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2023 DFA Conference | Hamburg



DFA Conference | Hamburg | 02.-03.December 2023

We cordially invite you to the Winter Conference in Mannheim! On the first weekend in December, DFA members and invited guests will present their photographic work for discussion. Selected lectures will be streamed LIVE on Facebook.

Conference Venue

Deichtorhallen, Halle für aktuelle Kunst, Deichtorstr. 1–2, 20095 Hamburg

Conference programme

Saturday, 02 December 2023

  • 9.45 Arrival and admission to the auditorium.
  • 10.00 Welcome: Ingo Taubhorn (President of the DFA)
  • 10.15 Ute Lindner (invitation by Katrin Jaquet)
  • 11.00 Hermine Oberück (invitation Christoph Linzbach)
  • 11.45 Dr. Michael Schupmann (invitation by Claudia Fährenkemper)
  • 12.45 Lunch break
  • 13.45 Arwed Messmer (Member of the DFA)
  • 14.30 Peter Bialobrzeski (Member of the DFA)
  • 15.15 Coffee break
  • 15.45 Hans-Christian Schink (Member of the DFA)
  • 16.30 Ingo Taubhorn Guided tour of the exhibition "Kathrin Linkersdorff: Works" in the PhoXXI. In the North Hall the exhibition Dix and the Present (also with photography) can be visited.
  • 18.15 Portfolio Walk with Julia Autz, Gil Bartz, Nils Böddingmeier, Kai Brüninghaus, Torsten Dodillet, Janick Entremont, Lea Sophie Greub, Michel Lokossou, Ludwig Nikulski, Sven Weber

Sunday, 03. December 2023

  • 10.00 Welcome: Ingo Taubhorn (President of the DFA)
  • 10.15 Bärbel Möllmann (invited by Ute Behrend)
  • 11.15 Marina D'Oro (invited by Ruth Stoltenberg)
  • 12.15 Lunch break
  • 13.15 Meinrad Schade (member of the DFA)
  • 14.15 Patrik Budenz (member of the DFA) & Birte Zellentin
  • 15.15 Coffee break
  • 15.30 Peter Truschner (invited by Boris Eldagsen) > canceled due to illness <
  • 16.30 End of the conference


Ute Lindner | PENTIMENTI

Saturday, 02 December, 10:15 am (CET)

"A central aspect of Ute Lindner's artistic work is the theme of reflection: the phenomenon of the mirror image, the reflection of spaces and figures, the space in-between image and reflection. Ute Lindner does not see photography as an instrument for reproducing reality, but rather as a material for shaping and changing it. The artist assembles a multitude of photographic images to create an autonomous reality that dissolves the extra-pictorial references of space and time and achieves a dissolution of boundaries through their entanglement. Inner and outer perceptions merge into a continuum in which habitual notions of perspective and spatial order are suspended. The viewer's gaze, released from a fixed frame of reference, thus also becomes the object of the image." (Excerpt from: Christoph Kivelitz, "Through the Looking Glass").

Ute Lindner is a photographic artist from Berlin. Her works have been shown nationally and internationally, most recently at Galeria Nowa Scena/Poznan, EMOP Berlin, Torrance Art Museum/LA and are represented in renowned public collections such as the National Museum of Art/Osaka, Norton Museum of Art/Palm Beach, Jeane v. Oppenheim Collection, the Collection of the Federal Republic of Germany, Kunsthalle Bremen, Berlinische Galerie, Neues Museum Kassel, etc. Member of the International Artists' Committee (IKG).

Watch recording: YouTube | Facebook

© Ute Lindner

Hermine Oberück

Saturday, 02 December, 11:00 - 11:45 (CET)

"Hermine Oberrück's photographic gaze is directed at the relationship between cause and effect, at the depiction of suffering, fear, dependency, resistance, political discontent, life with impairments and marginalised existences on the one hand and the individual, social and political framework conditions of human life situations on the other... In her work, she combines the scientist's technical-analytical approach to social problems with the photographer's emphatic view of the individual. She accompanies fates photographically and makes their conditionality transparent. At the same time, as a journalist, she maintains the necessary distance. There is no need for comparisons with other photographers to classify Hermine Oberück. She is a solitaire in the German photo scene, like a free-standing tree in nature, free-standing and yet deeply rooted in life and togetherness." (Christoph Linzbach in brennpunkt 1/2023)

Born in 1951, lives and works in Bielefeld. Since 1988 freelance photographer, e.g. for SPIEGEL, ZEIT and EPD, including social photography reportages from the health sector, on working and living conditions (e.g. of people with handicaps and dementia) and documentation of forms of political resistance, e.g. against nuclear energy and right-wing radicalism. Long-term studies, exhibitions and publications on topics such as "Living with breast cancer", "Migration" and "Life after Chernobyl".

