• After the exhibitions of German Fashion Photography 1945-1995, where examples of contemporary German photography are presented, and Distance and Proximity, created by the students of Hilla and Bernd Becher from the Dusseldorf Academy of Arts, this time, with the exhibition “Represented/Represented”, the National Reasürans Art Gallery presents German photography. presents works related to the new art of photography, which has developed in recent years, is vibrant, multifaceted and cannot be associated with a particular region or dominant style.

• The exhibition is held in collaboration with Goethe Institut Istanbul, IFA and Milli Reasürans Art Gallery.

• Heidi Specker and Karin Geiger, among the artists participating in the exhibition, will also make a speech about the exhibition at the opening.

• The exhibition can be viewed at Milli Reasürans Art Gallery between 6-29 November 2008.

Selected by Thomas Welski, Laurenz Berges, Albrecht Fuchs, Claus Goedicke, Uschi Huber, Matthias Koch, Wiebke Loeper, Nicola Meitzner for the exhibition organized under the coordination of Amelie Edgü in collaboration with Milli Re Art Gallery Goethe Institut Istanbul and ifa (Institut for Foreign Cultural Relations). , Heidi Specker and Karin Geiger, who will come to Istanbul for the exhibition opening with Peter Piller.

The starting point of the exhibition consists of reflections on the shocking transformation process that photography goes through, along with the transition from analog to digital image production technologies, which Thomas Weski describes as the "documentary moment" of photography.

Selected photos are the result of edits made during shooting or digital image processing performed on a computer. In these photographs, the relation that Roland Barthes assumed between the photograph and its object in the context of analog photography has lost its meaning.

The debate about authenticity, fiction, and reality, which dominated photographic historiography in the past, has lost its validity in the face of this new mode of production. In this case, it can be thought that the photographs lose their credibility. However, it is also known that in analogue photography, seemingly 'documentary' shots are manipulated in the process.

In the exhibition, the works of ten photographers meet each other in a dialogue. Although the applied production methods and artistic strategies differ, the common formal documentary language shows itself behind the way of individual vision and interpretation of reality. As a result, photography documents the photographer's relationship with the world.

The photographic approaches presented here are bound together by an interest in a valid image. The primary purpose of the works is not to show social, political or anthropological subjects. Jobs is not so concerned with the representation of reality either; a representation of the world that concerns them, based on a conceptualization that embraces the graphic vitality of images loaded with copies. Thus, imaginary expressions existing in reality can be strengthened, exaggerated, or an entirely new artistic reality can be created. Previously, the possibility of producing such an image was only in the hands of painters.

Ursula Zeller, in her introduction to the exhibition, says: “Whether the photographs are developed using an analogue or digital method depends on the motifs on them, the desired expression and the personal preferences of the artist. In any case, the viewers are invited to reflect on the additional associations they have with the artistic realities created when looking at the photographs. Viewers looking at individual image structures form the focal point of the exhibition. Audiences try to deconstruct, oscillate between recognizing and sifting through the arguments, bewildered and fascinated, believing and doubting at the same time”.