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Looking back at the “Día de las Madres Pop-Up Exhibition” at Bread & Salt (@breadandsalt_sandiego) alongside other local artists. Those who know me know that my world revolves around my sisters, and I’m so proud to show their portraits! The exhibition reflected on motherhood, care, memory, and the many forms connection can take across families and communities. 🌹

Since moving back to San Diego last fall, I’ve appreciated getting to reconnect with the arts community here. Community exhibitions like this one have become an important part of my practice and the way I think about photography, conversation, and shared space. Thank you to @luisaluisaww and @athenaeummusicandarts for organizing and creating space for artists to come together and share work.

Looking back at the “Día de las Madres Pop-Up Exhibition” at Bread & Salt (@breadandsalt_sandiego) alongside other local artists. Those who know me know that my world revolves around my sisters, and I’m so proud to show their portraits! The exhibition reflected on motherhood, care, memory, and the many forms connection can take across families and communities. 🌹

Since moving back to San Diego last fall, I’ve appreciated getting to reconnect with the arts community here. Community exhibitions like this one have become an important part of my practice and the way I think about photography, conversation, and shared space. Thank you to @luisaluisaww and @athenaeummusicandarts for organizing and creating space for artists to come together and share work.

Looking back at the “Día de las Madres Pop-Up Exhibition” at Bread & Salt (@breadandsalt_sandiego) alongside other local artists. Those who know me know that my world revolves around my sisters, and I’m so proud to show their portraits! The exhibition reflected on motherhood, care, memory, and the many forms connection can take across families and communities. 🌹

Since moving back to San Diego last fall, I’ve appreciated getting to reconnect with the arts community here. Community exhibitions like this one have become an important part of my practice and the way I think about photography, conversation, and shared space. Thank you to @luisaluisaww and @athenaeummusicandarts for organizing and creating space for artists to come together and share work.

Looking back at the “Día de las Madres Pop-Up Exhibition” at Bread & Salt (@breadandsalt_sandiego) alongside other local artists. Those who know me know that my world revolves around my sisters, and I’m so proud to show their portraits! The exhibition reflected on motherhood, care, memory, and the many forms connection can take across families and communities. 🌹

Since moving back to San Diego last fall, I’ve appreciated getting to reconnect with the arts community here. Community exhibitions like this one have become an important part of my practice and the way I think about photography, conversation, and shared space. Thank you to @luisaluisaww and @athenaeummusicandarts for organizing and creating space for artists to come together and share work.

Looking back at the “Día de las Madres Pop-Up Exhibition” at Bread & Salt (@breadandsalt_sandiego) alongside other local artists. Those who know me know that my world revolves around my sisters, and I’m so proud to show their portraits! The exhibition reflected on motherhood, care, memory, and the many forms connection can take across families and communities. 🌹

Since moving back to San Diego last fall, I’ve appreciated getting to reconnect with the arts community here. Community exhibitions like this one have become an important part of my practice and the way I think about photography, conversation, and shared space. Thank you to @luisaluisaww and @athenaeummusicandarts for organizing and creating space for artists to come together and share work.

Looking back at the “Día de las Madres Pop-Up Exhibition” at Bread & Salt (@breadandsalt_sandiego) alongside other local artists. Those who know me know that my world revolves around my sisters, and I’m so proud to show their portraits! The exhibition reflected on motherhood, care, memory, and the many forms connection can take across families and communities. 🌹

Since moving back to San Diego last fall, I’ve appreciated getting to reconnect with the arts community here. Community exhibitions like this one have become an important part of my practice and the way I think about photography, conversation, and shared space. Thank you to @luisaluisaww and @athenaeummusicandarts for organizing and creating space for artists to come together and share work.

Looking back at the “Día de las Madres Pop-Up Exhibition” at Bread & Salt (@breadandsalt_sandiego) alongside other local artists. Those who know me know that my world revolves around my sisters, and I’m so proud to show their portraits! The exhibition reflected on motherhood, care, memory, and the many forms connection can take across families and communities. 🌹

Since moving back to San Diego last fall, I’ve appreciated getting to reconnect with the arts community here. Community exhibitions like this one have become an important part of my practice and the way I think about photography, conversation, and shared space. Thank you to @luisaluisaww and @athenaeummusicandarts for organizing and creating space for artists to come together and share work.

Looking back at the “Día de las Madres Pop-Up Exhibition” at Bread & Salt (@breadandsalt_sandiego) alongside other local artists. Those who know me know that my world revolves around my sisters, and I’m so proud to show their portraits! The exhibition reflected on motherhood, care, memory, and the many forms connection can take across families and communities. 🌹

Since moving back to San Diego last fall, I’ve appreciated getting to reconnect with the arts community here. Community exhibitions like this one have become an important part of my practice and the way I think about photography, conversation, and shared space. Thank you to @luisaluisaww and @athenaeummusicandarts for organizing and creating space for artists to come together and share work.

🚨 #OPENCALL: This Memorial Day, we’re thinking about the many ways “America” is constructed, performed, inherited, resisted, and remembered.

Apparently in America invites photographers worldwide to critically engage with the idea of American-ness today through personal, political, and cultural perspectives.

Deadline: July 4, 2026

One selected artist will receive a $500 award 💸 and a feature on the platform, alongside up to three honorable mentions.

We’re honored to have jurors:

• Cali M. Banks (@bankscal)
• Leah DeVun (@ldevun)
• William Camargo (@billythecamera)
• Francesca Hummler (@fransangle)

To apply:
• Submit 10–20 images (series not required, cohesion encouraged)
• Include your response to: “Apparently, in America…”
• Apply via Picter

Help us build an archive of what America looks like now 🗺️

#ApparentlyInAmerica #MemorialDay #PhotographyAward CallForEntries ContemporaryPhotography

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

#ExhibitionReview: Can a museum show the entire world at once? After spending several hours inside LACMA’s new David Geffen Galleries, I’m still not sure whether that’s its greatest achievement or its greatest flaw.

Our Program Curator, Francesca Hummler (@fransangle), recently visited the new building and shares her reflections below:

For the first half of my visit, I was captivated. Moving through the space felt like wandering through an archive, making unexpected connections between objects, photographs, paintings, and artifacts across time and geography.

As the visit continued, however, the experience became more disorienting. The endless flow of objects began to blur together, and I found myself questioning what narrative, if any, was guiding me. What initially felt like an ambitious response to debates around decolonizing museums and breaking down traditional hierarchies gradually felt more reliant on personal choice and fragmented attention. The galleries seemed to assume visitors would stop only for what interested them and look up the rest later. Unfortunately, limited cell service throughout much of the building made that difficult in practice.

Photography was one of the exhibition’s strongest elements. Rather than being isolated, photographs were consistently placed in dialogue with other forms of material culture. Yet the presentation was not without frustrations. The building’s beautiful natural light often produced significant glare on framed prints, while sparse wall texts left many visitors searching for context. More than once, I found myself explaining photographic processes to those around me.

The gallery asks an interesting question: what should a museum be in an age of information overload? Its global perspective is undeniably ambitious, bringing together objects and stories from across the world. Yet I often left wanting to go deeper rather than wider. Andreas Gursky’s ocean photographs crystallized this tension for me. They embodied a sweeping “globalized” vision that was impressive in scale but occasionally distanced from the specificity that makes individual stories resonate. *continued in the comments*

I’ve stared at these, “steherumsings” (estimated spelling as I’ve never seen this word written down), on my Oma’s shelf for years. Only realising that they’re brass pencil sharpeners during this last visit. ✏️

Continuing the therapeutic self-portrait exercises that I ask my students to do, finding that objects have much to reveal on each new observation. Using my body to explore things my mind can not yet understand. Feeling grateful for my practice and for photography and what this community has given me, intellectually and emotionally.

I’ve stared at these, “steherumsings” (estimated spelling as I’ve never seen this word written down), on my Oma’s shelf for years. Only realising that they’re brass pencil sharpeners during this last visit. ✏️

Continuing the therapeutic self-portrait exercises that I ask my students to do, finding that objects have much to reveal on each new observation. Using my body to explore things my mind can not yet understand. Feeling grateful for my practice and for photography and what this community has given me, intellectually and emotionally.

I’ve stared at these, “steherumsings” (estimated spelling as I’ve never seen this word written down), on my Oma’s shelf for years. Only realising that they’re brass pencil sharpeners during this last visit. ✏️

Continuing the therapeutic self-portrait exercises that I ask my students to do, finding that objects have much to reveal on each new observation. Using my body to explore things my mind can not yet understand. Feeling grateful for my practice and for photography and what this community has given me, intellectually and emotionally.

I’ve stared at these, “steherumsings” (estimated spelling as I’ve never seen this word written down), on my Oma’s shelf for years. Only realising that they’re brass pencil sharpeners during this last visit. ✏️

Continuing the therapeutic self-portrait exercises that I ask my students to do, finding that objects have much to reveal on each new observation. Using my body to explore things my mind can not yet understand. Feeling grateful for my practice and for photography and what this community has given me, intellectually and emotionally.

I’ve stared at these, “steherumsings” (estimated spelling as I’ve never seen this word written down), on my Oma’s shelf for years. Only realising that they’re brass pencil sharpeners during this last visit. ✏️

Continuing the therapeutic self-portrait exercises that I ask my students to do, finding that objects have much to reveal on each new observation. Using my body to explore things my mind can not yet understand. Feeling grateful for my practice and for photography and what this community has given me, intellectually and emotionally.

I’ve stared at these, “steherumsings” (estimated spelling as I’ve never seen this word written down), on my Oma’s shelf for years. Only realising that they’re brass pencil sharpeners during this last visit. ✏️

Continuing the therapeutic self-portrait exercises that I ask my students to do, finding that objects have much to reveal on each new observation. Using my body to explore things my mind can not yet understand. Feeling grateful for my practice and for photography and what this community has given me, intellectually and emotionally.

$500 Artist Award now open 💸

Thinking about applying but not sure where to start? We’ve got you. This carousel answers some of the most commonly asked questions about submitting to the Apparently in America Artist Award 2026.

