists like her that we can finally leave behind our Eurocentric view of the African continent and see Africa, its culture, and its people as they truly are: strong, self-confident, creative, full of beauty and diversity, and incredibly enriching.

(1)
https://de.wikipedia.org/wiki/Angèle_Etoundi_Essamba

https://www.essamba-art.com

Vita:

1962 Born in Douala/Cameroon

1968 Moved to Paris/France and started school

In the early 1980s, she moved to Amsterdam, Netherlands, and began her training at the Nederlandse Fotovakschool (Dutch School for Professional Photography) in Amsterdam.

Since 1985 working as a freelance artist
Her work has been published in numerous publications, including:
Everything is Connected (2025),
Renaissance (2019),
Daughters of Life (2018),
Strength & Pride (2016),
Invisible, African Women in Action (2015),
Women of the Water (2013),
Black & Red Beyond Color (2012),
Desvelos (2011),
Africa See You, See Me (2011),
As It Is (2010),
I-dentity - Eye-dentity (2010),
Africa Rising (2010),
Voiles & Dévoilements (2008),
Dialogues (2006),
La Metamorphose du Sublime (2003),
Noirs (2001),
Symbols (1999),
Contrasts (1995), and Passion (1989).

Solo exhibitions:
2024
• Museo di Roma in Trastevere, Roma (Italy)
• BMO, Toronto (Canada)

2023
• Doyle Wham Gallery, London (UK)

2022
• Montague Contemporary, New York
• National Photo Museum, Rotterdam (The Netherlands)
• Les Arts du Soleil Gallery, Geneva

2018
• MB Hotel Ganvié, Ganvié (Benin)
• Fondation Claudine TALON, Cotonou (Benin)
• Museum Five Continents, Munich (Germany)

2017
• Musée de l'Eau, Pont en Royans (France)
• ACP Culture, Brussels (Belgium)

2016
• Musée Théodore Monod, Dakar (Sénégal)

2015
• AUC-ECA Conference Center, Addis-Ababa (Ethiopia)
• Pavillon de l'Eau, Paris (France)
• African Union, Addis-Ababa (Ethiopia)

2014
• Agence Française de Développement (AFD), Paris(France)
• Orangerie du Sénat, Paris (France)
• Institut Français, Cotonou (Bénin)
• Africa Museum, Berg en Dal (The Netherlands)
• Hotel Hilton Transcorp, Abuja (Nigeria)

2013
• Galeria Arte Contemporana Benasque, Huesca (Spain)
• Art & Auctions, Essen (Germany)

2012
• Li-Space gallery, Beijing (China)

2011
• La Ciudadela, Pamplona (Spain)
• National Museum, Nairobi (Kenya)
• Fototeca de Cuba, Havana(Cuba)
• Hospitals, Würzburg (Germany)
• Fundacio Caja Rural, Hueva (Spain)

2010
• Fundação Cultural Palmares, Brasilia DF ( Brasil)
• Stopera Square, Amsterdam (The Netherlands)
• Touring exhibition in Bogotá, Townhall Cali, Quibdo (Colombia)
• Street exhibition from Guggenheim Museum until the Euskalduna Palace, Bilbao (Spain)
• Street exhibition, La Feria de Valencia, Valencia (Spain)

2009
• TEA, Tenerife Esp. de las Artes, Tenerife (Spain)
• Territories of Seville (Spain)
• AFD (Agence Française de Développement), Paris (France)

2008
• Musée dapper, Paris (France)
• Photo España, Annta Gallery, Madrid (Spain)
• Casa Africa, Las Palmas (Spain)
• Center d'Art, Fond. Blachere, Apt (France)

2007
• Contemporary Art Museum, Puebla de Cazalla (Spain)
• El Museo de la Universidad de Alicante (MUA), Alicante (Spain)
• Kulturhuset, Stockholm (Sweden)
• Circulos de Bellas Artes de Madrid, Madrid (Spain)
• Sasol Art Museum, Stellenbosch (South Africa)

2006
• Gallery in Focus Photography, Cologne (Germany)
• UNESCO, Paris (France)

2005
• Delta Lloyd, Mondriaan Toren, Amsterdam (The Netherlands)

2004
• Museet For Photo Art, Odense (Denmark)
• Galeria Safia, Barcelona (Spain)
• Galeria Marktschlösschen, Halle (Germany)