Watch recording: YouTube | Facebook

© Hermine Oberück | "Brokdorf", 1986

Michael Schupmann

Saturday, 02 December, 11:45 a.m. (CET)

Short biography of the couple Ingrid and Dr. Michael Schupmann

  • Born in 1952 and 1949 respectively
  • Both grew up in Bad Hersfeld in East Hesse.
  • Both studied in Tübingen in the early seventies, graduating with a state examination.
  • First photographic experience on the occasion of a stay in America.
  • 1973 with the result of heavily overexposed films. The film speed had to be adjusted on a camera.
  • Michael first worked as a doctor in the Tübingen area around 1980, then took over a rural practice in the Kassel area in northern Hesse from 1984.
  • With his two school-age sons, Ingrid assists in the practice and is busy with various teaching activities.
  • After almost twenty years of occupying herself with the history of photography and following its current trends, then:
  • In the nineties, alongside her profession, intensive collecting activity, the SCHUPMANN COLLECTION takes shape, the number of portraits of photographers represented in the collection grows.
  • First exhibitions around the year 2000 with book production, in the period thereafter additions to the collection.
  • Gave up own practice at the end of 2009, then various medical activities until 2019, during which time also book productions and exhibitions with own documentary photographs.
  • Around 2020, despite Corona, further exhibitions and production of a second far more detailed collection catalogue. The collection now contains 750 works by forty-nine photographers.

Watch recording: YouTube | Facebook

© Sammlung Schupmann

Bärbel Möllmann

Sunday, 03 December, 10:15 (CET)

  • "In my photographic works and installations, I am not concerned with the resulting photograph, but with the process and the perception of reality.
  • At the end of the 90s, a far-reaching debate emerged called the "pictural turn", in which the camera obscura is seen as the starting point of view. The relationship between the perception of the world and the corresponding reflection is discussed. Thus William John Thomas Mitchell formulated the question: What is a picture? He oriented himself on the materiality of the image and connected the turn to the image with social and political questions. I place my work with the pinhole camera and the camera obscura in this context.
  • So, in transforming a space into a camera obscura, I am not simply concerned with the effect of the camera obscura, but with the sensitisation of perception: of interior and exterior space, the inversion of space and the reflection of space and time. The end product is the image - a fusion of inner and outer worlds."
  • In her current works, Bärbel Möllmann deals with perception in the digital and analogue world, and the interaction with reality that this entails.

Bärbel Möllmann

  • born 04.07.1970 / Münsterland, NRW
  • Place of residence: Düsseldorf / Berlin
  • After my professional training as a reprographer, I studied photography and media with Gottfried Jäger at the University of Applied Sciences in Bielefeld and photo-historical processes with Martha Madigan at the Tyler School of Art in Philadelphia. Since 1996 I have been working with the pinhole camera or camera obscura. In my current work I convert rooms into walk-in camerae obscurae and photograph the projection of the camera obscura.
  • In the last few months, I have also started to work with AI-generated image worlds.

Watch recording: YouTube | Facebook

© Bärbel Möllmann | #04/02 DALL·E, 2021

Marina D'Oro

Sunday, 03 December, 11:15 (CET)

From image to word and back - this is how one could describe Marina D'Oro's career. Initially only flirting with the image, coveting it, not (too) daring - photography had long since been invented, but was not considered art, and was not in her mind - she studied German and political science and earned her living by writing. Along the way, she created word pictures, called poems. But the image was never only in the word. Over the years, it gained the upper hand and finally displaced the word, almost completely. Since the 2000s, the self-taught photographer has been working with pictures.

On 3 December she presents:

  • 1."Leyd unmut kein wend vergeß - the black of the days".
  • Dark photographic collages, started on 24 February 2022, the day of the Russian invasion of Ukraine, when the war came close to us, firing gruesome presences.
  • 2."Avenidas. Away and there, double there, dada".
  • Streets of memory in black and white and double exposures.
  • 3. "light days / wise up".
  • A poetry reading of the world and images in urban space.

Marina D'Oro lives in Frankfurt am Main, experiments with words and photos.

  • Member of the Kunstfabrik, the Association of German Writers (VS), the literary group "Poseidon".
  • Studied photography in workshops with international photographers.
  • Awards: Deichtorhallen Hamburg, Haus der Photographie: Portfoliowalk, DFA --- Marta Hoepffner-Gesellschaft für Fotografie e. V.: Imagine Reality, 3rd prize --- MIFA Moscow International Foto Awards: Honorable Mention" Fine Art Collage
  • Exhibitions 2023: Literaturhaus / Showroom of the Darmstädter Tage der Fotografie, Württembergischer Kunstverein Stuttgart.

Watch recording: YouTube | Facebook

© Marina d'Oro | lichte tage / weise ab

Peter Truschner > canceled due to illness <

Sunday, 03 December, 15:30 (CET)

"The pronounced officialisation and schooling of the cultural sector as well as the fixation on zeitgeist narratives make it difficult for many to say what they really think and only do what they think is appropriate, regardless of prevailing sensitivities and their own careers. Autonomous, free art is currently experiencing a crisis. Just like the individual in times of current identity politics, which necessarily function via group affiliation. Artistic activity today is associated with so many requirements, there are so many "must have's" and "no go's" to consider, meaningful references to collect and at the same time marketing oneself, that it is very difficult to find oneself in a sustainable way. But only then can you find art in a way that makes you independent of economic success, the opinions of others and the fear of failure."

From: As a business, art was almost always feudal. Interview with Stefan Gmünder, full text, 11.01.2023

Peter Truschner is a writer and photographer. His second novel "Die Träumer" is nominated for the German Book Prize. His photo book "Bangkok Struggle" was published in 2016. Since 2018, he has made the "Fotolot" of "Perlentaucher" the most widely read online column on photography in the German-speaking world. In 2021, Klostermann published "Die Maske abgenommen", a treatise on the historical relationship between artist and model.

Since 2023 he has been a member of the DGPh and a jury member of the German Photo Book Prize.

© Peter Truschner | She stood there a loaded gun

Ersatz: Dr Jürgen Scriba reports on the current discussion on AI-generated images in the German Photo Council

Sunday, 03 December, 15:30 (CET)

In his report, Jürgen Scriba provides a detailed insight into the current discussions surrounding artificial intelligence and the generation of images, as they have taken place at the Deutsches Fotorat. Scriba is head of the "Technological Progress" working group, which has been working on the influence of AI on the future of photography since the beginning of 2023. In May, the Deutscher Fotorat published a jointly developed position paper on generated images.

Watch recording: YouTube | Facebook



Arwed Messmer

Saturday, 02 December, 13:45 (CET)

Short text about the book:

In Tiefenenttrümmerung. Der Traum vom Reich, Arwed Messmer deals with his own photographic archive. Previously, he had worked in his projects with collections from the history of the police, military and urban development in order to approach the depths of German history. Now he himself looks at the profound upheavals in East Germany and Berlin following the unification of the two German states in 1990. In addition to photographs of Berlin's urban redevelopment, which primarily document the demolition of GDR post-war modernist buildings, Messmer shows strangely monotonous landscapes in transition shortly before their often disruptive transformation. To this end, he uses previously unpublished photographs, re-edits existing groups of works and places the series in relation to one another. The problematic aspects of dealing with German history, which confronts us today with the return of national thinking, emerge clearly in the overall view of the pictures.

Short biography:

Since the early 1990s, Arwed Messmer (*1964) has dedicated himself to documenting the changes in Berlin and East Germany as a photographer. Since 2007, he has also been working with image collections in archives that have lost their original function. This has resulted in extensive exhibitions and publications on East Berlin in the 1950s, the Berlin Wall, the State Security archives and West German left-wing terrorism.

© Arwed Messmer Aus „Tiefenenttrümmerung. Der Traum vom Reich“, Spector Books 2023

Peter Bialobrzeski

Saturday, 02 December, 14:30 (CET)

In addition to his photographic work, Peter Bialobrzeski has conceived and curated two travelling exhibitions between 2020 and 2022, which are or were shown regionally (Experiment Heimat in Westfalen) and internationally (40 years of laif). In an illustrated lecture, Peter Bialobrzeski will explain which considerations and networks led to the respective results and why different media and carrier materials were used and what role the respective budgets and employees played.

Peter Bialobrzeski studied politics and sociology before working as a local reporter in his home town of Wolfsburg. After studying photography in Essen (Folkwangschule) and London (LCP), he initially worked for international magazines before beginning to publish his projects in book form at the end of the 1990s. In 2002, Bialobrzeski was appointed Professor of Photography at the University of the Arts Bremen. His photographs have been shown in exhibitions worldwide and can be found in numerous private and public collections. He lives in Hamburg and has worked as a freelance artist, photographer, curator and teaches at the Ostkreuzschule für Fotografie since retiring from active university service.

