# Katrin Koenning

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**Katrin Koenning**[1] (born 1978)[2] is a German-born Australian photographer and videographer whose work has been exhibited and published since 2007.

## Early life and education

Koenning was born and grew up in [Bochum](/source/Bochum), a city in [North Rhine-Westphalia](/source/North_Rhine-Westphalia) where she was educated in a [Steiner school](/source/Waldorf_education). In 2003, aged twenty-five, she moved to Australia where her father and aunt had emigrated in the late 1990s.[3] She studied documentary photography, gaining a Bachelor of Photography with High Distinction at the [Queensland College of Art](/source/Queensland_College_of_Art), [Griffith University](/source/Griffith_University), [Brisbane](/source/Brisbane), during which she achieved Academic Excellence Awards in 2004, 2005 and 2006, and which she completed in 2007.[4]

## Photographer

Koenning took up photography after the death in a plane crash of a close friend.[5] During 2007 to 2008 she was Picture Editor for *Picturing Human Rights*[6] and *Tell My Story*,[7] publications of the *Australian PhotoJournalist Magazine* and in 2009 to 2010 Editor of their *Silent Screams: Rights of the Child*.[8] Koenning's photo essays have been published in newspapers and magazines, including *[The New Yorker](/source/The_New_Yorker)*,[9] *[FT Magazine](/source/FT_Magazine)*,[10] *[British Journal of Photography](/source/British_Journal_of_Photography)*,[11] *[The Guardian](/source/The_Guardian)*,[12]*Human Rights Defender*,[13][14] *[The New York Times](/source/The_New_York_Times)*,[15][16] *[Der Spiegel](/source/Der_Spiegel)*, *[The Independent](/source/The_Independent)*,[17] and [SBS Australia](/source/Special_Broadcasting_Service).

Koenning works in series and is globally peripatetic yet adopts "an embedded vantage point [in] an ongoing concern for documenting scarred, wounded, and transitioning landscapes.":[18] *Lake Mountain* (2010–2018) distills into a [triptych](/source/Triptych) imagery from return visits over a decade to evidence the effects of the [2009 Black Saturday bushfires](/source/Black_Saturday_bushfires);[19][20] *The Crossing* (2009–2017) is a long-form work in stills and video concerned with human impact on Australian ecology;[21] *Pott* (2012–2018) details indications of [post-industrial](/source/Post-industrial_society) transition through places and people of Koenning's birthplace the [Ruhr](/source/Ruhr); *Loraine and the Illusion of Illoura* (2010–2012) documents road trips in Australia; *Transit* (2007–2014) features portraits of seated travelers lost in thought or sleep; *Thirteen: Twenty Lacuna* (2009–2011) uses seemingly cinematic, ambient lighting to momentarily spotlight Melbourne city pedestrians; *Dear Chris* (2012–2013) is a personal encounter with the apprehension and aftermath of suicide; the digital video *Collisions* (2015–2017) is compiled from brief fragments from mobile photo footage; *Indefinitely* shot between Australia and her native Germany over eight years,[22] presents the condition of a geographically separated family;[19] two series, *Midnight in [Prahran](/source/Prahran,_Victoria)* begun in 2012, and *Four Lakes,* commenced in [Kolkata](/source/Kolkata) in 2017, are ongoing location-specific place narratives on non-human human interconnectivity and intimate entanglement; *Rausch* (2016–2018) visually interprets the experience of chronic [tinnitus](/source/Tinnitus); and *Swell* is concerned with Australian government interference in, and resistance to, climate activism targeting the [Adani](/source/Adani_Group) company's [Carmichael Coal Mine](/source/Carmichael_coal_mine).