2003
• Musée National du Cameroun, Yaounde (Cameroon)
• Moritzburg Castle Museum, Zeitz (Germany)
• World Trade Center, Amsterdam (The Netherlands)

2002
• Goethe – Cameroon Institute, Yaounde (Cameroon)

2001
• Museum of Modern Art Arnhem (The Netherlands)
• Doual'Art, Douala (Cameroon)

2000
• Noorderlicht Photography, Leeuwarden (The Netherlands)

1999
• Van Reekum Museum, Apeldoorn (The Netherlands)
• Institut Français, Cologne (Germany)

1998
• IFAL – Instituto Francés de America Latina, Mexico (Mexico)
• Michaelis Collection, Cape Town (South Africa)

1997
• Indigo Galleries Inc., Boca Raton (USA)

1996
• Indigo Galleries INC., Boca Raton (USA)

1995
• Omni Gallery - Uniondale, New York (USA)

1991
• University of Bremen, Bremen (Germany)

1990
• Melkweg Photo Gallery, Amsterdam (The Netherlands)

1989
• Focus Gallery, Amsterdam (The Netherlands)

1987
• Studio Ethel, Paris (France)

1985
• Maison Descartes, Amsterdam (The Netherlands)

Angèle Etoundi Essamba on her work:

"My photographic work begins with a way of seeing the other that is tender, dignified, and empowering."

A look that creates trust, liberates the body and uplifts the spirit.

I draw on my African heritage, a personal journey, my encounters with other cultures, and the pulse of the contemporary world. These influences shape a visual language based on exchange and experience.

My work focuses on the Black woman. She is a constant source of inspiration—a life-giver, a guardian of tradition, and a bearer of memory. The figure of the Black woman is explored in all her depth—gestures, silences, emotions, and power.

I portray women from everyday life: family and friends. Each of them carries her own light, her own truth within her.

My photographs break with stereotypes that have all too often reduced women to passivity, submission, or exoticism. Instead, they offer a bold counter-narrative—one that affirms pride, resilience, awareness, and strength. Photography becomes a space for redefinition, where Black women reclaim their image and rewrite their stories.

J. Chaldej is one of the most important war photographers of the Second World War. His American counterpart is the famous Robert Capa. The two met at the Nuremberg Trials and became friends.
Robert Capa even gave J. Chaldej his large-format camera, a Speed ​​Graphics, so that Chaldej could work more effectively. Chaldej later reciprocated by developing Capa's films when he and John Steinbeck became the first Western journalists to travel to the Soviet Union after the war. They also shared an important personal connection that ran like a thread through both their lives: Capa came from a Jewish family of tailors.
J. Chaldej was born in Donetsk, Ukraine, and is also of Jewish descent. More information can be found in his biography.

J. Chaldej had a far more difficult time than R. Capa and his other American colleagues. He worked under one of the most horrific dictatorships in history. J. Chaldej's scope for action and freedom under Stalinism was extremely limited.
Today we know that he used them to the fullest extent possible and didn't hesitate to risk his life. Ernst Volland and Heinz Krimmer found a war diary among his belongings. Writing such a diary was punishable by death for Soviet participants in World War II. There was no exception for journalists.

And there was another crucial difference. Soviet soldiers didn't have to pull out all the stops to be deployed directly to the front. They were assigned there because they were soldiers first and foremost, and photographers secondarily. The death list of Soviet war photographers is long. That J. Khaldei survived the entire war is nothing short of a miracle.

And there was another big problem: the lack of materials.
When J. Chaldej was first sent to the front in Murmansk, he received a mere 100 meters of film to last for many months. Considering the task at hand, this was a laughable amount. J. Chaldej made the best of it.

Vita:

March 10, 1917
Khaldei was born in Yusovka, later Stalino, now Donetsk (Ukraine)
Born as the son of a Jewish family.

1918
The mother is murdered during a pogrom, Chaldej seriously injured
injured.

J. Chaldej on the incident: “Pogroms still occur today, although
Stalin is no longer around. There were also under Brezhnev and Khrushchev.
Pogroms, again and again. Your passport bears the mark of Cain, that you are a Jew—that
is it."

1925-1929
School years. The twelve-year-old builds his first camera.

"I took the first photos with a homemade camera."
I did it. There were no specific themes; I photographed the church, the streets.
-all inanimate things; I was neither a professional photographer nor did I have one
"Good camera; I was twelve years old."

