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Katharina Sieverding: Life-Death
For Berlin Art Week 2026, Galerie Thomas Schulte presents the exhibition Life–Death by Katharina Sieverding. At the heart of the exhibition is the 1969 film of the same name, complemented by large-format film stills and previously unpublished Polaroids. Created in what was then West Berlin, the work reflects an early period in the artist’s practice and a historical moment of concentrated political, social, and aesthetic upheaval. Notably, Life–Death was shown at documenta 5 in Kassel in 1972 – an early marker of its art-historical significance.
Within Sieverding’s filmic output, Life–Death holds a singular position. The work was shot on 16mm film during a period that was both personally and artistically formative. At the time, Sieverding was a student of Joseph Beuys at the Staatliche Kunstakademie Düsseldorf, witnessing firsthand the institutional conflicts and protest movements of the late 1960s. Filming took place shortly after the events surrounding the academy’s temporary closure – protests in which she participated both as documentarian and as active participant. Life–Death thus represents not only an aesthetic search for new visual forms but also the experience of a society in flux.
Helmut Newton’s One-off Album
On 4 June 2026, the Newton Foundation in Berlin opened two new exhibitions: Rooms / Stages and Helmut Newton’s One-off Album. The front rooms host works by a dozen artists exploring the theme of space and stage, while the main hall features monumental motifs by Helmut Newton dedicated to the same topic. This part of the group show Rooms / Stages leads to the rear exhibition space, where a unique photo album by Newton is presented in Berlin for the first time. This selection also includes images that visualize the transformation of space into a stage.
Helmut Newton’s One-off Album: The third part of the summer exhibition is devoted to an album assembled by Helmut Newton in 1999 for collector Gert Elfering, now in the Nicola Erni Collection. After having been presented at her collection spaces in Switzerland, the album is now on view in Berlin for the first time. It comprises 112 small-format original prints in black-and-white and color, in various dimensions. Selected by Newton and Elfering, the prints were mounted on card stock and annotated by hand with a title or anecdote. The mounted photographs were not bound at the time; they have since been individually framed and can now be viewed side by side. The selection includes iconic fashion photographs as well as never-before-exhibited working shots taken behind the scenes, Polaroids, and advertising images.
To accompany the exhibition and in partnership with the Nicola Erni Collection, Phaidon has published Helmut Newton: One-off, with an introduction by Philippe Garner, an interview between Gert Elfering and Matthias Harder, and a collector's statement by Nicola Erni. Now available worldwide. ISBN: 978-1-83729-151-9.
Rooms / Stages
On 4 June 2026, the Helmut Newton Foundation in Berlin opened two new exhibitions: Rooms / Stages and Helmut Newton’s One-off Album. The front rooms host works by a dozen artists exploring the theme of space and stage, while the main hall features monumental motifs by Helmut Newton dedicated to the same topic. This part of the group show Rooms / Stages leads to the rear exhibition space, where a unique photo album by Newton is presented in Berlin for the first time. This selection also includes images that visualize the transformation of space into a stage.
Rooms / Stages: During preproduction for feature films, location scouts are dispatched to find settings suitable for specific scenes. In the finished film, however, we focus less on these scenic spaces than on the actors, their roles, and the overall narrative. In photography, we likewise rarely perceive a room as a visual motif in itself – unless the photographer consciously asserts the space as the primary subject. Following the major 2019 exhibition Body Performance at the Helmut Newton Foundation, the thematic sequel Rooms / Stages now shifts our attention deliberately from the performative act to the space itself.
The artists in this group exhibition are represented by one body of work each. They consciously incorporate the space into their staged portraits, use long exposures to let people or dancers disappear, or focus on deserted interiors. These empty spaces range from artists’ own studio, with shifting furniture, to museums in Versailles or Dresden, where we inevitably envision specific scenarios. Beyond framed photographs, sections of the exhibition space are accentuated by wall-sized photographic murals. The presentation includes elaborate spatial interventions created solely for a single photograph, inhospitable yet perfectly designed subway tunnels in Berlin and London, as well as images from dance and theater.