Watch recording: YouTube | Facebook

© Peter Bialobrzeski

Hans-Christian Schink | Unter Wasser / Am Weg

Saturday, 02 December, 15:45 (CET)

  • My lecture reports on the genesis of my series "Unter Wasser" (2020-2021) and gives an outlook on the current project "Am Weg".
  • "Under Water" dives into the surprisingly exotic world of the small lakes, ponds and ditches of Mecklenburg-Vorpommern. The photographs were not taken during normal dives. Following the principle of "controlled coincidence", I held the camera in the water in places that seemed suitable from the top view, without being able to check the resulting image in the viewfinder.
  • "Am Weg" focuses on the microcosm of the immediate surroundings of my home in Mecklenburg. From my house to the end of the lake belonging to the village, a 3 kilometre long dirt track leads through an agricultural landscape typical of this region. I walked this path with my camera every available day for a year.
  • The work will summarise the various aspects of this area in an inventory of images and words.

Hans-Christian Schink

Born in Erfurt in 1961, lives in Lindetal, Mecklenburg-Vorpommern. 1986-1991 studied photography and graduated as a master student at the Academy of Visual Arts Leipzig in 1993.

© Hans-Christian Schink | "Unter Wasser" #38

Meinrad Schade

Sunday, 03 December, 13:15 (CET)

"Look over there, what's going on?"

For his long-term study "War without War", Meinrad Schade first travelled to countries in the former Soviet Union (2003 - 2012). He then focussed on the Israeli-Palestinian conflict (2013 - 2017). He has now opened a new chapter with the working title "War in Film". In it, he examines how real conflicts are reflected in fictional film-making. He spent the whole of August on a film set in Armenia and photographed the "making of" a feature film about the Armenian struggle for Nagorno-Karabakh. The film is set in Nagorno-Karabakh and should actually have been shot there, but this was not possible due to the current situation on the ground. Meinrad Schade presents the result of this photographic journey, which represents an intermediate stage of the chapter, as a total of five different war films are to be accompanied.

Short biography

Meinrad Schade (1968) grew up in Kreuzlingen (CH) and has lived in Zurich since 1988. After studying biology, he dedicated himself to photography. He has been a freelance photographer since 2001, realising long-term projects alongside his commercial work, which have been published in books and shown in exhibitions. He has been working on his long-term project "War without war" since 2003. In contrast to classic war photography, he is interested in locations that are at different spatial and temporal distances from the actual wars.

Watch recording: YouTube

© Meinrad Schade

Patrik Budenz & Birte Zellentin | MACHT

Sunday, 03 December, 14:15 (CET)

  • Who has power? How does a single person shape the politics of a country? And what can be said about a country based on those in power?
  • The federal election in September 2021 was a turning point for many Germans: after sixteen years, Chancellor Angela Merkel's term of office came to an end. The peaceful rotation in the seats of power was taken for granted. However, the narrative of the exercise of power and the transition of power is different in every country and at every time.
  • The "Power" project is a visualisation of one hundred years of global politics based on its protagonists. To this end, portraits of those in power between 1921 and 2021 were selected for all countries and superimposed. The intensity and thus the visibility of a person varies depending on the length of their time in office. The result is a series that unfolds an irritating and at the same time iridescent effect and reinterprets the image type of the ruler portrait.

Patrik Budenz studied business informatics in Bamberg and photography at the Neue Schule für Fotografie Berlin. He has been working as a freelance photographer since graduating in 2009. His series POST MORTEM won the New York Photo Award and he was a finalist in the competitions of the Kassel Photo Book Festival 2009 and the Stuttgart Photo Summer 2010.

Birte Zellentin graduated from the Neue Schule für Fotografie Berlin in 2012. She has been working as a freelance photographer in the field of documentation and public relations since 2009, focussing mainly on political and social actors. In addition to her commissioned work, she explores the aesthetic scope of digital photography and image processing in her freelance work, with colour and structure appearing as recurring themes.

Watch recording: YouTube | Facebook

© Patrik Budenz & Birte Zellentin | MACHT Deutschland


Saturday, 02 December, 18:15 (CET)


© Julia Autz
© Gil Bartz
© Nils Böddingmeier
© Kai Brüninghaus
© Torsten Dodillet
© Janick Entremont
© Lea Sophie Greub
© Michel Lokossou
© Ludwig Nikulski
© Sven Weber

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