How does perception work in a built space and how can spatial experiences be put into pictures? These are questions SUSA TEMPLIN (*1965 Hamburg, Germany) has been concerned with for a long time. The artist, who lives in Berlin and in Frankfurt am Main, works with photography and three-dimensional spatial models. This is a concept that she concretized during a studio scholarship in New York and has expanded since then. Templin uses her extensive archive of photographs of room fragments — which are always photographed analogously and processed in her own laboratory — for new, atmospherically dense spatial designs. These fragments can be a corner of a room, a piece of curtain or a certain doorway. With the technical possibilities of photography and installation, the artist creates subjective architectural atmospheres and spaces: places that are associative and real at the same time, like the work "Folded Spaces" — a group of works from the current exhibition at the Braunschweig Museum of Photography — that counter the physical manifestations of space, object and body.

ANNEGRET SOLTAU (* 1946 in Lüneburg, Germany) is a pioneer of feminist art and body art. Since the 1970s, the artist has been reflecting on the states of her mental and physical being. At the beginning of her work there are mostly private performances, which she captures in video and photography before being modified in a further step. The aim is to capture states of consciousness and unconsciousness in real life. She mostly serves herself as a model, including family members and friends in her work. Through an intensive research in her archive, coherent groups of works have recently been uncovered that are practically unknown. Among these we find the series Tagesdiagramme, which works like a diary of the artist's physical and mental experience. In these diagrams the artist records the cornerstones of her daily experiences and arguments. Terms such as rejection, encounter and losscan be found, whether as a whole word or in a deconstructed form. The lines that connect these terms with each other are partly drawn with colored felt-tip pens and complemented by small drawings. This year the artist celebrated her 75th birthday.

CHRISTIANE FESER (*1977 Würzburg, Germany) has identified new facets to the question of what we actually see in a photograph. Her compelling works reject the traditional two-dimensional approach and construct a three-dimensional layer that re-thinks the medium as a whole. Her work operates on the border between photography and object, between the human, dynamic perception of space and the static, two-dimensional pictorial space of photographic images. Her working method questions the concept of photography and at the same time expands it in a playful manner. Simple elements such as threads, pins and blank sheets of paper are transformed into complex nested structures, so-called photo-objects, which cast their own shadow, in which the present and the past intertwine and suggest false transparencies. The photographic objects enable the viewer to adopt different perspectives and at the same time challenge him or her to look analytically.