Helmut Newton, whose work is constantly recontextualized through evolving presentations at his Berlin foundation, transformed diverse locations into stages, as the second part of the group exhibition demonstrates. These settings include luxurious hotel rooms and lobbies in Paris, Milan, and New York from his fashion photographs of the 1960s, ‘70s, and ‘80s, and – in a 180-degree turn – raw exterior settings in Monte Carlo, even his own garage. In doing so, he created a stark contrast to the exclusive fashion designs of the 1990s, capturing the zeitgeist of the era. Newton operated like a film director and set designer on the stages he created. The exhibition presents these interiors from his fashion work alongside several of his theater photographs, such as those produced in 1983 in Wuppertal with Pina Bausch for The New Yorker, or from the mid-1980s for the program booklets of Les Ballets de Monte-Carlo. We encounter these motifs as giant wall murals and a wealth of Polaroids in the display cases before them...
Intermezzo. Revisiting Helmut Newton
After more than 20 years of successfully presenting the permanent exhibition Helmut Newton’s Private Property on the ground floor of the Museum for Photography, we have decided to expand the concept and radically overhaul the presentation. The core objective – to use this space to illuminate the lives of Helmut Newton and his wife, June – remains. Furthermore, the temporary exhibitions on the first floor will continue to contextualize the work of Helmut Newton and Alice Springs twice a year through alternating solo and group shows.
As a transitional step in this transformation, the Newton Foundation presents a cinematic Intermezzo featuring Helmut Newton in an immersive space. On the ground floor, eight video projectors cast a film across four screens. The production is partly based on a film portrait created three years ago for a major Newton exhibition at the MOP Foundation in A Coruña, Spain, produced by Profirst International in collaboration with Martin Salvador Studio. This footage is now supplemented by previously unreleased material from various sources, including personal recordings by June Newton recently reviewed and digitized in the foundation’s archives. For the first time, Berlin audiences can watch interviews with numerous voices from Newton’s world – including Philippe Garner, Carla Sozzani, Jenny Capitain, Violetta Sanchez, and Matthias Harder – offering an entirely new way to experience Newton’s oeuvre. Edited into a seamless loop, the film offers visitors a surprising and content-rich experience.
In the rear section of the ground-floor gallery, nearly 100 of Newton’s exhibition posters remain on view, though the setting has been refreshed to include several posters from Alice Springs’ solo exhibitions. In the 16-meter (approx. 52-foot) display case beneath the posters, the vintage magazines featuring Newton’s published work have been swapped out for the Intermezzo presentation. They now feature different fashion and lifestyle titles and include editorial work by Alice Springs, such as issues of Jardin des Modes, Elle, Vogue, Vanity Fair, Egoïste, Stern, The New Yorker, Photo, and Paris Match. While the physical display remains the same, the content has shifted. Walking the length of the showcase continues to offer an intense look at the evolution of fashion photography and the changing image of women in the Western world – from the late 1950s to the turn of the 21st century – capturing the revolutionary social upheavals of the 1960s and ‘70s and their visual impact on fashion, which, as we know, always mirrors the zeitgeist.
In the corridors flanking Intermezzo, large wall panels feature illustrated biographies on the life and work of Helmut and June Newton, displayed alongside framed portraits of the foundation’s two founders. Opposite the massive poster wall, a new curatorial series titled Spotlight: Behind the Frame makes its debut. This concept, which will be refreshed at irregular intervals, focuses on a single iconic photograph by Helmut Newton or Alice Springs. It illuminates the history of the image’s creation and distribution through contact sheets, original publications, notes, preparatory Polaroids, and related shots. The series launches with Rue Aubriot, Newton’s legendary 1975 fashion photograph for French Vogue shot on the street of the same name, alongside the first photograph in Alice Springs’ oeuvre: a 1970 advertisement for Gitanes cigarettes featuring a smoking male model, also shot in Paris. This miniature exhibition format will eventually be handed over to guest curators to provide fresh, external perspectives on the work of Helmut Newton and Alice Springs. In doing so, the foundation is literally opening itself and its archives for new encounters.
Save The Dates
11 September 2026, 6 pm: