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Since the sixties, Hoepker (born 1936) has helped define German photojournalism like few others. lnitially, he was a photographer and correspondent, employed by important magazines; but he also became an art director and an internationally renowned Magnum photographer. Today, he is considered one of the most important representatives of engaged and empathic photojournalism; yet, he always humbly refers to himself as a simple assignment photographer; an “image maker” – interested in nothing less than the truth and the authenticity of the moment. As a journalist, he often does more than just photograph “news”: his pictures are always commentaries that condense history into strong individual motifs. 

The pictures Hoepker took of Muhammad Ali (1942-2016) in 1966, when on assignment for Stern, are legendary. Together with his wife Eva Windmöller (1924-2002), who was to author the report, Hoepker travelled to London and Chicago. 

“Neither of us knew anything about boxing; but we had read reports about this controversial figure, and we thought that it would be nice to spend a few days in London – where Ali was going to fight the British heavyweight champion, Brian London,” Hoepker remembers. Three days before the fight, Hoepker met the boxer in London. 

On another trip, Hoepker also met Ali in his familiar Chicago environment. A classic interview with Ali was impossible; so Hoepker and his wife went everywhere with him, whenever possible. “Observing the Champ was always fascinating. Ali could be widely alert, sharp and observant. He loved to saunter down the streets, and banter with real people,” the photographer recalls. “In real life, he was as unpredictable as he was in the ring. He could be charming and charismatic one day; introverted and distant, the next.” The iconic portraits of Ali’s fist were taken here. Hoepker also took another legendary motif on a bridge. “I asked him: would you please climb on that railing? Ali jumped onto the banister, took his shirt off and shouted: ‘l’m the greatest! Want me to jump?’ A split second and I had my picture of Ali flying – just this one click, one chance … “. Hoepker visited Ali one last time in 1997, when the boxer was already suffering severely from Parkinson’s Disease. The photographer handed him an album of his pictures, but Ali was no langer able to remember the occasions.

Exhibited artists: Thomas Hoepker

01.09. – 30.09.2022

Opening Hours: Thursday – Saturday, 2:00 p.m. – 6:00 p.m.

https://www.chaussee36.photography/

HVW8 Gallery Berlin and Berlin Photo Week are pleased to present DEAD END STREET, a double pop-up photography exhibition featuring Nikita Teryoshin, Manuel Osterholt as well as a selection of various gallery archive photo works.  With the double exhibition DEAD END STREET, HVW8 Gallery Berlin and Berlin Photo Week celebrates photography and its different presentation.  1. With the work "I've never been to Russia", which began in 2019 and shows Russia going astray, Teryoshin deals with his homeland, which is gradually slipping into fascism.

The Master of Danish photography, Per Morten Abrahamsen participate at this year’s BERLIN PHOTO WEEK from 2nd to 4th of September, featured by Selected Artists with an extensive solo exhibition on 250m² at Uhura Basement (Weydemeyerstrasse 2 10178 Berlin Mitte). The exhibition will contain selected older works and recent works. Per Morten Abrahamsen has exhibited both in galleries and museums in Denmark and abroad, including solo shows at Aros Museum twice, The National Photo Museum, Kopenhagen/The black diamant (the national

Fotogalerie Friedrichshain and analogueNOW! are pleased to announce their first curatorial collaboration: an international group exhibition on the theme “Transition” that will open in September. The exhibition will showcase analogue photography projects focused on narrating change, capturing development or decline, and witnessing or challenging the turn of events. Either individual or collective, social or environmental, gradual or brutal, unexpected or chosen, a transition can be defined as a process of change, from a beforeness to an afterwards. If the notion of transition is inherent in all

At this year's BERLIN PHOTO WEEK, CHAUSSEE 36 presents two exhibitions that are in dialogue with each other. One is the show "Dancing through Times of Uncertainty" - a duo exhibition with Magnum photographer Inge Morath (1923-2002) and Inge Morath Award winner Johanna-Maria Fritz (*1994) on the occasion of Magnum Photo's 75th anniversary. On the other hand, the solo exhibition "Updating a Family Album" by the famous Iranian photographer Malekeh Nayiny (b. 1955).  "Dancing through Times of Uncertainty." The works of Inge

"Ever since paper has existed, people have been fascinated and touched by this material. Delicacy and strength at the same time. As the basis for a photograph, a brushstroke or as a material in its own right. From the process of creation to artistic design to the brutal transformation into another aggregate state: the possibilities of working with paper are endless. No other material in art is as sensual, present and changeable as paper."© Annette Berr, Director House of Paper The