1930-1936
Worker in a steel plant in Donetsk. He published at age 15.
years his first

Photo (portrait of a top worker)

"I photographed Soviet heroes, workers who
Production records were achieved, farmers, all this propaganda material. Back then...
"Nobody saw that as propaganda."

During a journey through the Stalino area in 1932
As a photographer, he accompanies an agitation brigade and is confronted with the masses
Faced with starvation as a result of forced collectivization.

1936
After working for regional newspapers, Chaldej was appointed in 1936 to
Delegated to a course at the Soyuzfoto agency in Moscow. Relocation from Yusovka to
Moscow.

"I lived in a municipal apartment together with eight families,
And in seven of these cases, people disappeared without a trace; that could have happened to me too.
can. We grew up in an atmosphere where everyone was everyone else's enemy.
and we didn't know what had been done to them, only that they
disappeared."

1936-1948
Photo correspondent for the TASS news agency.

1941 – 1945
Official war photographer in the Red Army.

"I felt it was necessary. After all, I was a soldier myself. I
was in Murmansk, on the Black Sea, in Novorossiysk, with the troops in Kerch
in Crimea, later near Sevastopol. Sevastopol was liberated on May 9, 1944.
one year before the victory. But we didn't know then that on May 9, 1945
the victory should be celebrated."

Probably 1943
Chaldej receives due to
For his services he was awarded the rank of lieutenant (Kriegsmarine). From 1944
He accompanied the advance of the 3rd Ukrainian Front as a photographer and was present at
the conquests of Sofia, Bucharest, Budapest, Belgrade and Vienna.

"I always worked alone; nothing could distract me. Everything,
What I had was my black leather coat, a uniform cap, little else.
Clothes and film developing chemicals in my backpack. I found
always something to eat and always a place to sleep, usually in cellars or
destroyed houses."

End of April 1945
He is dispatched to Berlin to ensure victory over fascism
to document.

1941 or 1942
Chaldej's father and his sisters Etia, Zilia and Riwa belong
among the two million Soviet Jews who were murdered by the German Einsatzgruppen
were murdered.

"They were not shot, but thrown alive into coal mines
thrown, along with 75,000 other people! That was in 1941/42. That's when I saw the
Germans were very hated. Unfortunately, I later learned that many Russians...
have played a significant role in this."

1945
Official Soviet photographer during the Potsdam Conference
(TASS).

1945
Marry Svetlana.

1946
Official Soviet photographer during the Nuremberg Trials
(TASS).

1947
Birth of daughter Anna.

1948
Chaldej is being expelled from TASS for alleged unprofessionalism.
dismissed.

"Immediately after the Potsdam Conference I went to the Far East,
to China, then to Nuremberg in August, and then to Paris. When I became a civilian again
When I was dismissed by the photojournalist TASS, I explained that there was no work available.
more for me. The real reason was that I am Jewish."

1948-1951
He gets by with odd jobs.

1951 - 1956
Photographed for various smaller newspapers and magazines.

1956
Birth of son Leonid.

1956-1971
Photographer at Pravda.

"Then I started working for the Friendship Society Abroad and
I joined Pravda in 1956. I stayed there for fifteen years. On assignment for Pravda.
I travelled throughout the Soviet Union."

From 1971
Photographer at Sovetskaya Kultura.

"I was still taking photographs until the Gorbachev era. Gorbachev
He was the last one I photographed. I have an interest in photography.
Yes, but not in the events themselves. I used to follow all the interesting ones.
I photographed events; I had an interest in people and
events."

1994
First exhibition in the West at the Neukölln Art Office, Berlin, Gallery
Körnerpark, Ernst Volland and Heinz Krimmer Collection. Also, the first book in
West: “From Moscow to Berlin”, edited by Ernst Volland and Heinz Krimmer.

1997
On October 6th, Khaldei died in Moscow.

Quotes from: “From Moscow to Berlin”, edited by
Ernst Volland and Heinz Krimmer, pp. 121-125 and Brian Moynahan, “Witness of
History”, The Time Magazine September 17, 1994, p.2881.

J. Chaldej's photograph of the Reichstag on May 2, 1945, is considered one of the most iconic images of the 20th century. It became a symbol of the defeat of fascism. Such an image is achieved by very few photographers.

His entire body of work, however, extends far beyond this icon. His work is among the most important photographic documentations of the Second World War. Few were present at so many battlefields, few had access to the Potsdam Conference and the Nuremberg Trials.

