Nadine Dinter PR is an owner-managed agency for media relations, PR consulting, and art administration. With its special focus on photography, Nadine Dinter PR supports cultural institutions in Germany and beyond, including museums, galleries, foundations, festivals, and private collections. The Berlin-based agency also works across a variety of sectors in the fields of contemporary art, lifestyle, and art & commerce.
Miron Zownir – Berlin Noir
In collaboration with the Tresor Foundation, Galerie Bene Taschen is proud to present the black-and-white works of Berlin photographer Miron Zownir in front of the legendary Club Tresor. Zownir’s haunting images from his Berlin Noir series will stretch across 100 meters of exhibition space along the MegaFence in front of Kraftwerk Berlin and the Fence Entrance to Tresor.
In this striking large-format installation, Berlin from the mid-1970s onward meets the city of today. Then as now, Miron Zownir captures the urban landscape and its protagonists in a radical, raw photographic language. The city’s DNA – from before the fall of the Berlin Wall to the present day – is etched into his work. Nightlife, subcultures, and individuals on the margins of society are reflected in Zownir’s images, along with the spirit of the times and Berlin’s singular historical character. Renowned for his uncompromising engagement with urban reality, Zownir confronts viewers with a vivid mix of wildness, freedom, and intimacy. His photographs trace the ongoing evolution of Berlin and the resilience of its subcultures, while shedding light on the social realities of city life.
Zownir began his photographic career in West Berlin in 1975, working with analogue black-and-white film. A formative year in London (1978/79) was followed by eight-and-a-half years in New York City from 1980. His documentation of the city’s subculture during the 1980s established his reputation as one of the most radical documentary photographers of his generation. After further stops in Los Angeles and Pittsburgh, Zownir returned to Berlin in 1995, where he continues to live and work.

Larry Fink – Feeling the Experience
I´m not specifically involved with the event in front of me. I`m involved with what it looks like, what it feels like, what it smells like, what it offers to me and how it makes me feel. And through those feelings of the experience, I make the photograph. (Larry Fink, März 2021)
Larry Fink, who died in 2023, worked as a photographer for over 65 years. His work has been shown in solo exhibitions at the Museum of Modern Art and the Whitney Museum in New York, among other prestigious institutions, and his archives was acquired by MUUS Collection in 2024. Until April 13, 2025, the Sarasota Art Museum in Florida is presenting a comprehensive exhibition featuring the work of Larry Fink as well as that of sculptor Martha Posner, who was his partner for over 30 years. Meanwhile, the Bene Taschen Gallery is pleased to present a selection from his series Social Graces, Somewhere There's Music, The Vanities, and Boxing under the title Larry Fink – Feeling the Experience from March 16.
Fink gained his first photographic experience in New York, later moving from Brooklyn to Pennsylvania. He attended the New York New School for Social Research, which awakened his interest in sociological perspectives. His references to jazz music also have an early origin. Jazz accompanied him since his early childhood. He himself played the piano and harmonica. The pictures from the series Somewhere There's Music bear witness to the encounters between photographer and musicians. Jazz legends such as John Coltrane and Fink's great idol Jimmy Rushing, whom he met back in 1957, stood in front of his camera.
From the end of the 1980s, he photographed the international boxing industry and covered Mike Tyson and Jimmy Jacobs, among others. His series Boxing shows many iconic moments from legendary boxing matches.
Fink has always explored socio-psychological and political themes, capturing the relationships, frictions, and developments between the working class and the upper class. As an invited guest or official photographer, he documented social elites at parties and galas in The Vanities, always positioning himself as a silent observer, outside the action. In sometimes intimate moments, he captured the interactions of the guests–sometimes a glance over the shoulder–sometimes a smile or an unposed gesture.
In Social Graces, these works are juxtaposed with photographs of the Sabatine family from Pennsylvania. During a visit to small-town Martins Creek, he documented family gatherings on various occasions, such as an eighth birthday. His photographic work covered a broad and contrasting spectrum, ranging from everyday family scenes to elite events. Fink thus created an image of society that connected different social groups without prejudice. His life's work is also a mirror of his image of society. For him, the focus was always on people.
Most important thing or perhaps a very important thing is that my parents were very supporter of the arts, they were very much left wing family. So they think what I do photographically would be situated with social concerns. But jet at the same time with the deeper concerns of beauty. (Larry Fink, März 2021)

Polaroids
On 6 March 2025 in conjunction with EMOP Berlin 2025, the Helmut Newton Foundation in Berlin opened Polaroids, a new group exhibition featuring works by Helmut Newton and numerous other acclaimed photographers.
The Polaroid process revolutionized photography in the 1960s. Those familiar with Polaroid cameras will recall the distinctive odor of the developing emulsion and the thrill of watching an image appear instantly. Depending on the camera model, some prints developed autonomously, while others required the manual application of a chemical coating to fix the image. Though not a direct technical precursor to digital photography, Polaroid can be seen as its analogue precursor due to its immediate accessibility. Polaroids are typically considered unique prints. This innovative imaging technology found enthusiastic users worldwide across nearly all photographic genres – landscape, still life, portrait, fashion, and nude photography. Helmut Newton often used a range of Polaroid cameras and instant film backs that replaced the traditional roll film in his medium format cameras. From the 1970s until his death, he primarily used Polaroids as tools for visual sketches, lighting tests, and composition studies during his fashion shoots. Initially created as preliminary studies, Newton published a dedicated book of these images in 1992, followed by a second volume released posthumously in 2011. Both titles remain in circulation today. Some of Newton’s Polaroids, signed as standalone works, are now highly sought after on the art market.
The archive of the Helmut Newton Foundation holds hundreds of these original Polaroids, some of which were transferred from the Newton residence in Monte Carlo after the death of June Newton. A new representative selection of these works has now been assembled, complemented by enlargements originally produced for an exhibition curated by June Newton at the Helmut Newton Foundation in 2012.
In this new group exhibition, Newton’s Polaroids are presented alongside numerous works by other photographers, in collaboration with WestLicht/OstLicht in Vienna, whose extensive Polaroid collection was made available to curator Matthias Harder. The exhibition explores a diverse range of Polaroid processes and formats, and features experimental treatments of individual prints and larger tableaus.

Save The Dates
30 April 2025, 6 - 9 pm: