Katharina Mouratidi: From Passion to Purpose, Leading a Non Profit Gallery

Katharina Mouratidi serves as the artistic director of f³ – freiraum für fotografie, a distinguished non-profit gallery situated in the vibrant heart of Berlin-Kreuzberg. This gallery is dedicated to presenting exceptional photography and visual art that engage with the pressing questions of our times.

The exhibition program at f³ showcases both internationally acclaimed photographic works and the creations of promising, emerging photographers. This blend ensures a dynamic and thought-provoking experience for all visitors.

In her role, Katharina Mouratidi meticulously plans, curates, and brings to life a wide array of photographic exhibitions and projects. Her curatorial practice extends beyond the gallery's own space, encompassing collaborations with esteemed art and cultural institutions on both national and international levels.

Some notable exhibitions curated by Katharina Mouratidi include:

“A Life In Death“ by american photographer Nancy Borowick,

“The Heavens” by Paolo Woods and Gabriele Galimberti,

“WhereLove is Illegal” by Robin Hammond, “Women photographer Vol. I”

Featuring the Oeuvre of female photographers from 1920 – 1980,

“Greenpeace Photo Award”,

BarTur Photo Award

“HIDDEN – Animals in the Anthropocene”

and “RUTH ORKIN –A Photo Spirit”,

among many others.

In addition to exhibitions, f³ – freiraum für fotografie organises on a regular basis talks with photographers, debates , workshops and masterclasses , that invite a broad audience to discuss current issues related to the medium of photography.

Katharina Mouratidi was a member of numerous national and international juries, among them:

Swiss Photo Award, Lumix Photo Award,

Robert Capa Photography

Grand Prix Hungary, Kunstpreis Fotografie Lotto Brandenburg.

www.fhochdrei.org

HM: How did you initially get involved in photography?

KM: When I was younger, I wasn't particularly committed to any one path, but I always had a strong desire to change the world. After finishing school, I considered studying politics, thinking it would be a way to make a significant impact. However, I soon realized that politics seemed a bit dull to me. I wanted something more dynamic, something that could influence people directly. That's when photography came to mind. I believed, and still do, that a photograph has immense power—it can change people's minds and perspectives.

Exhibition view, *Renegades. San Francisco: Queer Life in the 1990s* at f3 – freiraum für fotografie, 2023 © Alina Simmelbauer

HM: How did you transition from making that decision in school to starting a non-profit gallery? What happened between those points?

KM: After deciding to pursue photography, I went on to study fine arts in Berlin, with photography as my primary medium of expression. I spent the next ten years working as a freelance photographer, focusing on social and political issues. It was a rewarding period—I had my work published in major magazines across Europe, held exhibitions from Mexico to China, and was quite successful financially. However, around the year 2000, I noticed a shift in the industry. The space for photography that tackled political and social issues began to shrink.

Recognizing this decline, a group of friends and I decided to take action. We founded a non-profit organization called the Society for Humanistic Photography. Our aim was to support and promote photography that addressed the pressing social issues of our time. We started small, with seven members, but our exhibitions quickly gained traction and were featured in museums throughout Europe. As our organization grew, so did our responsibilities and client base.

Eventually, we needed someone to handle the management and financial aspects of the organization. It turned out I had a knack for it, so I took on the role of CEO. Managing the NGO became my primary focus, and while I loved photography, I realized I couldn't excel at both photography and management simultaneously. I decided to dedicate myself to cultural management and artistic direction. There were plenty of talented photographers, but few who could effectively manage and support committed photography. So, I chose the path where I felt I was more needed.

Over time, we were offered our own exhibition space. We seized the opportunity and decided to establish our own venue. This marked the beginning of our journey from working within museums to running our own gallery, where we could curate and present exhibitions independently.

NOELLA MBOMB from the exhibition BLACK IN BERLIN at f3 – freiraum für fotografie, 2024 © Yero Adugna Eticha

HM: When you worked for a museum, were you primarily involved in curating or putting together exhibitions?

KM: Yes, we created content and put together exhibitions. We offered these shows as a complete package to larger museums across Europe. This included educational programs, publications, and website content.

HM: Can you elaborate on what you mean by educational programs?

KM: Certainly. Educational programs include guided tours for adults, workshops for young people, and photographic workshops for minority groups. Essentially, they encompass all educational activities that can be associated with exhibitions.

In My Chevy Nova, Ace Driving, 1997 © Chloe Sherman

HM: Do you still have educational programs as part of your gallery's offerings?

KM: Absolutely. We have extensive educational programs accompanying all our shows. We have a dedicated staff member who focuses solely on these programs, and we engage about 2,000 young people annually through our educational initiatives.

From the series A Life In Death, 2013 © Nancy Borowick

HM: How would you describe your non-profit gallery? Does it have a specific theme or focus?

KM: We describe ourselves as an exhibition venue rather than a traditional gallery. People often associate galleries with commercial enterprises focused on selling art, which is not our primary focus. We are committed to showcasing work that addresses current social and political issues. Our exhibitions can include documentary, staged, and street photography, among other styles, but they all aim to reflect themes relevant to contemporary society. We strive to balance historical photography with works by young and upcoming photographers from Berlin and internationally.

Exhibition view, Robert Lebeck Hierzulande at f3 – freiraum für fotografie, 2023 © fhochdrei

HM: Even though you're not a commercial gallery, what trends do you see in the photography world?

KM: In photography, it's crucial for artists to develop and maintain their own unique visual language. Authenticity is key. Rather than following trends, photographers who stay true to their personal vision and voice tend to create the most compelling and successful work. So, while there might not be a specific trend per se, the importance of individuality and authenticity remains a constant.

Nanette Fabray, Hollywood set, 1949 © Orkin/Engel Film and Photo Archive; VG Bild-Kunst, Bonn 2024.

Lilli Palmer and Rex Harrison Shooting the Movie “Main Street to Broadway”, New York, 1948 © Orkin/Engel Film and Photo Archive; VG Bild-Kunst, Bonn 2024.

Geraldine Dent, New York City, 1949 © Orkin/Engel Film and Photo Archive; VG Bild-Kunst, Bonn 2024.

HM: How has the popularity of photography as a collectible art form changed over the years?

KM: Photography has become much more accessible and popular as a medium for art collection. It's a familiar and relatable medium for many people, as we are surrounded by photographic images daily. This familiarity makes photography an approachable entry point for new collectors and has contributed to its growing popularity in the art world.

American Girl in Italy, 1951 © Orkin/Engel Film and Photo Archive; VG Bild-Kunst, Bonn 2024.

Jinx and Justin on Scooter, Florence, Italy, 1951 © Orkin/Engel Film and Photo Archive; VG Bild-Kunst, Bonn 2024.

HM: I think when I started collecting photography years ago, it wasn't very popular. It wasn't widely recognized. The number of people collecting photography was quite limited. How do you see the status of photography now?

KM: Yes, photography has indeed become a very accessible and engaging medium for art collectors. It's an easy entry point for those who are just beginning to develop an interest in the arts because it's so prevalent in our daily lives. We're constantly surrounded by photographic images, which makes us very comfortable with the medium. This familiarity has contributed to photography's rise in popularity within the art world. People are naturally drawn to it because it's a visual language we all understand and appreciate.

HM: When you organize an exhibition, and people express interest in purchasing some of the photographs, do you sell them directly to the public?

KM: Absolutely, we do. Each exhibition typically includes limited edition prints, signed edition prints, and estate prints available for sale to collectors and the general public. We aim to cater to both seasoned collectors and those who are new to collecting photography, ensuring that there's something for everyone interested in acquiring a piece of the exhibition.

HM: Could you elaborate on the types of prints you offer? What makes a limited edition print or an estate print special?

KM: Certainly. Limited edition prints are produced in a finite number, often adding value due to their scarcity. Each print is usually signed and numbered by the artist, which adds to its authenticity and collectible appeal. Estate prints, on the other hand, are typically produced posthumously by the estate of the artist, ensuring that the work continues to be accessible while maintaining a level of exclusivity. Both types of prints offer collectors the opportunity to own a piece of art that is both significant and unique.

From the series Where Love is Illegal © Robin Hammond

HM: What trends have you noticed in the photography market recently? Are there specific themes or styles that are gaining popularity?

KM: In recent years, there's been a noticeable shift towards contemporary and experimental photography. Collectors are increasingly interested in works that push the boundaries of traditional photography, incorporating elements of mixed media, digital manipulation, and even interactive installations. There's also a growing appreciation for photographers who address social, political, and environmental issues through their work. These trends reflect a broader desire for art that not only pleases aesthetically but also provokes thought and dialogue.

HM: As a non-profit gallery director, how do you decide which photographers to represent and showcase?

KM: Selecting photographers is a multifaceted process. We look for artists with a distinctive voice and vision, whose work resonates on both an aesthetic and conceptual level. It's important that the photographer's portfolio demonstrates a commitment to their craft and a clear progression in their artistic journey. We also consider the market demand and potential for the photographer's work to appreciate in value over time. Ultimately, it's about finding a balance between artistic integrity and commercial viability.

HM: For someone new to collecting photography, what advice would you offer? How should they start their collection?

KM: My advice would be to start by exploring and educating yourself. Visit galleries, attend exhibitions, and follow photographers whose work you admire. Don't be afraid to ask questions and seek guidance from gallery owners and other collectors. Start with pieces that resonate with you personally, even if they are more affordable. As you become more familiar with the market and your own tastes, you can gradually invest in more significant works. Building relationships within the photography community can also provide valuable insights and opportunities.