Another distinctive feature of his work was that he was interested not only in major events, but also in the fate of ordinary people.
Civilians and soldiers he met along the way, whom he spoke to and to whom he dedicated a photographic memorial. Even amidst the madness of the Second World War, he retained his humanity. This is evident in the photographs and the accompanying captions. His most important images are now on display in this collection for the first time in many years.

Another special feature of the collection shown at Apheum: We haven't just included war photographs. We're also showing examples of his early work as a photographer, as well as some photographs from his later period. This demonstrates his aesthetic roots in Russian Constructivism. He had not only a documentary but also an artistic eye.

When Detlef Mai was processing his father's estate, he found a dedication addressed to him in one of the many photo diaries in album 3:

"To my son Detlef, so that he can see for himself the senselessness of war and learn to preserve human values ​​instead of destroying them!"

Karl Heinz Mai knew what he was talking about. Born in 1920, he belonged to the generation that bore the brunt of the Second World War. In 1939, at just 19 years old, he was drafted into military service. In 1941, he was severely wounded and lost both legs. From then on, he could only get around in a wheelchair, a so-called "self-propelled" wheelchair. It testifies to his personal strength and willpower that, despite the greatest limitations, the loss of his parents' home in the heaviest bombing raid on Leipzig, and the collapse of his career, he persevered, made the best of his fate, and dedicated himself to photography.

Several publications in existence today refer to this fate. Photo historian Dr. Diethard Kerbs, one of the first to recognize the significance of Karl Heinz Mai's work, published photographs from Leipzig from 1945 to 1950 in 1985 as part of his highly regarded "Fototaschen" book series with Dirk Nissen Verlag, Berlin, under the title "Anfangsjahre" (Early Years). The first photo book, "Reporter des Alltags" (Reporter of Everyday Life), was published by Mai's grandson, Andreas Mai, in 2012 with a foreword by Bernd-Lutz Lange, by Pro Leipzig. The most recent book, published in 2019 by Lehmstedt Verlag to mark the photographer's 100th birthday, focuses on his "self-driver" style: "Reporter auf drei Rädern" (Reporter on Three Wheels).

His photographs have been shown in over 300 exhibitions, and nearly 200 books contain his work. A 30-minute documentary film was available in the ARD media library for three years, as his photographs were also used in film and television.

Most of his friends also met him in this self-driving car.
Get to know the people portrayed. Children, women clearing rubble, families, couples, working people,
Homeless people and elderly people. And we, too, can see his presence in every image today.
He recognized the war-related limitations. He could only see one perspective.
Take up the position of a seated person. All the more important, then, is the realization that this is the
The quality of his images was in no way impaired, but rather unconsciously enhanced.
became his trademark.

Karl Heinz Mai died far too young in 1964. His war injuries are considered the cause of his death at just 44 years old.

Further information: www.fotothek-mai.de

Artist website: https://karl-heinz-mai.jimdosite.com/

German biography: https://www.deutsche-biographie.de/pnd118820451.html#index

The photographic works of Karl Heinz Mai are among Germany's most important cultural treasures. His extensive documentation of the post-war period up to his early death in 1964, with all the traces of destruction, the everyday lives of the people, and the reconstruction, is unique.

Furthermore, Karl Heinz Mai primarily photographed in Leipzig. Because he worked mostly independently and on his own initiative, he provided us with an uncensored picture of everyday life since 1945 and in the former GDR. This is another unique characteristic of his work.

Ulrich Domröse, the long-time head of the Photographic Collection at the Berlinische Galerie in 2002: “For me, Karl Heinz Mai’s photographs are among the most important photographic achievements of the immediate postwar period. While other prominent German photographers focused on the destruction of war, Karl Heinz Mai dedicated himself entirely to life and reconstruction. With his extraordinary powers of observation, he succeeded in making essential statements about the prevailing mood of life during this time. His expressive power is based primarily on a sensitive perception of postures and physiognomies. Thus, his photographs are far more than everyday documents of life in an extraordinary time. Rather, they are images that vividly and intensely convey the extreme experiences of ordinary people.”

APHEUM is therefore particularly pleased to be able to offer 52 works by Karl Heinz Mai in one collection.

That this is possible is thanks to Karl Detlef Mai, his son. Himself a photographer, he recognized the value of his father's legacy early on, secured it, professionally archived it with his son Andreas Mai, and brought it into the digital age. Since 1980, with the founding of the "Fotothek Mai Leipzig," his life's work has been made known to a wider public. The fact that this important cultural asset is being preserved and cared for by the third generation is a rare occurrence.