## Reception

In reviewing *The Crossing* Ella Mudie identifies Koenning's approach;

By returning to the same environments where she situates herself in the landscape, waiting and watching for moments to unfold, Koenning suggests that "it's through immersion that I can be part of a land." What emerges over time from this immersion in place in Koenning's practice is photography as a process of worlding. In *The Crossing* there is a sense in which each photograph offers a miniature portrait of a natural world on the cusp of disappearance. At the same time, there is ambiguity at play, especially in Koenning's arresting images of fish and bird life hovering between states of appearance and disappearance, or processes of emergence and withdrawal.[18]

The book *Astres Noirs*, Koenning's first, was the result of distributing her work using social media. On [Instagram](/source/Instagram), [Sarker Protick](/source/Sarker_Protick) in [Bangladesh](/source/Bangladesh) and Koenning in Australia shared hundreds of photographs. Co-directors of publishers Chose Commune, Cécile Poimboeuf-Koizumi and Vasantha Yogananthan, following the two artists on social networks, noticed artistic affinities in dialogue that banished distance. In their studio in Paris, far removed from Bangladesh and Australia, they developed a book concept that replicated the illumination of the mobile phone screen and its constant flow of imagery;
On black paper the pages [are] printed in silver ink with traces of a harsh and blinding light originally generated by the smartphone. Thus, the light of the images is not white, but a metallic gray, paradoxically evoking the essential material of film photography: silver salt. From an all-digital universe, the photographs of Protick and Koenning retain the luminance of the screen thanks to the unusual printing process that transforms them into a malleable material from which the photographic narrative is constructed. Bound in a sort of Japanese fold (each of the pages is double, folded on itself from the top), the book is punctuated with "hidden" images, printed on the inside of the fold.[23]
As José Alberto Caro Díaz expresses it;
German photographer Katrin Koenning and Bangladesh-based photographer Sarker Protick collaborate despite distance. This work represents photographs taken with a mobile phone camera, capturing the ordinary like a drop of water or a ray of light, and transforming it, discovering an unexplored world [and] show a passion for the world that surrounds them.[24]

Dan Rule introduces an interview with Koenning with a summary of her series *Indefinitely*

The images that populate Katrin Koenning’s long-running series *Indefinitely* read as if a syntax of transient moments and fleeting extracts. Shot between Australia, New Zealand and her native Germany over eight years, they waver between the lucid and dreamlike, spanning continents and oceans, cities and forests, crystalline visions and elusive flashes of happenstance. That the Melbourne-based photographer’s family and the vast distances which separate its protagonists underpin *Indefinitely* says much about these images, which might otherwise seem disparate at a glance.[22]

## Photographic educator

Koenning started her teaching career in Journalism, Journalistic Investigation and Reporting at the [University of Queensland](/source/University_of_Queensland) in 2008 and has since presented lectures, artist talks, workshops and conference papers in Australia, Bangladesh (2017), Germany (2015, 2018, 2019), Cambodia (2017), New Zealand (2018), and elsewhere.

She has taught in a number of national and international institutions: in 2016 at Anjali Children's workshop, Angkor Photo Festival, Cambodia; at the [Australian Centre for Photography](/source/Australian_Centre_for_Photography) Workshop Intensive; [Centre for Contemporary Photography](/source/Centre_for_Contemporary_Photography), Melbourne (2018), [Photo Kathmandu](/source/Photo_Kathmandu), Nepal (2018); Angkor Photo Workshops, Siem Reap Cambodia (2019); Myanmar Deitta, Yangon Myanmar (2019); [University of Tasmania](/source/University_of_Tasmania) (2020); [University of Applied Arts Vienna](/source/University_of_Applied_Arts_Vienna) (2020); Pathshala South Asian Media Institute, Dhaka Bangladesh (2020); and as a lecturer in Bachelor of Arts Photography courses at [RMIT University](/source/RMIT_University) (2020)[25] and [Photography Studies College](/source/Photography_Studies_College) (2013–2017, 2020, 2021)[26]

## Personal life

In 2009 she moved from Brisbane to live and work in Naarm Melbourne.[27]

## Publications

### Books by Koenning

- *Between the Skin and Sea*. Chose Commune, 2024. ISBN 979-1096383481.