There are 2 months left to submit until the deadline on July 4, 2026. ⏳

We’d love to see your work. Submit via Picter. Link in bio.

#opencall #photographyaward #callforartists#artistopportunity #artopencall

$500 Artist Award now open 💸

Thinking about applying but not sure where to start? We’ve got you. This carousel answers some of the most commonly asked questions about submitting to the Apparently in America Artist Award 2026.

There are 2 months left to submit until the deadline on July 4, 2026. ⏳

We’d love to see your work. Submit via Picter. Link in bio.

#opencall #photographyaward #callforartists#artistopportunity #artopencall

$500 Artist Award now open 💸

Thinking about applying but not sure where to start? We’ve got you. This carousel answers some of the most commonly asked questions about submitting to the Apparently in America Artist Award 2026.

There are 2 months left to submit until the deadline on July 4, 2026. ⏳

We’d love to see your work. Submit via Picter. Link in bio.

#opencall #photographyaward #callforartists#artistopportunity #artopencall

$500 Artist Award now open 💸

Thinking about applying but not sure where to start? We’ve got you. This carousel answers some of the most commonly asked questions about submitting to the Apparently in America Artist Award 2026.

There are 2 months left to submit until the deadline on July 4, 2026. ⏳

We’d love to see your work. Submit via Picter. Link in bio.

#opencall #photographyaward #callforartists#artistopportunity #artopencall

Honored to have my piece “Visible Work, Invisible Money” published in the April issue of @rpswomeninphotography’s WE ARE Magazine.

I’m thrilled to be in conversation with @joannecoates_ and @delaliayivi, two beautiful and talented women who I admire very much. Having the trust and support of other artists is what moves me forward. 🫂

Thank you to @rachelnixon for inviting and encouraging me to write on a subject that I’ve long thought about. 🙏🏻

📢 Artists should be paid! PAY US! 🤑

Honored to have my piece “Visible Work, Invisible Money” published in the April issue of @rpswomeninphotography’s WE ARE Magazine.

I’m thrilled to be in conversation with @joannecoates_ and @delaliayivi, two beautiful and talented women who I admire very much. Having the trust and support of other artists is what moves me forward. 🫂

Thank you to @rachelnixon for inviting and encouraging me to write on a subject that I’ve long thought about. 🙏🏻

📢 Artists should be paid! PAY US! 🤑

Honored to have my piece “Visible Work, Invisible Money” published in the April issue of @rpswomeninphotography’s WE ARE Magazine.

I’m thrilled to be in conversation with @joannecoates_ and @delaliayivi, two beautiful and talented women who I admire very much. Having the trust and support of other artists is what moves me forward. 🫂

Thank you to @rachelnixon for inviting and encouraging me to write on a subject that I’ve long thought about. 🙏🏻

📢 Artists should be paid! PAY US! 🤑

Honored to have my piece “Visible Work, Invisible Money” published in the April issue of @rpswomeninphotography’s WE ARE Magazine.

I’m thrilled to be in conversation with @joannecoates_ and @delaliayivi, two beautiful and talented women who I admire very much. Having the trust and support of other artists is what moves me forward. 🫂

Thank you to @rachelnixon for inviting and encouraging me to write on a subject that I’ve long thought about. 🙏🏻

📢 Artists should be paid! PAY US! 🤑

Honored to have my piece “Visible Work, Invisible Money” published in the April issue of @rpswomeninphotography’s WE ARE Magazine.

I’m thrilled to be in conversation with @joannecoates_ and @delaliayivi, two beautiful and talented women who I admire very much. Having the trust and support of other artists is what moves me forward. 🫂

Thank you to @rachelnixon for inviting and encouraging me to write on a subject that I’ve long thought about. 🙏🏻

📢 Artists should be paid! PAY US! 🤑

Honored to have my piece “Visible Work, Invisible Money” published in the April issue of @rpswomeninphotography’s WE ARE Magazine.

I’m thrilled to be in conversation with @joannecoates_ and @delaliayivi, two beautiful and talented women who I admire very much. Having the trust and support of other artists is what moves me forward. 🫂

Thank you to @rachelnixon for inviting and encouraging me to write on a subject that I’ve long thought about. 🙏🏻

📢 Artists should be paid! PAY US! 🤑

Honored to have my piece “Visible Work, Invisible Money” published in the April issue of @rpswomeninphotography’s WE ARE Magazine.

I’m thrilled to be in conversation with @joannecoates_ and @delaliayivi, two beautiful and talented women who I admire very much. Having the trust and support of other artists is what moves me forward. 🫂

Thank you to @rachelnixon for inviting and encouraging me to write on a subject that I’ve long thought about. 🙏🏻

📢 Artists should be paid! PAY US! 🤑

Honored to have my piece “Visible Work, Invisible Money” published in the April issue of @rpswomeninphotography’s WE ARE Magazine.

I’m thrilled to be in conversation with @joannecoates_ and @delaliayivi, two beautiful and talented women who I admire very much. Having the trust and support of other artists is what moves me forward. 🫂

Thank you to @rachelnixon for inviting and encouraging me to write on a subject that I’ve long thought about. 🙏🏻

📢 Artists should be paid! PAY US! 🤑

Honored to have my piece “Visible Work, Invisible Money” published in the April issue of @rpswomeninphotography’s WE ARE Magazine.

I’m thrilled to be in conversation with @joannecoates_ and @delaliayivi, two beautiful and talented women who I admire very much. Having the trust and support of other artists is what moves me forward. 🫂

Thank you to @rachelnixon for inviting and encouraging me to write on a subject that I’ve long thought about. 🙏🏻

📢 Artists should be paid! PAY US! 🤑

Honored to have my piece “Visible Work, Invisible Money” published in the April issue of @rpswomeninphotography’s WE ARE Magazine.

I’m thrilled to be in conversation with @joannecoates_ and @delaliayivi, two beautiful and talented women who I admire very much. Having the trust and support of other artists is what moves me forward. 🫂

Thank you to @rachelnixon for inviting and encouraging me to write on a subject that I’ve long thought about. 🙏🏻

📢 Artists should be paid! PAY US! 🤑

Honored to have my piece “Visible Work, Invisible Money” published in the April issue of @rpswomeninphotography’s WE ARE Magazine.

I’m thrilled to be in conversation with @joannecoates_ and @delaliayivi, two beautiful and talented women who I admire very much. Having the trust and support of other artists is what moves me forward. 🫂

Thank you to @rachelnixon for inviting and encouraging me to write on a subject that I’ve long thought about. 🙏🏻

📢 Artists should be paid! PAY US! 🤑

Honored to have my piece “Visible Work, Invisible Money” published in the April issue of @rpswomeninphotography’s WE ARE Magazine.

I’m thrilled to be in conversation with @joannecoates_ and @delaliayivi, two beautiful and talented women who I admire very much. Having the trust and support of other artists is what moves me forward. 🫂

Thank you to @rachelnixon for inviting and encouraging me to write on a subject that I’ve long thought about. 🙏🏻

📢 Artists should be paid! PAY US! 🤑

The day has finally arrived! ✨ The winners of Kranj Foto Fest Open Call 2026 are here! ✨ From 𝟭,𝟲𝟬𝟴 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 by 𝟭,𝟮𝟯𝟵 𝗽𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝗲𝗿𝘀 worldwide, our jury @emmanuelle_halkin @fransangle @bitefzena @tereza_kozinc @pradofernanda selected 𝟭𝟯 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝘀.

🏆 𝗚𝗿𝗮𝗻𝗱 𝗣𝗿𝗶𝘇𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 – awarded a solo exhibition, €1,000 cash prize, and travel expenses up to €400
🏆 𝟭𝟮 𝗙𝗶𝗻𝗮𝗹𝗶𝘀𝘁𝘀 – featured in group exhibitions

▻ All exhibiting artists will work closely with our curatorial team, with exhibition production costs covered and accommodation provided during Opening Week in August.

Get ready to meet the artists selected for Kranj Foto Fest 2026! ✨

𝗪𝗜𝗡𝗡𝗘𝗥 𝟮𝟬𝟮𝟲:
🏅Marisol Mendez (b. Bolivia), with the project “Padre” @marisol___mendez

𝗙𝗜𝗡𝗔𝗟𝗜𝗦𝗧𝗦 𝟮𝟬𝟮𝟲, by alphabetical order:
▪Ian Cheibub, Alumbre na Macaia @iancheibub
▪Debmalya Ray Choudhuri, The Weight of the Earth @debchoudhuri
▪Chiara Ernandes, Still Birth @chiara.ernandes
▪Federico Estol, Shine Heroes @federicoestol
▪Peter Fettich, Crushed Berries @thedarkroomrat
▪Byron Mohammad Hamzah, Bunga dan Tembok / The Flower and The Wall @byronhamzah
▪Minami Ivory, Weapon of Choice @minamiivory
▪Joel Jimenez Jara, Glimmers, Feathers and Staring Skies @joelr.jj
▪Utu-Tuuli Jussila, Härmä / Hoar @ututuuli
▪Robert Marin and Matjaž Rušt, The Most Beautiful City in the World @najlepsemestonasvetu
▪Hana Selena Sokolović, Dear Orchid @hana_selena
▪Maria Sturm, You Don’t Look Native to Me @maria__sturm

Thank you to everyone who applied, and to our jury for their dedication. Congratulations to the selected photographers 🎉
If you weren’t selected this time, we hope to see your work again in 2027.

▻ More at the link in bio.

The day has finally arrived! ✨ The winners of Kranj Foto Fest Open Call 2026 are here! ✨ From 𝟭,𝟲𝟬𝟴 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 by 𝟭,𝟮𝟯𝟵 𝗽𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝗲𝗿𝘀 worldwide, our jury @emmanuelle_halkin @fransangle @bitefzena @tereza_kozinc @pradofernanda selected 𝟭𝟯 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝘀.

🏆 𝗚𝗿𝗮𝗻𝗱 𝗣𝗿𝗶𝘇𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 – awarded a solo exhibition, €1,000 cash prize, and travel expenses up to €400
🏆 𝟭𝟮 𝗙𝗶𝗻𝗮𝗹𝗶𝘀𝘁𝘀 – featured in group exhibitions

▻ All exhibiting artists will work closely with our curatorial team, with exhibition production costs covered and accommodation provided during Opening Week in August.

Get ready to meet the artists selected for Kranj Foto Fest 2026! ✨

𝗪𝗜𝗡𝗡𝗘𝗥 𝟮𝟬𝟮𝟲:
🏅Marisol Mendez (b. Bolivia), with the project “Padre” @marisol___mendez

𝗙𝗜𝗡𝗔𝗟𝗜𝗦𝗧𝗦 𝟮𝟬𝟮𝟲, by alphabetical order:
▪Ian Cheibub, Alumbre na Macaia @iancheibub
▪Debmalya Ray Choudhuri, The Weight of the Earth @debchoudhuri
▪Chiara Ernandes, Still Birth @chiara.ernandes
▪Federico Estol, Shine Heroes @federicoestol
▪Peter Fettich, Crushed Berries @thedarkroomrat
▪Byron Mohammad Hamzah, Bunga dan Tembok / The Flower and The Wall @byronhamzah
▪Minami Ivory, Weapon of Choice @minamiivory
▪Joel Jimenez Jara, Glimmers, Feathers and Staring Skies @joelr.jj
▪Utu-Tuuli Jussila, Härmä / Hoar @ututuuli
▪Robert Marin and Matjaž Rušt, The Most Beautiful City in the World @najlepsemestonasvetu
▪Hana Selena Sokolović, Dear Orchid @hana_selena
▪Maria Sturm, You Don’t Look Native to Me @maria__sturm

Thank you to everyone who applied, and to our jury for their dedication. Congratulations to the selected photographers 🎉
If you weren’t selected this time, we hope to see your work again in 2027.

▻ More at the link in bio.

The day has finally arrived! ✨ The winners of Kranj Foto Fest Open Call 2026 are here! ✨ From 𝟭,𝟲𝟬𝟴 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 by 𝟭,𝟮𝟯𝟵 𝗽𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝗲𝗿𝘀 worldwide, our jury @emmanuelle_halkin @fransangle @bitefzena @tereza_kozinc @pradofernanda selected 𝟭𝟯 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝘀.

🏆 𝗚𝗿𝗮𝗻𝗱 𝗣𝗿𝗶𝘇𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 – awarded a solo exhibition, €1,000 cash prize, and travel expenses up to €400
🏆 𝟭𝟮 𝗙𝗶𝗻𝗮𝗹𝗶𝘀𝘁𝘀 – featured in group exhibitions

▻ All exhibiting artists will work closely with our curatorial team, with exhibition production costs covered and accommodation provided during Opening Week in August.

Get ready to meet the artists selected for Kranj Foto Fest 2026! ✨

𝗪𝗜𝗡𝗡𝗘𝗥 𝟮𝟬𝟮𝟲:
🏅Marisol Mendez (b. Bolivia), with the project “Padre” @marisol___mendez

𝗙𝗜𝗡𝗔𝗟𝗜𝗦𝗧𝗦 𝟮𝟬𝟮𝟲, by alphabetical order:
▪Ian Cheibub, Alumbre na Macaia @iancheibub
▪Debmalya Ray Choudhuri, The Weight of the Earth @debchoudhuri
▪Chiara Ernandes, Still Birth @chiara.ernandes
▪Federico Estol, Shine Heroes @federicoestol
▪Peter Fettich, Crushed Berries @thedarkroomrat
▪Byron Mohammad Hamzah, Bunga dan Tembok / The Flower and The Wall @byronhamzah
▪Minami Ivory, Weapon of Choice @minamiivory
▪Joel Jimenez Jara, Glimmers, Feathers and Staring Skies @joelr.jj
▪Utu-Tuuli Jussila, Härmä / Hoar @ututuuli
▪Robert Marin and Matjaž Rušt, The Most Beautiful City in the World @najlepsemestonasvetu
▪Hana Selena Sokolović, Dear Orchid @hana_selena
▪Maria Sturm, You Don’t Look Native to Me @maria__sturm

Thank you to everyone who applied, and to our jury for their dedication. Congratulations to the selected photographers 🎉
If you weren’t selected this time, we hope to see your work again in 2027.

▻ More at the link in bio.

The day has finally arrived! ✨ The winners of Kranj Foto Fest Open Call 2026 are here! ✨ From 𝟭,𝟲𝟬𝟴 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 by 𝟭,𝟮𝟯𝟵 𝗽𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝗲𝗿𝘀 worldwide, our jury @emmanuelle_halkin @fransangle @bitefzena @tereza_kozinc @pradofernanda selected 𝟭𝟯 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝘀.

🏆 𝗚𝗿𝗮𝗻𝗱 𝗣𝗿𝗶𝘇𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 – awarded a solo exhibition, €1,000 cash prize, and travel expenses up to €400
🏆 𝟭𝟮 𝗙𝗶𝗻𝗮𝗹𝗶𝘀𝘁𝘀 – featured in group exhibitions

▻ All exhibiting artists will work closely with our curatorial team, with exhibition production costs covered and accommodation provided during Opening Week in August.

Get ready to meet the artists selected for Kranj Foto Fest 2026! ✨

𝗪𝗜𝗡𝗡𝗘𝗥 𝟮𝟬𝟮𝟲:
🏅Marisol Mendez (b. Bolivia), with the project “Padre” @marisol___mendez

𝗙𝗜𝗡𝗔𝗟𝗜𝗦𝗧𝗦 𝟮𝟬𝟮𝟲, by alphabetical order:
▪Ian Cheibub, Alumbre na Macaia @iancheibub
▪Debmalya Ray Choudhuri, The Weight of the Earth @debchoudhuri
▪Chiara Ernandes, Still Birth @chiara.ernandes
▪Federico Estol, Shine Heroes @federicoestol
▪Peter Fettich, Crushed Berries @thedarkroomrat
▪Byron Mohammad Hamzah, Bunga dan Tembok / The Flower and The Wall @byronhamzah
▪Minami Ivory, Weapon of Choice @minamiivory
▪Joel Jimenez Jara, Glimmers, Feathers and Staring Skies @joelr.jj
▪Utu-Tuuli Jussila, Härmä / Hoar @ututuuli
▪Robert Marin and Matjaž Rušt, The Most Beautiful City in the World @najlepsemestonasvetu
▪Hana Selena Sokolović, Dear Orchid @hana_selena
▪Maria Sturm, You Don’t Look Native to Me @maria__sturm

Thank you to everyone who applied, and to our jury for their dedication. Congratulations to the selected photographers 🎉
If you weren’t selected this time, we hope to see your work again in 2027.

▻ More at the link in bio.

The day has finally arrived! ✨ The winners of Kranj Foto Fest Open Call 2026 are here! ✨ From 𝟭,𝟲𝟬𝟴 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 by 𝟭,𝟮𝟯𝟵 𝗽𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝗲𝗿𝘀 worldwide, our jury @emmanuelle_halkin @fransangle @bitefzena @tereza_kozinc @pradofernanda selected 𝟭𝟯 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝘀.

🏆 𝗚𝗿𝗮𝗻𝗱 𝗣𝗿𝗶𝘇𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 – awarded a solo exhibition, €1,000 cash prize, and travel expenses up to €400
🏆 𝟭𝟮 𝗙𝗶𝗻𝗮𝗹𝗶𝘀𝘁𝘀 – featured in group exhibitions

▻ All exhibiting artists will work closely with our curatorial team, with exhibition production costs covered and accommodation provided during Opening Week in August.

Get ready to meet the artists selected for Kranj Foto Fest 2026! ✨

𝗪𝗜𝗡𝗡𝗘𝗥 𝟮𝟬𝟮𝟲:
🏅Marisol Mendez (b. Bolivia), with the project “Padre” @marisol___mendez

𝗙𝗜𝗡𝗔𝗟𝗜𝗦𝗧𝗦 𝟮𝟬𝟮𝟲, by alphabetical order:
▪Ian Cheibub, Alumbre na Macaia @iancheibub
▪Debmalya Ray Choudhuri, The Weight of the Earth @debchoudhuri
▪Chiara Ernandes, Still Birth @chiara.ernandes
▪Federico Estol, Shine Heroes @federicoestol
▪Peter Fettich, Crushed Berries @thedarkroomrat
▪Byron Mohammad Hamzah, Bunga dan Tembok / The Flower and The Wall @byronhamzah
▪Minami Ivory, Weapon of Choice @minamiivory
▪Joel Jimenez Jara, Glimmers, Feathers and Staring Skies @joelr.jj
▪Utu-Tuuli Jussila, Härmä / Hoar @ututuuli
▪Robert Marin and Matjaž Rušt, The Most Beautiful City in the World @najlepsemestonasvetu
▪Hana Selena Sokolović, Dear Orchid @hana_selena
▪Maria Sturm, You Don’t Look Native to Me @maria__sturm

Thank you to everyone who applied, and to our jury for their dedication. Congratulations to the selected photographers 🎉
If you weren’t selected this time, we hope to see your work again in 2027.

▻ More at the link in bio.

The day has finally arrived! ✨ The winners of Kranj Foto Fest Open Call 2026 are here! ✨ From 𝟭,𝟲𝟬𝟴 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 by 𝟭,𝟮𝟯𝟵 𝗽𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝗲𝗿𝘀 worldwide, our jury @emmanuelle_halkin @fransangle @bitefzena @tereza_kozinc @pradofernanda selected 𝟭𝟯 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝘀.

🏆 𝗚𝗿𝗮𝗻𝗱 𝗣𝗿𝗶𝘇𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 – awarded a solo exhibition, €1,000 cash prize, and travel expenses up to €400
🏆 𝟭𝟮 𝗙𝗶𝗻𝗮𝗹𝗶𝘀𝘁𝘀 – featured in group exhibitions

▻ All exhibiting artists will work closely with our curatorial team, with exhibition production costs covered and accommodation provided during Opening Week in August.