Further information: www.fotothek-mai.de

Artist website: https://karl-heinz-mai.jimdosite.com/

German biography: https://www.deutsche-biographie.de/pnd118820451.html#index
Vita

Born on February 28, 1920 in Leipzig

1926-1934 Elementary school

1934-1937 Vocational school

September 1939
Kirchner & Co. Leipzig,
commercial assistant

January 1940 Military service

August 1941 Wounded

military hospital until summer 1943

Summer 1943 Return to the parents' house

December 4, 1943
Apartment lost in bombing raid

1943-1945 Asylum in the parish house Niederwiesa

Summer 1945 Return to Leipzig

1945-1949 Lived in his parents' house in Leipzig-Gohlis

1945-1955 "Mobile" photographer in Leipzig
and surroundings

1945-1955 Documentation of everyday life and the
Reconstruction in Leipzig

1949 Wedding, birth of son

1954-1964 Photos for museums, archives, newspapers,
Book participations

1949-1964 Family lives in Leipzig-Möckern

May 9, 1964 During a weekend stay in Reinharz
deceased

Katrin Laade is a painter and illustrator. She doesn't just use brushes or lead, graphite, and charcoal pencils; her tools also include scissors, a sewing machine, and an eraser.

Katrin Laade uses procedural methods; she has essentially imposed them upon herself in order to generate an interplay between control and chance or play.

Her paintings consist of many layers, as do the drawings; however, the latter are erased at the end and assembled into an animation.
They initially appear almost white, but upon closer inspection the traces of the original drawing are quite clearly visible.

The drawings (and the paintings as underlying projections) address socially relevant topics, such as climate change and its consequences.

As far as the painting is concerned: The most exciting moment is when the many layers of adhesive tape are peeled off – a large part of the painting process is done, so to speak, blindly: Is the painting successful? Are the proportions right? What about the structure and colors? Was too much tape left on or removed? Ultimately, good paintings prove to be unpredictable.

In the drawings presented here, snow and ice landscapes have been erased, a reference to climate change, the disappearance of nature as we know it, but also a reflection on remembering and forgetting.

Katrin Laade/Angelika Trojnarski

1964  Born in Stuttgart

1983 – 88 State Art Academy Düsseldorf, studied under Jan Dibbets, David Rabinowitsch

1988 – 90 De Ateliers, Postgraduate Studies (Master's), Haarlem, NL, Scholarship NL and EU

1990 – 96 werkbeurs, basicbeurs (FvBK scholarships)

1988 – 1995 lived and worked in Amsterdam, NL

1995 – now lives and works in Düsseldorf

1999 Residency grant in Loviisa, Finland

2008 – 2012 Lecturer in Painting, Folkwang University of the Arts

2004 - 2020 Lecturer in Painting, University of Duisburg-Essen

2018 Member of the producer gallery plan.d, Düsseldorf

2020 Member of the German Artists' Association e.V.

2020/21/22 “Let’s go”, project grant from the MKW, NRW

2022 Restart Culture, Bonn Arts Fund

2023/2024 Lecturer in Painting, graduate program, Alfred University/Alfred USA/Düsseldorf Branch

Numerous exhibitions at home and abroad since 1991

2025 Catalogue presentation and exhibition, Kunstverein Leverkusen (solo exhibition), “Unschärfe Relationen”, Kunstverein Hohenlohe (general exhibition), “Painting in Translation”
Alfred University, Alfred, USA, (GA)
"klein klein", Westdeutscher Künstlerbund, Märkisches Museum Witten (GA)

2024 “Not far”, Photo Gallery Vienna, Vienna, A (GA), 30 years, anniversary Salzmann Building,
in the rooms of the Storage Museum, Düsseldorf, (GA), anniversary exhibition plan.d.,
Düsseldorf (GA), “Darkroom”, K101, Cologne, (EA), “Red Blue Blue”, Gallery
Kunstraum 21, Bonn,

2023 Galerie Kunstraum 21, Bonn “Durchleuchten”, (EA), “Mikado”, Künstlerbund Tübingen (EA/GA), “Node”, Red Head Gallery, Toronto (GA), “shaped canvas”, Freiraum, Düsseldorf, (EA), “Sechs”, Galerie Kunstraum 21, Bonn (GA)

