Fascinated by the printed word, concrete poetry, and the beauty of language permeating our daily lives, the American artist Erica Baum could be best described as a "poetphotographer". She has become internationally known for her photographic practice based on found texts and images. With her nonchalant but precise use of strategies akin to the work of the Pictures Generation, conceptual art, and minimalism, Erica Baum has developed a unique and truly authentic visual language.

Viktoria Binschtok belongs to the distinct positions in the field of conceptual, artistic photography. Her work is an integral part of the discourse of contemporary 'image making' and is regularly exhibited in an international context. Her work is determined by three leitmotifs: the points of overlap between online and offline visual worlds, our view of images shaped by the cultural and social context, and thirdly, an interaction between figure and background, between the detail and the long shot.

Before Jan Groover dedicated herself to photography, she was a painter. Born in 1943 in Plainfield, New Jersey, Groover turned away from abstract painting in the early 1970s to experiment with the medium of photography — a medium that seemed more open than the restrictive and male-dominated painting of the time.Jan Groover’s images don’t just resonate as a subtle record of feminism and the acceptance of photography as art, but also as extraordinary aesthetic investigations of a ‘fiction’ that is inseparably bound with the 'factual' conventions of the medium. Her work is still influencing successive generations of artists and, especially in light of current digital conventions and procedural image creation, seems fresh and timeless at the same time.

Adrian Sauer analyses the photography of the digital age. He poses questions concerning the limits of the image in an age where camera images are increasingly becoming hybrid constructs of light measurement and mathematical calculations. With his artistic-conceptual modus operandi Adrian Sauer explores the very conditions of the photographic image and its changed functionality. In this way, he doubts the great promise photography makes of being a mirror image of reality. A past fixed in the image always has something intrinsically deceptive and constructed.