Get ready to meet the artists selected for Kranj Foto Fest 2026! ✨

𝗪𝗜𝗡𝗡𝗘𝗥 𝟮𝟬𝟮𝟲:
🏅Marisol Mendez (b. Bolivia), with the project “Padre” @marisol___mendez

𝗙𝗜𝗡𝗔𝗟𝗜𝗦𝗧𝗦 𝟮𝟬𝟮𝟲, by alphabetical order:
▪Ian Cheibub, Alumbre na Macaia @iancheibub
▪Debmalya Ray Choudhuri, The Weight of the Earth @debchoudhuri
▪Chiara Ernandes, Still Birth @chiara.ernandes
▪Federico Estol, Shine Heroes @federicoestol
▪Peter Fettich, Crushed Berries @thedarkroomrat
▪Byron Mohammad Hamzah, Bunga dan Tembok / The Flower and The Wall @byronhamzah
▪Minami Ivory, Weapon of Choice @minamiivory
▪Joel Jimenez Jara, Glimmers, Feathers and Staring Skies @joelr.jj
▪Utu-Tuuli Jussila, Härmä / Hoar @ututuuli
▪Robert Marin and Matjaž Rušt, The Most Beautiful City in the World @najlepsemestonasvetu
▪Hana Selena Sokolović, Dear Orchid @hana_selena
▪Maria Sturm, You Don’t Look Native to Me @maria__sturm

Thank you to everyone who applied, and to our jury for their dedication. Congratulations to the selected photographers 🎉
If you weren’t selected this time, we hope to see your work again in 2027.

▻ More at the link in bio.

The day has finally arrived! ✨ The winners of Kranj Foto Fest Open Call 2026 are here! ✨ From 𝟭,𝟲𝟬𝟴 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 by 𝟭,𝟮𝟯𝟵 𝗽𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝗲𝗿𝘀 worldwide, our jury @emmanuelle_halkin @fransangle @bitefzena @tereza_kozinc @pradofernanda selected 𝟭𝟯 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝘀.

🏆 𝗚𝗿𝗮𝗻𝗱 𝗣𝗿𝗶𝘇𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 – awarded a solo exhibition, €1,000 cash prize, and travel expenses up to €400
🏆 𝟭𝟮 𝗙𝗶𝗻𝗮𝗹𝗶𝘀𝘁𝘀 – featured in group exhibitions

▻ All exhibiting artists will work closely with our curatorial team, with exhibition production costs covered and accommodation provided during Opening Week in August.

Get ready to meet the artists selected for Kranj Foto Fest 2026! ✨

𝗪𝗜𝗡𝗡𝗘𝗥 𝟮𝟬𝟮𝟲:
🏅Marisol Mendez (b. Bolivia), with the project “Padre” @marisol___mendez

𝗙𝗜𝗡𝗔𝗟𝗜𝗦𝗧𝗦 𝟮𝟬𝟮𝟲, by alphabetical order:
▪Ian Cheibub, Alumbre na Macaia @iancheibub
▪Debmalya Ray Choudhuri, The Weight of the Earth @debchoudhuri
▪Chiara Ernandes, Still Birth @chiara.ernandes
▪Federico Estol, Shine Heroes @federicoestol
▪Peter Fettich, Crushed Berries @thedarkroomrat
▪Byron Mohammad Hamzah, Bunga dan Tembok / The Flower and The Wall @byronhamzah
▪Minami Ivory, Weapon of Choice @minamiivory
▪Joel Jimenez Jara, Glimmers, Feathers and Staring Skies @joelr.jj
▪Utu-Tuuli Jussila, Härmä / Hoar @ututuuli
▪Robert Marin and Matjaž Rušt, The Most Beautiful City in the World @najlepsemestonasvetu
▪Hana Selena Sokolović, Dear Orchid @hana_selena
▪Maria Sturm, You Don’t Look Native to Me @maria__sturm

Thank you to everyone who applied, and to our jury for their dedication. Congratulations to the selected photographers 🎉
If you weren’t selected this time, we hope to see your work again in 2027.

▻ More at the link in bio.

The day has finally arrived! ✨ The winners of Kranj Foto Fest Open Call 2026 are here! ✨ From 𝟭,𝟲𝟬𝟴 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 by 𝟭,𝟮𝟯𝟵 𝗽𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝗲𝗿𝘀 worldwide, our jury @emmanuelle_halkin @fransangle @bitefzena @tereza_kozinc @pradofernanda selected 𝟭𝟯 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝘀.

🏆 𝗚𝗿𝗮𝗻𝗱 𝗣𝗿𝗶𝘇𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 – awarded a solo exhibition, €1,000 cash prize, and travel expenses up to €400
🏆 𝟭𝟮 𝗙𝗶𝗻𝗮𝗹𝗶𝘀𝘁𝘀 – featured in group exhibitions

▻ All exhibiting artists will work closely with our curatorial team, with exhibition production costs covered and accommodation provided during Opening Week in August.

Get ready to meet the artists selected for Kranj Foto Fest 2026! ✨

𝗪𝗜𝗡𝗡𝗘𝗥 𝟮𝟬𝟮𝟲:
🏅Marisol Mendez (b. Bolivia), with the project “Padre” @marisol___mendez

𝗙𝗜𝗡𝗔𝗟𝗜𝗦𝗧𝗦 𝟮𝟬𝟮𝟲, by alphabetical order:
▪Ian Cheibub, Alumbre na Macaia @iancheibub
▪Debmalya Ray Choudhuri, The Weight of the Earth @debchoudhuri
▪Chiara Ernandes, Still Birth @chiara.ernandes
▪Federico Estol, Shine Heroes @federicoestol
▪Peter Fettich, Crushed Berries @thedarkroomrat
▪Byron Mohammad Hamzah, Bunga dan Tembok / The Flower and The Wall @byronhamzah
▪Minami Ivory, Weapon of Choice @minamiivory
▪Joel Jimenez Jara, Glimmers, Feathers and Staring Skies @joelr.jj
▪Utu-Tuuli Jussila, Härmä / Hoar @ututuuli
▪Robert Marin and Matjaž Rušt, The Most Beautiful City in the World @najlepsemestonasvetu
▪Hana Selena Sokolović, Dear Orchid @hana_selena
▪Maria Sturm, You Don’t Look Native to Me @maria__sturm

Thank you to everyone who applied, and to our jury for their dedication. Congratulations to the selected photographers 🎉
If you weren’t selected this time, we hope to see your work again in 2027.

▻ More at the link in bio.

The day has finally arrived! ✨ The winners of Kranj Foto Fest Open Call 2026 are here! ✨ From 𝟭,𝟲𝟬𝟴 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 by 𝟭,𝟮𝟯𝟵 𝗽𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝗲𝗿𝘀 worldwide, our jury @emmanuelle_halkin @fransangle @bitefzena @tereza_kozinc @pradofernanda selected 𝟭𝟯 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝘀.

🏆 𝗚𝗿𝗮𝗻𝗱 𝗣𝗿𝗶𝘇𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 – awarded a solo exhibition, €1,000 cash prize, and travel expenses up to €400
🏆 𝟭𝟮 𝗙𝗶𝗻𝗮𝗹𝗶𝘀𝘁𝘀 – featured in group exhibitions

▻ All exhibiting artists will work closely with our curatorial team, with exhibition production costs covered and accommodation provided during Opening Week in August.

Get ready to meet the artists selected for Kranj Foto Fest 2026! ✨

𝗪𝗜𝗡𝗡𝗘𝗥 𝟮𝟬𝟮𝟲:
🏅Marisol Mendez (b. Bolivia), with the project “Padre” @marisol___mendez

𝗙𝗜𝗡𝗔𝗟𝗜𝗦𝗧𝗦 𝟮𝟬𝟮𝟲, by alphabetical order:
▪Ian Cheibub, Alumbre na Macaia @iancheibub
▪Debmalya Ray Choudhuri, The Weight of the Earth @debchoudhuri
▪Chiara Ernandes, Still Birth @chiara.ernandes
▪Federico Estol, Shine Heroes @federicoestol
▪Peter Fettich, Crushed Berries @thedarkroomrat
▪Byron Mohammad Hamzah, Bunga dan Tembok / The Flower and The Wall @byronhamzah
▪Minami Ivory, Weapon of Choice @minamiivory
▪Joel Jimenez Jara, Glimmers, Feathers and Staring Skies @joelr.jj
▪Utu-Tuuli Jussila, Härmä / Hoar @ututuuli
▪Robert Marin and Matjaž Rušt, The Most Beautiful City in the World @najlepsemestonasvetu
▪Hana Selena Sokolović, Dear Orchid @hana_selena
▪Maria Sturm, You Don’t Look Native to Me @maria__sturm

Thank you to everyone who applied, and to our jury for their dedication. Congratulations to the selected photographers 🎉
If you weren’t selected this time, we hope to see your work again in 2027.

▻ More at the link in bio.

The day has finally arrived! ✨ The winners of Kranj Foto Fest Open Call 2026 are here! ✨ From 𝟭,𝟲𝟬𝟴 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 by 𝟭,𝟮𝟯𝟵 𝗽𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝗲𝗿𝘀 worldwide, our jury @emmanuelle_halkin @fransangle @bitefzena @tereza_kozinc @pradofernanda selected 𝟭𝟯 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝘀.

🏆 𝗚𝗿𝗮𝗻𝗱 𝗣𝗿𝗶𝘇𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 – awarded a solo exhibition, €1,000 cash prize, and travel expenses up to €400
🏆 𝟭𝟮 𝗙𝗶𝗻𝗮𝗹𝗶𝘀𝘁𝘀 – featured in group exhibitions

▻ All exhibiting artists will work closely with our curatorial team, with exhibition production costs covered and accommodation provided during Opening Week in August.

Get ready to meet the artists selected for Kranj Foto Fest 2026! ✨

𝗪𝗜𝗡𝗡𝗘𝗥 𝟮𝟬𝟮𝟲:
🏅Marisol Mendez (b. Bolivia), with the project “Padre” @marisol___mendez

𝗙𝗜𝗡𝗔𝗟𝗜𝗦𝗧𝗦 𝟮𝟬𝟮𝟲, by alphabetical order:
▪Ian Cheibub, Alumbre na Macaia @iancheibub
▪Debmalya Ray Choudhuri, The Weight of the Earth @debchoudhuri
▪Chiara Ernandes, Still Birth @chiara.ernandes
▪Federico Estol, Shine Heroes @federicoestol
▪Peter Fettich, Crushed Berries @thedarkroomrat
▪Byron Mohammad Hamzah, Bunga dan Tembok / The Flower and The Wall @byronhamzah
▪Minami Ivory, Weapon of Choice @minamiivory
▪Joel Jimenez Jara, Glimmers, Feathers and Staring Skies @joelr.jj
▪Utu-Tuuli Jussila, Härmä / Hoar @ututuuli
▪Robert Marin and Matjaž Rušt, The Most Beautiful City in the World @najlepsemestonasvetu
▪Hana Selena Sokolović, Dear Orchid @hana_selena
▪Maria Sturm, You Don’t Look Native to Me @maria__sturm

Thank you to everyone who applied, and to our jury for their dedication. Congratulations to the selected photographers 🎉
If you weren’t selected this time, we hope to see your work again in 2027.

▻ More at the link in bio.

The day has finally arrived! ✨ The winners of Kranj Foto Fest Open Call 2026 are here! ✨ From 𝟭,𝟲𝟬𝟴 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 by 𝟭,𝟮𝟯𝟵 𝗽𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝗲𝗿𝘀 worldwide, our jury @emmanuelle_halkin @fransangle @bitefzena @tereza_kozinc @pradofernanda selected 𝟭𝟯 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝘀.

🏆 𝗚𝗿𝗮𝗻𝗱 𝗣𝗿𝗶𝘇𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 – awarded a solo exhibition, €1,000 cash prize, and travel expenses up to €400
🏆 𝟭𝟮 𝗙𝗶𝗻𝗮𝗹𝗶𝘀𝘁𝘀 – featured in group exhibitions

▻ All exhibiting artists will work closely with our curatorial team, with exhibition production costs covered and accommodation provided during Opening Week in August.

Get ready to meet the artists selected for Kranj Foto Fest 2026! ✨

𝗪𝗜𝗡𝗡𝗘𝗥 𝟮𝟬𝟮𝟲:
🏅Marisol Mendez (b. Bolivia), with the project “Padre” @marisol___mendez

𝗙𝗜𝗡𝗔𝗟𝗜𝗦𝗧𝗦 𝟮𝟬𝟮𝟲, by alphabetical order:
▪Ian Cheibub, Alumbre na Macaia @iancheibub
▪Debmalya Ray Choudhuri, The Weight of the Earth @debchoudhuri
▪Chiara Ernandes, Still Birth @chiara.ernandes
▪Federico Estol, Shine Heroes @federicoestol
▪Peter Fettich, Crushed Berries @thedarkroomrat
▪Byron Mohammad Hamzah, Bunga dan Tembok / The Flower and The Wall @byronhamzah
▪Minami Ivory, Weapon of Choice @minamiivory
▪Joel Jimenez Jara, Glimmers, Feathers and Staring Skies @joelr.jj
▪Utu-Tuuli Jussila, Härmä / Hoar @ututuuli
▪Robert Marin and Matjaž Rušt, The Most Beautiful City in the World @najlepsemestonasvetu
▪Hana Selena Sokolović, Dear Orchid @hana_selena
▪Maria Sturm, You Don’t Look Native to Me @maria__sturm

Thank you to everyone who applied, and to our jury for their dedication. Congratulations to the selected photographers 🎉
If you weren’t selected this time, we hope to see your work again in 2027.

▻ More at the link in bio.

The day has finally arrived! ✨ The winners of Kranj Foto Fest Open Call 2026 are here! ✨ From 𝟭,𝟲𝟬𝟴 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 by 𝟭,𝟮𝟯𝟵 𝗽𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝗲𝗿𝘀 worldwide, our jury @emmanuelle_halkin @fransangle @bitefzena @tereza_kozinc @pradofernanda selected 𝟭𝟯 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝘀.

🏆 𝗚𝗿𝗮𝗻𝗱 𝗣𝗿𝗶𝘇𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 – awarded a solo exhibition, €1,000 cash prize, and travel expenses up to €400
🏆 𝟭𝟮 𝗙𝗶𝗻𝗮𝗹𝗶𝘀𝘁𝘀 – featured in group exhibitions

▻ All exhibiting artists will work closely with our curatorial team, with exhibition production costs covered and accommodation provided during Opening Week in August.

Get ready to meet the artists selected for Kranj Foto Fest 2026! ✨

𝗪𝗜𝗡𝗡𝗘𝗥 𝟮𝟬𝟮𝟲:
🏅Marisol Mendez (b. Bolivia), with the project “Padre” @marisol___mendez

𝗙𝗜𝗡𝗔𝗟𝗜𝗦𝗧𝗦 𝟮𝟬𝟮𝟲, by alphabetical order:
▪Ian Cheibub, Alumbre na Macaia @iancheibub
▪Debmalya Ray Choudhuri, The Weight of the Earth @debchoudhuri
▪Chiara Ernandes, Still Birth @chiara.ernandes
▪Federico Estol, Shine Heroes @federicoestol
▪Peter Fettich, Crushed Berries @thedarkroomrat
▪Byron Mohammad Hamzah, Bunga dan Tembok / The Flower and The Wall @byronhamzah
▪Minami Ivory, Weapon of Choice @minamiivory
▪Joel Jimenez Jara, Glimmers, Feathers and Staring Skies @joelr.jj
▪Utu-Tuuli Jussila, Härmä / Hoar @ututuuli
▪Robert Marin and Matjaž Rušt, The Most Beautiful City in the World @najlepsemestonasvetu
▪Hana Selena Sokolović, Dear Orchid @hana_selena
▪Maria Sturm, You Don’t Look Native to Me @maria__sturm

Thank you to everyone who applied, and to our jury for their dedication. Congratulations to the selected photographers 🎉
If you weren’t selected this time, we hope to see your work again in 2027.

▻ More at the link in bio.

The day has finally arrived! ✨ The winners of Kranj Foto Fest Open Call 2026 are here! ✨ From 𝟭,𝟲𝟬𝟴 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 by 𝟭,𝟮𝟯𝟵 𝗽𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝗲𝗿𝘀 worldwide, our jury @emmanuelle_halkin @fransangle @bitefzena @tereza_kozinc @pradofernanda selected 𝟭𝟯 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝘀.

🏆 𝗚𝗿𝗮𝗻𝗱 𝗣𝗿𝗶𝘇𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 – awarded a solo exhibition, €1,000 cash prize, and travel expenses up to €400
🏆 𝟭𝟮 𝗙𝗶𝗻𝗮𝗹𝗶𝘀𝘁𝘀 – featured in group exhibitions

▻ All exhibiting artists will work closely with our curatorial team, with exhibition production costs covered and accommodation provided during Opening Week in August.

Get ready to meet the artists selected for Kranj Foto Fest 2026! ✨

𝗪𝗜𝗡𝗡𝗘𝗥 𝟮𝟬𝟮𝟲:
🏅Marisol Mendez (b. Bolivia), with the project “Padre” @marisol___mendez

𝗙𝗜𝗡𝗔𝗟𝗜𝗦𝗧𝗦 𝟮𝟬𝟮𝟲, by alphabetical order:
▪Ian Cheibub, Alumbre na Macaia @iancheibub
▪Debmalya Ray Choudhuri, The Weight of the Earth @debchoudhuri
▪Chiara Ernandes, Still Birth @chiara.ernandes
▪Federico Estol, Shine Heroes @federicoestol
▪Peter Fettich, Crushed Berries @thedarkroomrat
▪Byron Mohammad Hamzah, Bunga dan Tembok / The Flower and The Wall @byronhamzah
▪Minami Ivory, Weapon of Choice @minamiivory
▪Joel Jimenez Jara, Glimmers, Feathers and Staring Skies @joelr.jj
▪Utu-Tuuli Jussila, Härmä / Hoar @ututuuli
▪Robert Marin and Matjaž Rušt, The Most Beautiful City in the World @najlepsemestonasvetu
▪Hana Selena Sokolović, Dear Orchid @hana_selena
▪Maria Sturm, You Don’t Look Native to Me @maria__sturm

Thank you to everyone who applied, and to our jury for their dedication. Congratulations to the selected photographers 🎉
If you weren’t selected this time, we hope to see your work again in 2027.

▻ More at the link in bio.

The day has finally arrived! ✨ The winners of Kranj Foto Fest Open Call 2026 are here! ✨ From 𝟭,𝟲𝟬𝟴 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 by 𝟭,𝟮𝟯𝟵 𝗽𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝗲𝗿𝘀 worldwide, our jury @emmanuelle_halkin @fransangle @bitefzena @tereza_kozinc @pradofernanda selected 𝟭𝟯 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝘀.

🏆 𝗚𝗿𝗮𝗻𝗱 𝗣𝗿𝗶𝘇𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 – awarded a solo exhibition, €1,000 cash prize, and travel expenses up to €400
🏆 𝟭𝟮 𝗙𝗶𝗻𝗮𝗹𝗶𝘀𝘁𝘀 – featured in group exhibitions

▻ All exhibiting artists will work closely with our curatorial team, with exhibition production costs covered and accommodation provided during Opening Week in August.

Get ready to meet the artists selected for Kranj Foto Fest 2026! ✨

𝗪𝗜𝗡𝗡𝗘𝗥 𝟮𝟬𝟮𝟲:
🏅Marisol Mendez (b. Bolivia), with the project “Padre” @marisol___mendez

𝗙𝗜𝗡𝗔𝗟𝗜𝗦𝗧𝗦 𝟮𝟬𝟮𝟲, by alphabetical order:
▪Ian Cheibub, Alumbre na Macaia @iancheibub
▪Debmalya Ray Choudhuri, The Weight of the Earth @debchoudhuri
▪Chiara Ernandes, Still Birth @chiara.ernandes
▪Federico Estol, Shine Heroes @federicoestol
▪Peter Fettich, Crushed Berries @thedarkroomrat
▪Byron Mohammad Hamzah, Bunga dan Tembok / The Flower and The Wall @byronhamzah
▪Minami Ivory, Weapon of Choice @minamiivory
▪Joel Jimenez Jara, Glimmers, Feathers and Staring Skies @joelr.jj
▪Utu-Tuuli Jussila, Härmä / Hoar @ututuuli
▪Robert Marin and Matjaž Rušt, The Most Beautiful City in the World @najlepsemestonasvetu
▪Hana Selena Sokolović, Dear Orchid @hana_selena
▪Maria Sturm, You Don’t Look Native to Me @maria__sturm

Thank you to everyone who applied, and to our jury for their dedication. Congratulations to the selected photographers 🎉
If you weren’t selected this time, we hope to see your work again in 2027.

