Floris Neusüss and Christiane Feser: Unique Works in Photography brings two generations of experimental practice into close view at Von Lintel Gallery, where photography appears less as a transparent medium than as an object shaped by touch, light and construction. On view from July 25 to August 22, 2026, the exhibition pairs Neusüss’s photograms with Feser’s photoobjects, linking direct impression and sculptural invention in a single frame.
Neusüss, long recognized as a pioneer of camera-less photography, built images by placing objects and bodies directly on light-sensitive paper. The result is immediate and physical, yet not fixed to the literalism of documentation. His photograms carry tonal depth and a ghostly precision, preserving contact while also turning it into atmosphere. In these works, photography becomes an encounter recorded at the level of trace.
Feser takes the medium in a different direction. Her photoobjects shift photographs into three-dimensional forms that fold, layer and extend beyond the wall. Surface matters here, as does the hand-made quality of each work. The image no longer sits still; it becomes an object that asks to be read in space, not just seen frontally. That transformation gives her practice a distinctly tactile charge.
Seen together, the artists outline two ways of resisting the photograph as a flat, reproducible image. Neusüss relies on contact and exposure, while Feser works through assembly and spatial illusion. Both practices insist on singularity at a moment when photography often circulates as endless repetition. The exhibition makes that contrast clear without forcing the two approaches into sameness.
What emerges is a concise argument about the medium itself. Photography here is not treated as a fixed category but as a field of experiment, where objecthood, material presence and visual ambiguity remain open. At Von Lintel Gallery, the image is not only what is seen; it is what remains after light, matter and process have done their work.
Image: Floris Neusüss, Portrait of Robert Heinecken; Portrait of Joyce Neimanas, 1997. Gelatin silver photogram on auto-reversal paper. © Floris Neusüss
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