Kunsthalle Bremen's 'Remix' exhibition interrogates photography's truth amid AI anxieties

Kunsthalle Bremen presents 'Remix. Photographie – Fiktion und Wahrheit', a special exhibition examining photography's relationship with reality. The show features works from the museum's collection spanning from the early 20th century to contemporary practices. Historical photographs by Heinrich Zille from around 1900 depict unheroic Berlin street scenes, while Bernd and Hilla Becher's typological studies of industrial structures continue the documentary tradition. Bauhaus photographer Kurt Kranz explores categorization through raster images and nose series, highlighting the camera as a tool of identification. Works by Thomas Ruff, including his 1989 'Sterne' series and 1994 'Andere Porträt', demonstrate photographic manipulation. Candida Höfer and Thomas Struth, both students of Bernd Becher, are shown in dialogue: Höfer's images of empty theaters and museums contrast with Struth's photographs of people viewing art. Taryn Simon's series 'The Innocents' (2000) documents wrongfully convicted individuals, revealing how photographic misidentification led to imprisonment. The exhibition implicitly addresses contemporary concerns about AI-generated imagery by tracing photography's long engagement with truth claims. Pippilotti Rist's installation 'Pixelwald Wisera' provides a contrasting immersive experience on the first floor. The show runs through 2026 at Kunsthalle Bremen in Germany.