There is no single female gaze. When women look at women, the gazes are as varied as the personalities of the photographers and their models - anyone visiting Johanna Breede's gallery this summer can see this for themselves. We encounter tender glances and encouraging ones, those that look cautiously behind façades and those that are thrown at a person as if casually catching a glimpse. On the gallery walls in Berlin's Fasanenstraße, it is mainly silent glances from wome…

When the gallery doors open again after more than a year of Corona restrictions and lockdowns, the question arises: what have we missed the most? What have we suffered the most from? Under the most modest of all titles, Johanna Breede's UNTITLED invites us to a concert of wishes that holds a whole grab bag of answers. Here "untitled" does not mean without a concept, but rather elevates the greatest possible freedom, for which we have longed for so long. It is the freedom of choic…

We alone are the insiders of our interior worlds. Within ourselves we feel safe and yet often isolated and sealed off. At the same time, hope is almost always contained therein: evident itself in windows, in the gates of the eyes. Each window is a link, a step between the interior and the exterior. The window functions just as with the lens of a camera - it is the point between the camera obscura and the outside. The point where light breaks through and illuminates another world. A…

Women are a major driving force of photography. No sooner had French pioneer Louis Daguerre introduced the media to the public in 1839 than it began to be used as a method to portray female beauty. It was American chemist John W. Draper who ushered women into photography with a portrait of his sister Dorothy. And ever since, the suspicion has been that a wooing Orpheus lurks behind the cold technology of the camera - an artist whose intentions are to captivate and seduce women with photographs. …