Romy Schneider in the car with Vadim Glowna © Archiv Robert Lebeck

HM: What are the challenges of running a gallery in Berlin these days?

KM: The biggest challenge of running an exhibition venue in Berlin, as always, is financial. Funding is a major issue, and it's becoming increasingly difficult to secure. Project funding is dwindling significantly, not just in Berlin, but internationally. The main challenge we face now is finding the financial means to sustain our program and our work. This involves seeking out sponsors and corporate partnerships that can support us. Financial stability is the core challenge for us.

HM: In the digital era, particularly with the rise of digital photography, how has this transformation impacted your gallery and the world of photography?

KM: This is indeed one of the big questions in the life of a curator. The rise of digital photography has brought about a massive change. There's an overwhelming amount of material out there now because digital photography has revolutionized the way people create and perceive images. It has changed the landscape significantly.

In the past, photographs had a longer duration and purpose; they were more enduring and thoughtful. Now, with the ease and accessibility of digital photography, the sheer volume of images has increased dramatically. This has altered the way we approach curation and the selection of works to exhibit. It requires a more discerning eye and a deeper understanding of what makes a photograph stand out in a sea of images. The impact is profound and multifaceted, affecting everything from artistic expression to the commercial aspects of running a gallery.

HM: Could you tell us more about your technical method for selecting works for an exhibition?

KM: Certainly. We have two primary methods for selecting works. One involves working with small work prints. We might have 200 to 400 small prints, which we then manually select in the physical space. This method is particularly effective when the photographer or artist is present, allowing us to collaborate closely. It’s a longer, more immersive process, but it has a certain historical and physical charm that we value.

The second method involves working online. We have developed a technical process that allows us to do the selection together with the photographer using digital tools. This can be done remotely and is often more practical, especially when dealing with international artists or large volumes of work. While the physical aspect of handling prints is wonderful, the digital process provides efficiency and flexibility, accommodating the diverse needs of contemporary artists and curators.

Both methods have their unique advantages. Working with physical prints allows for a tactile and intuitive selection process, while the digital method leverages technology to streamline and facilitate collaboration across distances. Balancing these approaches helps us maintain the quality and integrity of our exhibitions.

HM: Many photographers believe it's nearly impossible to get a gallery to exhibit their work. What advice do you have for young photographers on how to approach galleries and create exhibitions of their work?

KM: It's true that many photographers feel that getting a gallery exhibition is a daunting task. My advice to young photographers is to understand that this process doesn’t happen overnight. Developing your own work and getting to know the key people in the industry takes years. It's a slow and gradual process.

Photographers should familiarize themselves with the decision-makers in the business, such as those running publishing houses, museums, and galleries. It’s crucial to make yourself known to these individuals and gradually grow into the circle of people who influence the photographic world. This means attending events, networking, and building relationships over time. Of course, developing a strong, cohesive body of work is equally important. Your work needs to speak for itself and demonstrate your unique vision and talent.

Willy Brandt in the dining car of a special train during an official trip through Germany, 1973 © Archiv Robert Lebeck

HM: When photographers attend many photographic shows, how should they use these opportunities to advance their careers?

KM: Attending photographic shows is a fantastic opportunity for photographers. Observing and learning from the masters is always valuable. When you attend these shows, pay attention to how exhibitions are curated and what makes certain works stand out. Engage with the exhibits and understand the trends and themes that are being explored.

HM: Do you recommend photographers attend photo festivals?

KM: Absolutely. Photo festivals are key moments for photographers to understand how the business works. Festivals all over the world offer fantastic opportunities to meet curators, museum directors, and editors in a relaxed atmosphere. It's a chance to understand what they are looking for and how they operate. Additionally, networking with other photographers and colleagues is invaluable. Festivals can be a critical starting point for a photographer’s career.

HM: When attending a festival like Cortona On The Move, where I understand you are on this year's portfolio review panel, how should a photographer plan their visit to make the most of it?

KM: Preparation is essential. Before attending a festival, do your homework. Understand who the key players are that you want to meet—know which magazines publish what kind of work, what the programs of different museums are, and who the curators are. Being well-prepared means knowing who you’re going to meet and what they want to see.

Spending time and money to attend a festival is an investment in your career, so make the most of it. This might mean skipping some of the parties and focusing on meaningful interactions. It’s a myth that you secure jobs at midnight parties. Instead, use your time to engage in thoughtful conversations and present yourself professionally. The goal is to leave a lasting impression and build relationships that can benefit your career in the long run.

HM: What's your plan for the future of your non-profit gallery?

KM: We plan to continue adapting to the changing landscape of the art world. This means embracing new technologies, exploring innovative ways to exhibit works, and expanding our network of artists and collaborators. We aim to keep pushing the boundaries of what a gallery can be, fostering creativity and supporting artists in their endeavors. Our goal is to remain a vibrant and dynamic space for both established and emerging photographers.