▻ More at the link in bio.

🚨OPEN CALL NOW LIVE 🇺🇸 Submit to Apparently in America’s new Artist Award!

3 months left to apply ⏳
Deadline: July 4, 2026

A photography award exploring the myth and meaning of American-ness today.

“Apparently in America” invites photographers worldwide to reflect on identity, experience, and image-making in relation to the United States, through personal, political, or cultural perspectives.

One selected artist will receive a $500 award 💸 and a feature within the platform, alongside up to three honorable mentions.

We’re honored to have jurors:

- Cali M. Banks (@bankscal)
- Leah DeVun (@ldevun)
- William Camargo (@billythecamera)
- Francesca Hummler (@fransangle(

To apply:
• Submit 10–20 images (series not required, cohesion encouraged)
• Include your response to: “Apparently, in America…”
• Apply via Picter

Let’s build an archive of what America looks like now 🗺️

#ApparentlyInAmerica #OpenCall #PhotographyAward #CallForEntries #ContemporaryPhotography

🚨OPEN CALL NOW LIVE 🇺🇸 Submit to Apparently in America’s new Artist Award!

3 months left to apply ⏳
Deadline: July 4, 2026

A photography award exploring the myth and meaning of American-ness today.

“Apparently in America” invites photographers worldwide to reflect on identity, experience, and image-making in relation to the United States, through personal, political, or cultural perspectives.

One selected artist will receive a $500 award 💸 and a feature within the platform, alongside up to three honorable mentions.

We’re honored to have jurors:

- Cali M. Banks (@bankscal)
- Leah DeVun (@ldevun)
- William Camargo (@billythecamera)
- Francesca Hummler (@fransangle(

To apply:
• Submit 10–20 images (series not required, cohesion encouraged)
• Include your response to: “Apparently, in America…”
• Apply via Picter

Let’s build an archive of what America looks like now 🗺️

#ApparentlyInAmerica #OpenCall #PhotographyAward #CallForEntries #ContemporaryPhotography

🚨OPEN CALL NOW LIVE 🇺🇸 Submit to Apparently in America’s new Artist Award!

3 months left to apply ⏳
Deadline: July 4, 2026

A photography award exploring the myth and meaning of American-ness today.

“Apparently in America” invites photographers worldwide to reflect on identity, experience, and image-making in relation to the United States, through personal, political, or cultural perspectives.

One selected artist will receive a $500 award 💸 and a feature within the platform, alongside up to three honorable mentions.

We’re honored to have jurors:

- Cali M. Banks (@bankscal)
- Leah DeVun (@ldevun)
- William Camargo (@billythecamera)
- Francesca Hummler (@fransangle(

To apply:
• Submit 10–20 images (series not required, cohesion encouraged)
• Include your response to: “Apparently, in America…”
• Apply via Picter

Let’s build an archive of what America looks like now 🗺️

#ApparentlyInAmerica #OpenCall #PhotographyAward #CallForEntries #ContemporaryPhotography

🚨OPEN CALL NOW LIVE 🇺🇸 Submit to Apparently in America’s new Artist Award!

3 months left to apply ⏳
Deadline: July 4, 2026

A photography award exploring the myth and meaning of American-ness today.

“Apparently in America” invites photographers worldwide to reflect on identity, experience, and image-making in relation to the United States, through personal, political, or cultural perspectives.

One selected artist will receive a $500 award 💸 and a feature within the platform, alongside up to three honorable mentions.

We’re honored to have jurors:

- Cali M. Banks (@bankscal)
- Leah DeVun (@ldevun)
- William Camargo (@billythecamera)
- Francesca Hummler (@fransangle(

To apply:
• Submit 10–20 images (series not required, cohesion encouraged)
• Include your response to: “Apparently, in America…”
• Apply via Picter

Let’s build an archive of what America looks like now 🗺️

#ApparentlyInAmerica #OpenCall #PhotographyAward #CallForEntries #ContemporaryPhotography

🚨OPEN CALL NOW LIVE 🇺🇸 Submit to Apparently in America’s new Artist Award!

3 months left to apply ⏳
Deadline: July 4, 2026

A photography award exploring the myth and meaning of American-ness today.

“Apparently in America” invites photographers worldwide to reflect on identity, experience, and image-making in relation to the United States, through personal, political, or cultural perspectives.

One selected artist will receive a $500 award 💸 and a feature within the platform, alongside up to three honorable mentions.

We’re honored to have jurors:

- Cali M. Banks (@bankscal)
- Leah DeVun (@ldevun)
- William Camargo (@billythecamera)
- Francesca Hummler (@fransangle(

To apply:
• Submit 10–20 images (series not required, cohesion encouraged)
• Include your response to: “Apparently, in America…”
• Apply via Picter

Let’s build an archive of what America looks like now 🗺️

#ApparentlyInAmerica #OpenCall #PhotographyAward #CallForEntries #ContemporaryPhotography

FFF AKADEMIE
Workshop: Francesca Hummler
»Achtsames Selbstporträt: Objekte, Archive und Identität«

📅 Samstag/Sonntag, 09./10.05.2026
⏰ 10–17 Uhr
📍 Fotografie Forum Frankfurt

Wie lässt sich das eigene Ich fotografisch erforschen? Was erzählen Bilder über Erinnerung, Identität und Zugehörigkeit?

Im Fokus steht die Kamera als Werkzeug der Beobachtung und Selbstbefragung, mit einem Ansatz, der Achtsamkeit, persönliche Erfahrung und visuelles Denken verbindet.

Durch Übungen und praktische Bildarbeit entwickeln die Teilnehmenden eigene Bildserien zu Themen wie Identität, Erinnerung und Zugehörigkeit. Der Workshop ist inspiriert von Positionen u. a. von Jo Spence, Rosy Martin und Marianne Hirsch.

Francesca Hummler ist Teil der kommenden Internationalen Gruppenausstellung Gen Z: Shaping A New Gaze (09.05–30.08.2026) im FFF.

Register now / Jetzt anmelden
www.fffrankfurt.org - Link in Bio📎

@fransangle

📸
Francesca Hummler: Das Badezimmer, 2021, aus der Serie »Unsere Puppenstube« © Francesca Hummler
Francesca Hummler: Selbstporträt, © Francesca Hummler 2026
Francesca Hummler: aus der Serie »Kuckucksei«, 2021–23 © Francesca Hummler
Francesca Hummler: aus der Serie »Unsere Puppenstube«, 2021 © Francesca Hummler

#FFF #FFFAkademie #FrancescaHummler #Selbstporträt #FotografieWorkshop #Frankfurt #FotografieForumFrankfurt#photography #Kunstvermittlung #Identität #visualculture #workshop

FFF AKADEMIE
Workshop: Francesca Hummler
»Achtsames Selbstporträt: Objekte, Archive und Identität«

📅 Samstag/Sonntag, 09./10.05.2026
⏰ 10–17 Uhr
📍 Fotografie Forum Frankfurt

Wie lässt sich das eigene Ich fotografisch erforschen? Was erzählen Bilder über Erinnerung, Identität und Zugehörigkeit?

Im Fokus steht die Kamera als Werkzeug der Beobachtung und Selbstbefragung, mit einem Ansatz, der Achtsamkeit, persönliche Erfahrung und visuelles Denken verbindet.

Durch Übungen und praktische Bildarbeit entwickeln die Teilnehmenden eigene Bildserien zu Themen wie Identität, Erinnerung und Zugehörigkeit. Der Workshop ist inspiriert von Positionen u. a. von Jo Spence, Rosy Martin und Marianne Hirsch.

Francesca Hummler ist Teil der kommenden Internationalen Gruppenausstellung Gen Z: Shaping A New Gaze (09.05–30.08.2026) im FFF.

Register now / Jetzt anmelden
www.fffrankfurt.org - Link in Bio📎

@fransangle

📸
Francesca Hummler: Das Badezimmer, 2021, aus der Serie »Unsere Puppenstube« © Francesca Hummler
Francesca Hummler: Selbstporträt, © Francesca Hummler 2026
Francesca Hummler: aus der Serie »Kuckucksei«, 2021–23 © Francesca Hummler
Francesca Hummler: aus der Serie »Unsere Puppenstube«, 2021 © Francesca Hummler

#FFF #FFFAkademie #FrancescaHummler #Selbstporträt #FotografieWorkshop #Frankfurt #FotografieForumFrankfurt#photography #Kunstvermittlung #Identität #visualculture #workshop

FFF AKADEMIE
Workshop: Francesca Hummler
»Achtsames Selbstporträt: Objekte, Archive und Identität«

📅 Samstag/Sonntag, 09./10.05.2026
⏰ 10–17 Uhr
📍 Fotografie Forum Frankfurt

Wie lässt sich das eigene Ich fotografisch erforschen? Was erzählen Bilder über Erinnerung, Identität und Zugehörigkeit?

Im Fokus steht die Kamera als Werkzeug der Beobachtung und Selbstbefragung, mit einem Ansatz, der Achtsamkeit, persönliche Erfahrung und visuelles Denken verbindet.

Durch Übungen und praktische Bildarbeit entwickeln die Teilnehmenden eigene Bildserien zu Themen wie Identität, Erinnerung und Zugehörigkeit. Der Workshop ist inspiriert von Positionen u. a. von Jo Spence, Rosy Martin und Marianne Hirsch.

Francesca Hummler ist Teil der kommenden Internationalen Gruppenausstellung Gen Z: Shaping A New Gaze (09.05–30.08.2026) im FFF.