2022 Galerie Kunstraum 21, “DAGEWESEN” (GA), “Stoffwechsel”, Galleria Huuto, Finland (GA), “Traces”, Galerie Martin Leyer-Pritzkow, (EA), “Die Grosse”, museum kunstpalast Düsseldorf, “Sechs”, Galerie Kunstraum 21, Bonn (GA)

2021 “temporary”/ “fleeting world”, producer gallery plan.d., Düsseldorf (EA),

2020 “latently present”, Künstlerloge Ratingen (EA)

2019 “Disrupted Order”, Reinhold Maas Gallery, Reutlingen (solo exhibition)

2018 “Large Yellow”, Galerie Peripherie, Tübingen (solo exhibition), foreign matter(s), CASO, Osaka, Japan (group exhibition)

2017 “space 42”, Robert Koepke House, Schwalenberg (GA),

2014 “from here until now”, Kunstraum Düsseldorf, (GA), 2011 “four show pictures”, WWU, Projektraum Philara, Düsseldorf (GA),

2008 “Trendwände”, Kunstraum Düsseldorf, Düsseldorf (EA/GA), “unstaged”, arti et amititiae, Amsterdam, NL (GA)

2005 “glowing melon”, Kulturforum Schlossmeierhof, Galerie Volker Marschall, Düsseldorf, (EA)

2001 “Free Elections Fair”, Kunsthalle Baden-Baden, Baden-Baden (GA),

1997 Galerie Louise de Haan, Haarlem, NL (EA)

1999 + 1996 Galerie Wolfram Bach, Düsseldorf (EA)

1991 + 1993, W 139, Amsterdam, NL (GA)

A moon made of ice

Erased drawing/photographs and concept: Katrin Laade

Poem and musical setting: Lilliana Matthews

“A moon made of ice” is an artistic collaboration between Katrin Laade and Lilliana Matthews.

Katrin Laade created a 120 x 150 cm graphite drawing on paper, based on a photographic image of a polar landscape, and redrawn it as realistically as possible. In conjunction with the poem, the moon, which is not present in the photograph, was added. The drawing was then erased as completely as possible in 81 steps, with each erased version being photographed. What remains is an almost white sheet of paper on which traces of the original drawing are visible—traces of memory, like lingering memories, cannot be entirely erased.

81 photo sequences. Lilliana Matthews' poem accompanies and underscores the disappearance of the drawing within its context. The many stages of the drawing thus exist only digitally, in 81 photo sequences and in memory.

The disappearance of the landscape and the ice floes can be seen in Apheum's sequence of 81 photos; the poem is subtly included.

“A moon made of ice” can be read as a commentary on climate change, but also as a reflection on remembering and forgetting.

ImageBROKER was founded in Munich in 2003 by Klaus-Peter Wolf. A passionate nature photographer, Klaus initially built a network of eight stock photo agencies. At the request of fellow photographers, he began distributing their photographs as well – at a time when photos were still developed and sent by mail.

Today, imageBROKER markets millions of images and videos from thousands of photographers worldwide. What began as a personal initiative has developed into a successful family business that has held its own in the international market for decades.

Photos and videos from imageBROKER can be found everywhere today: in television programs, newspapers, advertising campaigns, and books. They are particularly prominent in...
imageBROKER specializes in nature, wildlife, and travel photography. We collaborate with many of the world's best photographers. The imageBROKER collection covers virtually every theme and subject – from everyday moments to extraordinary perspectives.

imageBROKER stands for quality, diversity and many years of experience in the field of professional image marketing.

Mountains and mountain landscapes are among the
The most fascinating and exciting landscapes on Earth. The nature experience
"Above the clouds" could hardly be more intense. The sky is dark blue, often
Snow and incredible visibility. The demands placed on one's own body.
The effect is enormous during ascents and climbs, especially in the Himalayas. Who knows
not the story of the first ascent and the tours of the famous Reinhold
Messner. And last but not least, many mountains possess a cultic and religious significance.
On Mount Horeb, 2285 m high on the Sinai Peninsula, Moses is said to have received the [unclear] from God.
They have received the Ten Commandments. The basis of the Jewish and Christian religions, as well as...
of Islam. The imposing Mount Kailash, approximately 6714 m high, is considered
considered sacred by Tibetans.

The collection takes us on 52 journeys to the most beautiful and
The most culturally significant mountain regions on Earth. An alpine experience of
of a special kind.