### Other

- Koenning, Katrin; Pentagon, Atelier; Artisans du Regard (2016). *Astres noirs*. First ed. Poimbœuf-Koizumi, Cécile; Yogananthan, Vasantha; Rolet, Léa; Silvey, Tamsin (eds.). Chose Commune. ISBN 978-2-9548777-2-3.[28]
- Breckon, Katie; Koenning, Katrin; Griffiths, Katherine; Eaton, Jackson; Kochanowska, Belinda; Borissova, Julia (2014). [*Breckon, Katrin Koenning, Katherine Griffiths, Jackson Eaton, Belinda Kochanowska, Julia Borissova, QUT International College / Queensland Centre for Photography*](https://trove.nla.gov.au/work/191892806). Queensland Centre for Photography.

## Awards

- 2010: Troika Editions Format Exposure Prize, London[29][30]
- 2011: [HeadOn Portrait Prize](/source/Head_On_Photo_Festival), Critic's Choice Award, selected by [Robert McFarlane](/source/Robert_McFarlane_(photographer)), for her image, *Sleeping Woman*. She shared it with Shauna Greyerbiehl, Stephen Dupont and James Brickwood in a prize pool of over $50,000[31][32]
- 2014: People's Choice, [Bowness Photography Prize](/source/Bowness_Photography_Prize)[33]
- 2016: Shortlisted, [Prix Nadar](/source/Prix_Nadar) for *Astres Noirs*
- 2016: Shortlisted, First Book Award, [Paris Photo–Aperture Foundation PhotoBook Awards](/source/Paris_Photo%E2%80%93Aperture_Foundation_PhotoBook_Awards), for *Astres Noirs*[34]
- 2017: 2016 Australian and New Zealand Photobook of the Year Award, for *Astres Noirs*[35][34]
- 2019: [William and Winifred Bowness Photography Prize](/source/Bowness_Photography_Prize)[36]

## Exhibitions

### Solo exhibitions

- 2012: *From a Changed North*, [Head On Photo Festival](/source/Head_On_Photo_Festival), MiCK Gallery, Sydney, Australia[37]
- 2015: *Indefinitely*, Athens Photo Festival, Greece[38]
- 2015: *Fieber*, [PhotoIreland](/source/PhotoIreland), Ireland[39]
- 2017: *Dear Chris*, [Chobi Mela International Photography Festival](/source/Chobi_Mela_International_Photography_Festival), Dhaka Bangladesh[40]
- 2017: *Indefinitely*, Organ Vida Festival, Galerija Kranjčar, Zagreb Croatia (Supported by Goethe-Institut and the Australian Embassy)[41]
- 2017: *Astres Noirs*, [Paris Photo](/source/Paris_Photo) | East Wing Gallery, Paris France[42]
- 2018: *The Crossing*, Hamburg Triennial of Photography, Deichtorhallen Hamburg, Germany[43][21]
- 2019: *Swell*, [Monash Gallery of Art](/source/City_of_Monash), Melbourne Australia[44]
- 2019: *The Crossing*, Myanmar Deitta, Yangon Myanmar[45]
- 2021: *the kids are in trouble*, Chennai Photo Biennale, India[46]

### Group exhibitions

- 2016 – *The Crossing, CCP Declares: On the Social Contract*, Centre for Contemporary Photography, Melbourne Australia[18]
- 2016 – *The Crossing, Transfer*, Australian Centre for Photography, Sydney Australia[18]

## Collections

Koenning's work is held in the following permanent collection:

- Monash Gallery of Art[47][48]

## References

1. ["ReadingRoom, Melbourne"](https://web.archive.org/web/20210827113453/https://areadingroom.com/artists/katrin-koenning/). Archived from [the original](https://areadingroom.com/artists/katrin-koenning/) on 27 August 2021. Retrieved 2021-08-27.

1. ["Katrin Koenning | Melbourne Now | NGV"](https://www.ngv.vic.gov.au/melbourne-now/artists/katrin-koenning/). *www.ngv.vic.gov.au*. Retrieved 2025-02-09.

1. ["Katrin Koenning"](https://web.archive.org/web/20210828112614/https://www.bredaphoto.nl/katrin-koenning/?lang=en). *BredaPhoto*. Archived from [the original](https://www.bredaphoto.nl/katrin-koenning/?lang=en) on 28 August 2021. Retrieved 2021-08-28.