Register now / Jetzt anmelden
www.fffrankfurt.org - Link in Bio📎

@fransangle

📸
Francesca Hummler: Das Badezimmer, 2021, aus der Serie »Unsere Puppenstube« © Francesca Hummler
Francesca Hummler: Selbstporträt, © Francesca Hummler 2026
Francesca Hummler: aus der Serie »Kuckucksei«, 2021–23 © Francesca Hummler
Francesca Hummler: aus der Serie »Unsere Puppenstube«, 2021 © Francesca Hummler

#FFF #FFFAkademie #FrancescaHummler #Selbstporträt #FotografieWorkshop #Frankfurt #FotografieForumFrankfurt#photography #Kunstvermittlung #Identität #visualculture #workshop

FFF AKADEMIE
Workshop: Francesca Hummler
»Achtsames Selbstporträt: Objekte, Archive und Identität«

📅 Samstag/Sonntag, 09./10.05.2026
⏰ 10–17 Uhr
📍 Fotografie Forum Frankfurt

Wie lässt sich das eigene Ich fotografisch erforschen? Was erzählen Bilder über Erinnerung, Identität und Zugehörigkeit?

Im Fokus steht die Kamera als Werkzeug der Beobachtung und Selbstbefragung, mit einem Ansatz, der Achtsamkeit, persönliche Erfahrung und visuelles Denken verbindet.

Durch Übungen und praktische Bildarbeit entwickeln die Teilnehmenden eigene Bildserien zu Themen wie Identität, Erinnerung und Zugehörigkeit. Der Workshop ist inspiriert von Positionen u. a. von Jo Spence, Rosy Martin und Marianne Hirsch.

Francesca Hummler ist Teil der kommenden Internationalen Gruppenausstellung Gen Z: Shaping A New Gaze (09.05–30.08.2026) im FFF.

Register now / Jetzt anmelden
www.fffrankfurt.org - Link in Bio📎

@fransangle

📸
Francesca Hummler: Das Badezimmer, 2021, aus der Serie »Unsere Puppenstube« © Francesca Hummler
Francesca Hummler: Selbstporträt, © Francesca Hummler 2026
Francesca Hummler: aus der Serie »Kuckucksei«, 2021–23 © Francesca Hummler
Francesca Hummler: aus der Serie »Unsere Puppenstube«, 2021 © Francesca Hummler

#FFF #FFFAkademie #FrancescaHummler #Selbstporträt #FotografieWorkshop #Frankfurt #FotografieForumFrankfurt#photography #Kunstvermittlung #Identität #visualculture #workshop

FFF AKADEMIE
Workshop: Francesca Hummler
»Achtsames Selbstporträt: Objekte, Archive und Identität«

📅 Samstag/Sonntag, 09./10.05.2026
⏰ 10–17 Uhr
📍 Fotografie Forum Frankfurt

Wie lässt sich das eigene Ich fotografisch erforschen? Was erzählen Bilder über Erinnerung, Identität und Zugehörigkeit?

Im Fokus steht die Kamera als Werkzeug der Beobachtung und Selbstbefragung, mit einem Ansatz, der Achtsamkeit, persönliche Erfahrung und visuelles Denken verbindet.

Durch Übungen und praktische Bildarbeit entwickeln die Teilnehmenden eigene Bildserien zu Themen wie Identität, Erinnerung und Zugehörigkeit. Der Workshop ist inspiriert von Positionen u. a. von Jo Spence, Rosy Martin und Marianne Hirsch.

Francesca Hummler ist Teil der kommenden Internationalen Gruppenausstellung Gen Z: Shaping A New Gaze (09.05–30.08.2026) im FFF.

Register now / Jetzt anmelden
www.fffrankfurt.org - Link in Bio📎

@fransangle

📸
Francesca Hummler: Das Badezimmer, 2021, aus der Serie »Unsere Puppenstube« © Francesca Hummler
Francesca Hummler: Selbstporträt, © Francesca Hummler 2026
Francesca Hummler: aus der Serie »Kuckucksei«, 2021–23 © Francesca Hummler
Francesca Hummler: aus der Serie »Unsere Puppenstube«, 2021 © Francesca Hummler

#FFF #FFFAkademie #FrancescaHummler #Selbstporträt #FotografieWorkshop #Frankfurt #FotografieForumFrankfurt#photography #Kunstvermittlung #Identität #visualculture #workshop

FFF AKADEMIE
Workshop: Francesca Hummler
»Achtsames Selbstporträt: Objekte, Archive und Identität«

📅 Samstag/Sonntag, 09./10.05.2026
⏰ 10–17 Uhr
📍 Fotografie Forum Frankfurt

Wie lässt sich das eigene Ich fotografisch erforschen? Was erzählen Bilder über Erinnerung, Identität und Zugehörigkeit?

Im Fokus steht die Kamera als Werkzeug der Beobachtung und Selbstbefragung, mit einem Ansatz, der Achtsamkeit, persönliche Erfahrung und visuelles Denken verbindet.

Durch Übungen und praktische Bildarbeit entwickeln die Teilnehmenden eigene Bildserien zu Themen wie Identität, Erinnerung und Zugehörigkeit. Der Workshop ist inspiriert von Positionen u. a. von Jo Spence, Rosy Martin und Marianne Hirsch.

Francesca Hummler ist Teil der kommenden Internationalen Gruppenausstellung Gen Z: Shaping A New Gaze (09.05–30.08.2026) im FFF.

Register now / Jetzt anmelden
www.fffrankfurt.org - Link in Bio📎

@fransangle

📸
Francesca Hummler: Das Badezimmer, 2021, aus der Serie »Unsere Puppenstube« © Francesca Hummler
Francesca Hummler: Selbstporträt, © Francesca Hummler 2026
Francesca Hummler: aus der Serie »Kuckucksei«, 2021–23 © Francesca Hummler
Francesca Hummler: aus der Serie »Unsere Puppenstube«, 2021 © Francesca Hummler

#FFF #FFFAkademie #FrancescaHummler #Selbstporträt #FotografieWorkshop #Frankfurt #FotografieForumFrankfurt#photography #Kunstvermittlung #Identität #visualculture #workshop

« Our Dollhouse (Unsere Puppenstube) » (2021 ) by @fransangle

🏠 Francesca Hummler has photographed her younger sister for over thirteen years, developing a practice rooted in photo-therapy that helps her sister build self-confidence, navigate her identity as a young Black girl in a German-American family, and confront insecurities common in adolescence. Centered around a multigenerational dollhouse the sisters furnished together, the work affirms her sister’s rightful place in the family’s lineage despite ignorant objections.

This project is part of the group show « Family Stories » - curated by @gabriela_torres_freyermuth
👉 on view until May 17th

🕒 Visit us from Wednesday to Sunday, 12pm–6pm

📍 Place du Châtelain 18, 1050 Brussels

Credits : ©Francesca Hummler, ©TAVU / Youness Ben Hamza & ©Hangar

#FrancescaHummler #FamilyStories #Exhibition #Photography #Brussels

« Our Dollhouse (Unsere Puppenstube) » (2021 ) by @fransangle

🏠 Francesca Hummler has photographed her younger sister for over thirteen years, developing a practice rooted in photo-therapy that helps her sister build self-confidence, navigate her identity as a young Black girl in a German-American family, and confront insecurities common in adolescence. Centered around a multigenerational dollhouse the sisters furnished together, the work affirms her sister’s rightful place in the family’s lineage despite ignorant objections.

This project is part of the group show « Family Stories » - curated by @gabriela_torres_freyermuth
👉 on view until May 17th

🕒 Visit us from Wednesday to Sunday, 12pm–6pm

📍 Place du Châtelain 18, 1050 Brussels

Credits : ©Francesca Hummler, ©TAVU / Youness Ben Hamza & ©Hangar

#FrancescaHummler #FamilyStories #Exhibition #Photography #Brussels

« Our Dollhouse (Unsere Puppenstube) » (2021 ) by @fransangle

🏠 Francesca Hummler has photographed her younger sister for over thirteen years, developing a practice rooted in photo-therapy that helps her sister build self-confidence, navigate her identity as a young Black girl in a German-American family, and confront insecurities common in adolescence. Centered around a multigenerational dollhouse the sisters furnished together, the work affirms her sister’s rightful place in the family’s lineage despite ignorant objections.

This project is part of the group show « Family Stories » - curated by @gabriela_torres_freyermuth
👉 on view until May 17th

🕒 Visit us from Wednesday to Sunday, 12pm–6pm

📍 Place du Châtelain 18, 1050 Brussels

Credits : ©Francesca Hummler, ©TAVU / Youness Ben Hamza & ©Hangar

#FrancescaHummler #FamilyStories #Exhibition #Photography #Brussels

« Our Dollhouse (Unsere Puppenstube) » (2021 ) by @fransangle

🏠 Francesca Hummler has photographed her younger sister for over thirteen years, developing a practice rooted in photo-therapy that helps her sister build self-confidence, navigate her identity as a young Black girl in a German-American family, and confront insecurities common in adolescence. Centered around a multigenerational dollhouse the sisters furnished together, the work affirms her sister’s rightful place in the family’s lineage despite ignorant objections.

This project is part of the group show « Family Stories » - curated by @gabriela_torres_freyermuth
👉 on view until May 17th

🕒 Visit us from Wednesday to Sunday, 12pm–6pm

📍 Place du Châtelain 18, 1050 Brussels

Credits : ©Francesca Hummler, ©TAVU / Youness Ben Hamza & ©Hangar

#FrancescaHummler #FamilyStories #Exhibition #Photography #Brussels

« Our Dollhouse (Unsere Puppenstube) » (2021 ) by @fransangle

🏠 Francesca Hummler has photographed her younger sister for over thirteen years, developing a practice rooted in photo-therapy that helps her sister build self-confidence, navigate her identity as a young Black girl in a German-American family, and confront insecurities common in adolescence. Centered around a multigenerational dollhouse the sisters furnished together, the work affirms her sister’s rightful place in the family’s lineage despite ignorant objections.

