© Tarrah Krajnak, Body Configurations, Lima, 2024, courtesy Zander Galerie, Cologne
TITLE_NAME :
RePose ExPose CounterPose
22/01/2026 - 17/05/2026
Fondation A Stichting
304 Avenue van Volxem
1190 Bruxelles
fondationastichting.com/
RePose ExPose CounterPose offers a retrospective of artist Tarrah Krajnak, born in Lima in 1979 and adopted in the United States, whose work explores identity, memory, and art history through photography, performance, and archival practices.
Her practice questions the search for origins, the interplay between the personal and the political, and critically revisits the canons of photography. The exhibition is structured around two major series from the Fondation A collection: 1979: Contact Negatives (2019), combining cyanotypes, staged self-portraits, and Peruvian press images to evoke adoption and lost memory; and Master Rituals II. Weston’s Nudes (2020), in which Krajnak reenacts Weston’s models’ poses to question the place of women in the history of photography. These works resonate with Master Rituals I. Ansel Adams (2018–2023), where she symbolically erases Adams’s iconic landscapes, and RePose (2022–ongoing), a repertoire of poses inspired by art history. The exhibition also presents several series shown in Europe for the first time: Black Messengers, Marble Studies, Le Jardin des sentiers qui bifurquent, as well as her recent projects Body Configurations, Lima (2024) and Crowds (2025). Moving from the intimate to the collective, from personal narratives to shared struggles, Krajnak’s work positions the body and photography as tools of memory, critique, and reappropriation.
Curator: Sonia Voss
22/01/2026 - 17/05/2026
Fondation A Stichting
304 Avenue van Volxem
1190 Bruxelles
fondationastichting.com/
RePose ExPose CounterPose offers a retrospective of artist Tarrah Krajnak, born in Lima in 1979 and adopted in the United States, whose work explores identity, memory, and art history through photography, performance, and archival practices.
Her practice questions the search for origins, the interplay between the personal and the political, and critically revisits the canons of photography. The exhibition is structured around two major series from the Fondation A collection: 1979: Contact Negatives (2019), combining cyanotypes, staged self-portraits, and Peruvian press images to evoke adoption and lost memory; and Master Rituals II. Weston’s Nudes (2020), in which Krajnak reenacts Weston’s models’ poses to question the place of women in the history of photography. These works resonate with Master Rituals I. Ansel Adams (2018–2023), where she symbolically erases Adams’s iconic landscapes, and RePose (2022–ongoing), a repertoire of poses inspired by art history. The exhibition also presents several series shown in Europe for the first time: Black Messengers, Marble Studies, Le Jardin des sentiers qui bifurquent, as well as her recent projects Body Configurations, Lima (2024) and Crowds (2025). Moving from the intimate to the collective, from personal narratives to shared struggles, Krajnak’s work positions the body and photography as tools of memory, critique, and reappropriation.
Curator: Sonia Voss