2020s

'Linz Diary' is dedicated to a city, which was a provincial & governmental city of the Holy Roman Empire, as well as considered by Adolf Hitler as his hometown. Against this background, the photographer Peter BIALOBRZESKI documented the cityscape in 2019.

The photo volume'Tokyo Jazz Joints' by Northern Irish photographer Philip ARNEILL and James Catchpole documents the culture of disappearing jazz pubs and cafes in Japan / Tokyo, the Jazu Kissa, where jazz records are played and time seems to stand still.

In 'Kings Road', Mona KUHN examines the Schindler House in Los Angeles, an avant-garde hub for intellectuals & artists in the 1920s & 30s. Alongside reproductions she made a series of solarized gelatin silver prints, a technique favored by the Surrealists

'Eternal U' by Hubert HUMKA - 3rd part of his book trilogy, together with 'Eden (2014) and 'Death Landscapes' (2018) - is about death and eternity. It's main axis are forest photographs (life), negatives (death) and embossed texts (traces we leave behind)

In 'The Land of Promises', Youqine LEFÈVRE traces her own fate when she documents the China journeys of six adoptive families. As a result of China's one-child policy, she was one of the many girls separated from their families and put up for adoption.

'Twentysix Houses Along Waldeggstrasse' by Otto HAINZL quotes the artist book 'Twentysix Gasoline Stations' by Ed RUSCHA. The b/w images by the Austrian show the empty buildings of a street in Linz as well as the social dramaturgy of urban development.

The photo zine '321' by Roe ETHRIDGE is the result of a stay in Paris, Spring 2021, when the capital was under curfew. The photographer walked through the only moderately populated city and created this distinctive visual diary of a moment of in-between.

With the photo book 'Spanish Summer' JOHANSSON returns to one of the first places that fired his imagination: the plains of central Spain. In precise compositions an din b/w, a landscape is surveyed in which cultural traces have been etched for millennia.

The photographs by D'Angelo WILLIAMS in his volume 'Contact High' visualize the black body in theatrical, dance, and occasionally everyday scenes. The intimate images focus on notions of kinship and spirituality interwoven with quiet political gestures.

In out-of-print 'Und der Garten alles Beton', photographs by Adrian CAMPEAN meet poems by Dan Sociu, telling about the love of two Romanians coming from poverty. The images show roughness of the city, the dramaturgy drifts from the public into the private