This project is part of the group show « Family Stories » - curated by @gabriela_torres_freyermuth
👉 on view until May 17th

🕒 Visit us from Wednesday to Sunday, 12pm–6pm

📍 Place du Châtelain 18, 1050 Brussels

Credits : ©Francesca Hummler, ©TAVU / Youness Ben Hamza & ©Hangar

#FrancescaHummler #FamilyStories #Exhibition #Photography #Brussels

« Our Dollhouse (Unsere Puppenstube) » (2021 ) by @fransangle

🏠 Francesca Hummler has photographed her younger sister for over thirteen years, developing a practice rooted in photo-therapy that helps her sister build self-confidence, navigate her identity as a young Black girl in a German-American family, and confront insecurities common in adolescence. Centered around a multigenerational dollhouse the sisters furnished together, the work affirms her sister’s rightful place in the family’s lineage despite ignorant objections.

This project is part of the group show « Family Stories » - curated by @gabriela_torres_freyermuth
👉 on view until May 17th

🕒 Visit us from Wednesday to Sunday, 12pm–6pm

📍 Place du Châtelain 18, 1050 Brussels

Credits : ©Francesca Hummler, ©TAVU / Youness Ben Hamza & ©Hangar

#FrancescaHummler #FamilyStories #Exhibition #Photography #Brussels

« Our Dollhouse (Unsere Puppenstube) » (2021 ) by @fransangle

🏠 Francesca Hummler has photographed her younger sister for over thirteen years, developing a practice rooted in photo-therapy that helps her sister build self-confidence, navigate her identity as a young Black girl in a German-American family, and confront insecurities common in adolescence. Centered around a multigenerational dollhouse the sisters furnished together, the work affirms her sister’s rightful place in the family’s lineage despite ignorant objections.

This project is part of the group show « Family Stories » - curated by @gabriela_torres_freyermuth
👉 on view until May 17th

🕒 Visit us from Wednesday to Sunday, 12pm–6pm

📍 Place du Châtelain 18, 1050 Brussels

Credits : ©Francesca Hummler, ©TAVU / Youness Ben Hamza & ©Hangar

#FrancescaHummler #FamilyStories #Exhibition #Photography #Brussels

« Our Dollhouse (Unsere Puppenstube) » (2021 ) by @fransangle

🏠 Francesca Hummler has photographed her younger sister for over thirteen years, developing a practice rooted in photo-therapy that helps her sister build self-confidence, navigate her identity as a young Black girl in a German-American family, and confront insecurities common in adolescence. Centered around a multigenerational dollhouse the sisters furnished together, the work affirms her sister’s rightful place in the family’s lineage despite ignorant objections.

This project is part of the group show « Family Stories » - curated by @gabriela_torres_freyermuth
👉 on view until May 17th

🕒 Visit us from Wednesday to Sunday, 12pm–6pm

📍 Place du Châtelain 18, 1050 Brussels

Credits : ©Francesca Hummler, ©TAVU / Youness Ben Hamza & ©Hangar

#FrancescaHummler #FamilyStories #Exhibition #Photography #Brussels

“In Memoriam” is now open through until 1 April at The Fitzrovia Chapel, London!

A new photographic piece created in response to the history of the former Middlesex Hospital and its chapel. The presentation centers on a single work from my ongoing series “Rituals (2021–ongoing)”.

“Emma in the Character of a Nun (Interview with Jane Bruton)” draws on an interview with HIV nurse Jane Bruton, whose words are printed directly onto a nun’s habit worn by the model. Her reflections on care during the AIDS crisis become both image and material, tracing the emotional realities faced by healthcare workers at a time marked by stigma, fear, and uncertainty.

Paul Coleman, Co-Founder & Chair of the National HIV Story Trust (@hivstorytrust)
Emma Burkard, Model
Ute Hummler, Seamstress and Prop Master
Amin Yousefi, Production and Installation

Press inquiries: Freya Bently

“In Memoriam” is now open through until 1 April at The Fitzrovia Chapel, London!

A new photographic piece created in response to the history of the former Middlesex Hospital and its chapel. The presentation centers on a single work from my ongoing series “Rituals (2021–ongoing)”.

“Emma in the Character of a Nun (Interview with Jane Bruton)” draws on an interview with HIV nurse Jane Bruton, whose words are printed directly onto a nun’s habit worn by the model. Her reflections on care during the AIDS crisis become both image and material, tracing the emotional realities faced by healthcare workers at a time marked by stigma, fear, and uncertainty.

Paul Coleman, Co-Founder & Chair of the National HIV Story Trust (@hivstorytrust)
Emma Burkard, Model
Ute Hummler, Seamstress and Prop Master
Amin Yousefi, Production and Installation

Press inquiries: Freya Bently

I’m excited to share that I’ll be speaking as part of an upcoming artist talk for “East Meets West” @techne_art_center.

Artist Talk:
🗓️Saturday, April 4, 2 PM
📍TECHNE
1609 Ord Way
Oceanside, CA

Currently on view, the exhibition brings together a group of photographers, including my installation “The Third Room”, which unfolds across three spaces and weaves together works from “Rituals”, “Our Dollhouse”, and “Das Kuckucksei”. 🥚

Join us for a casual conversation where we’ll share more about our creative processes, the ideas behind our work, and the themes that connect the exhibition. There will be time for questions, as well as light refreshments.

Would love to see you there!

#sandiegoartist #oceansidecalifornia

I’m excited to share that I’ll be speaking as part of an upcoming artist talk for “East Meets West” @techne_art_center.

Artist Talk:
🗓️Saturday, April 4, 2 PM
📍TECHNE
1609 Ord Way
Oceanside, CA

Currently on view, the exhibition brings together a group of photographers, including my installation “The Third Room”, which unfolds across three spaces and weaves together works from “Rituals”, “Our Dollhouse”, and “Das Kuckucksei”. 🥚

Join us for a casual conversation where we’ll share more about our creative processes, the ideas behind our work, and the themes that connect the exhibition. There will be time for questions, as well as light refreshments.

Would love to see you there!

#sandiegoartist #oceansidecalifornia

I’m excited to share that I’ll be speaking as part of an upcoming artist talk for “East Meets West” @techne_art_center.

Artist Talk:
🗓️Saturday, April 4, 2 PM
📍TECHNE
1609 Ord Way
Oceanside, CA

Currently on view, the exhibition brings together a group of photographers, including my installation “The Third Room”, which unfolds across three spaces and weaves together works from “Rituals”, “Our Dollhouse”, and “Das Kuckucksei”. 🥚

Join us for a casual conversation where we’ll share more about our creative processes, the ideas behind our work, and the themes that connect the exhibition. There will be time for questions, as well as light refreshments.

Would love to see you there!

#sandiegoartist #oceansidecalifornia

I’m excited to share that I’ll be speaking as part of an upcoming artist talk for “East Meets West” @techne_art_center.

Artist Talk:
🗓️Saturday, April 4, 2 PM
📍TECHNE
1609 Ord Way
Oceanside, CA

Currently on view, the exhibition brings together a group of photographers, including my installation “The Third Room”, which unfolds across three spaces and weaves together works from “Rituals”, “Our Dollhouse”, and “Das Kuckucksei”. 🥚

Join us for a casual conversation where we’ll share more about our creative processes, the ideas behind our work, and the themes that connect the exhibition. There will be time for questions, as well as light refreshments.

Would love to see you there!

#sandiegoartist #oceansidecalifornia

I’m excited to share that I’ll be speaking as part of an upcoming artist talk for “East Meets West” @techne_art_center.

Artist Talk:
🗓️Saturday, April 4, 2 PM
📍TECHNE
1609 Ord Way
Oceanside, CA

Currently on view, the exhibition brings together a group of photographers, including my installation “The Third Room”, which unfolds across three spaces and weaves together works from “Rituals”, “Our Dollhouse”, and “Das Kuckucksei”. 🥚

Join us for a casual conversation where we’ll share more about our creative processes, the ideas behind our work, and the themes that connect the exhibition. There will be time for questions, as well as light refreshments.

Would love to see you there!

#sandiegoartist #oceansidecalifornia

I’m excited to share that I’ll be speaking as part of an upcoming artist talk for “East Meets West” @techne_art_center.

Artist Talk:
🗓️Saturday, April 4, 2 PM
📍TECHNE
1609 Ord Way
Oceanside, CA

Currently on view, the exhibition brings together a group of photographers, including my installation “The Third Room”, which unfolds across three spaces and weaves together works from “Rituals”, “Our Dollhouse”, and “Das Kuckucksei”. 🥚

Join us for a casual conversation where we’ll share more about our creative processes, the ideas behind our work, and the themes that connect the exhibition. There will be time for questions, as well as light refreshments.

Would love to see you there!

#sandiegoartist #oceansidecalifornia

I’m excited to share that I’ll be speaking as part of an upcoming artist talk for “East Meets West” @techne_art_center.

Artist Talk:
🗓️Saturday, April 4, 2 PM
📍TECHNE
1609 Ord Way
Oceanside, CA

Currently on view, the exhibition brings together a group of photographers, including my installation “The Third Room”, which unfolds across three spaces and weaves together works from “Rituals”, “Our Dollhouse”, and “Das Kuckucksei”. 🥚

Join us for a casual conversation where we’ll share more about our creative processes, the ideas behind our work, and the themes that connect the exhibition. There will be time for questions, as well as light refreshments.

Would love to see you there!

#sandiegoartist #oceansidecalifornia

I’m excited to share that I’ll be speaking as part of an upcoming artist talk for “East Meets West” @techne_art_center.

Artist Talk:
🗓️Saturday, April 4, 2 PM
📍TECHNE
1609 Ord Way
Oceanside, CA

Currently on view, the exhibition brings together a group of photographers, including my installation “The Third Room”, which unfolds across three spaces and weaves together works from “Rituals”, “Our Dollhouse”, and “Das Kuckucksei”. 🥚

Join us for a casual conversation where we’ll share more about our creative processes, the ideas behind our work, and the themes that connect the exhibition. There will be time for questions, as well as light refreshments.

Would love to see you there!

#sandiegoartist #oceansidecalifornia