After more than five years of forced labor in the coal mines of the Soviet labor camp Vorkuta, Lothar Wolleh (1930–1979) returned to Berlin as a free man in January 1956. Among his belongings were a few pictures secretly created during his imprisonment in the Gulag.

It was precisely in this inhospitable place north of the Arctic Circle, just a few kilometres from the Polarwolf camp where Alexei Navalny died, that Wolleh experienced light as an ‘elixir of life’ and as a medium of presence and absence. The camera as a ‘light catcher’ became an instrument that enabled him to make the invisible visible.

During the Cold War, Wolleh travelled once again to the Soviet Union. The exhibition presents the photographs from his imprisonment and juxtaposes them with portraits of people from all across the Soviet Union. They remind us that individual humanity remains alive even in times of the greatest hostility and must be made visible in order to overcome what divides us.

With great pleasure, the Lothar Wolleh Raum presents its first exhibition showcasing cross-generational artists. The group exhibition The Spirit Of displays established artists of the 20th century alongside emerging artists, creating an artistic exchange and dialog.

Lothar Wolleh and Jan Schoonhoven had intensive contact for several years starting in 1968. In Delft, Schoonhoven showed the photographer what fascinated him about the city and how everyday rhythms of facades, masonry and paving stones were reflected in abstract, autonomous drawings and reliefs. The exhibition shows the photo-artistic view of Delft and the work of Jan Schoonhoven.

In 1967, the Boymans-van Beuningen Museum in Rotterdam organized a retrospective exhibition dedicated to the Belgian artist René Magritte. Lothar Wolleh traveled to Brussels several times this year and visited the Magritte family in the run-up to the exhibition.

With his photographs, Lothar Wolleh created an intimate portrait of René Magritte's domestic life and his artistic practice. 

In 1967, the Boymans-van Beuningen Museum in Rotterdam organized a retrospective exhibition dedicated to the Belgian artist René Magritte. Lothar Wolleh traveled to Brussels several times this year and visited the Magritte family in the run-up to the exhibition.

With his photographs, Lothar Wolleh created an intimate portrait of René Magritte's domestic life and his artistic practice. 

The photographer Lothar Wolleh has been in close contact with European avant-garde artists since the early 1960s. It is less well known that “hybrid” works were also created as a result of collaboration: Wolleh's photographs, which were reworked by those portrayed.

The exhibition Lothar Wolleh Duo shows a selection of these works. With contributions by Sonia Delaunay, Lucio Fontana, Gotthard Graubner, Adolf Luther, Heinz Mack, Christian Megert, Dieter Roth and Günther Uecker, among others.

The photographer Lothar Wolleh has been in close contact with European avant-garde artists since the early 1960s. It is less well known that “hybrid” works were also created as a result of collaboration: Wolleh's photographs, which were reworked by those portrayed.

The exhibition Lothar Wolleh Duo shows a selection of these works. With contributions by Sonia Delaunay, Lucio Fontana, Gotthard Graubner, Adolf Luther, Heinz Mack, Christian Megert, Dieter Roth and Günther Uecker, among others.

Lothar Wolleh and Günther Uecker met in Düsseldorf in the mid-1960s. An intensive artistic exchange developed from the friendship early on. Photographer Wolleh has portrayed Günther Uecker several dozen times. In addition, their diverse cooperation projects are of particular importance.

Lothar Wolleh's photographs and a jointly designed artist book entitled "Das Nagelbuch" (1970-71) will be on display.

Lothar Wolleh and Günther Uecker met in Düsseldorf in the mid-1960s. An intensive artistic exchange developed from the friendship early on. Photographer Wolleh has portrayed Günther Uecker several dozen times. In addition, their diverse cooperation projects are of particular importance.

Lothar Wolleh's photographs and a jointly designed artist book entitled "Das Nagelbuch" (1970-71) will be on display.

Lothar Wolleh and Günther Uecker met in Düsseldorf in the mid-1960s. An intensive artistic exchange developed from the friendship early on. Photographer Wolleh has portrayed Günther Uecker several dozen times. In addition, their diverse cooperation projects are of particular importance.

Lothar Wolleh's photographs and a jointly designed artist book entitled "Das Nagelbuch" (1970-71) will be on display.

The exhibition is a homage to the multifaceted collaboration between Joseph Beuys and Lothar Wolleh. Part of the presentation are photographs, vintage prints on PVC and an installation of the artist's book by both artists entitled "Unterwasserbuch".

On the occasion of Joseph Beuys' 100th birthday in 2021, Lothar Wolleh Raum is also publishing a limited edition of Wolleh's photographs of Joseph Beuys.

The Lothar Wolleh Room presents an important selection of Lothar Wolleh's color photographs from the years 1962 to 1979. The focus is on the photographer's abstract images. Until his death in 1979, he created works dealing with the properties and spiritual meaning of color and light.

The Lothar Wolleh Room presents an important selection of Lothar Wolleh's color photographs from the years 1962 to 1979. The focus is on the photographer's abstract images. Until his death in 1979, he created works dealing with the properties and spiritual meaning of color and light.

In 1962 Lothar Wolleh began to work on his radically abstract color work, which is beyond photographic documentation. These early works, which were created in Rome, did not find their way into Wolleh's first large photo book. His pictures, which no longer revealed the individuality of the actors, seemed too radical to the editors.

In 1962 Lothar Wolleh began to work on his radically abstract color work, which is beyond photographic documentation. These early works, which were created in Rome, did not find their way into Wolleh's first large photo book. His pictures, which no longer revealed the individuality of the actors, seemed too radical to the editors.