1. Koenning, Katrin (2015). ["Katrin Koenning : Australian Art and Artists file"](https://trove.nla.gov.au/work/205745185). State Library of Victoria. Retrieved 27 August 2021.

1. ["Katrin Koenning | Metal Magazine"](https://metalmagazine.eu/en/post/article/katrin-koenning). *metalmagazine.eu*. Retrieved 2021-08-28.

1. Griffith University (2009). [*Picturing human rights*](https://trove.nla.gov.au/work/160130847). Australian Photojournalists, Griffith University. Retrieved 27 August 2021.

1. Lloyd, David (2007). [*Tell My Story*](https://trove.nla.gov.au/work/223060104). Octivium Press. Retrieved 27 August 2021.

1. Katrin Koenning (2010). *Silent screams : rights of the child*. South Bank, Qld.: Australian PhotoJournalist. ISBN 978-1-921760-18-1. [OCLC 727000411](https://www.worldcat.org/oclc/727000411)

1. Illustration in, Nicole Krauss, "Seeing Ershadi," The New Yorker, February 26, 2018

1. Dodds, Rosanna (2021-03-29). ["How to buy an Eve Arnold image for only £30 . . ."](https://www.ft.com/content/5e90b3cd-dc8a-480a-97d5-c312cd8167f2). *Financial Times*. Retrieved 2021-08-28.

1. ["Katrin Koenning's poetic documentary | 1854 Photography"](https://www.1854.photography/2019/04/katrin-koenning-poetic-documentary/). *1854.photography*. Retrieved 2021-08-28.

1. ["Photographer Katrin Koenning's best shot"](http://www.theguardian.com/artanddesign/2010/sep/22/photographer-katrin-koenning-best-shot). *the Guardian*. 2010-09-22. Retrieved 2021-08-28.

1. Illustration in, Davis, M. (2013). "A decade on: Inching closer to greater recognition and protection of Australia’s aboriginal and Torres Strait Islander peoples." *Human Rights Defender*, 22(1), 22–24. [https://search.informit.org/doi/10.3316/informit.666634368719497](https://search.informit.org/doi/10.3316/informit.666634368719497)

1. Human Rights Defender edition is solely works by the Docurmen[arty Photographer Katrin Koenning. Katrin Koenning, World Refugee Day, Brisbane. Australia, 2006

1. Kwai, Isabella & Xu, Vicky Xiuzhong (2017-07-25). ["Anti-Chinese Posters at Melbourne Universities Are Tied to White Supremacists"](https://www.nytimes.com/2017/07/25/world/australia/anti-chinese-posters-melbourne-universities.html). *The New York Times*. [ISSN 0362-4331](https://www.worldcat.org/issn/0362-4331). Retrieved 2021-08-28.

1. Siegel, Matt (2013-04-12). ["Australia's Brand Name for Ferocity, Softened by Time"](https://www.nytimes.com/2013/04/13/world/asia/chopper-read-australias-brand-name-for-ferocity-is-softened-by-illness.html). *The New York Times*. [ISSN 0362-4331](https://www.worldcat.org/issn/0362-4331). Retrieved 2021-08-28.

1. The Independent, Saturday, October 13, 2018

1. Mudie, E. (2016). "Beyond mourning: On photography and extinction." *Afterimage*, 44(3), 22-27;

1. Macken, J. (2020). "Melancholia in fields of fire". *Arena*. **1**: 13–19.

1. Airisniemi, Essi (2018). ["Matter of time: an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University Wellington, Aotearoa New Zealand"](https://mro.massey.ac.nz/bitstream/handle/10179/15093/02_whole.pdf?sequence=2&isAllowed=y). *Massey University*

1. ["Katrin Koenning – The Crossing"](https://web.archive.org/web/20210829003115/https://www.splashandgrab.co.uk/features/katrin-koenning-the-crossing). *Splash & Grab*. Archived from [the original](https://www.splashandgrab.co.uk/features/katrin-koenning-the-crossing) on 29 August 2021. Retrieved 2021-08-28.

1. Rule, Dan & Koenning, Katrin (29 February 2016). ["Katrin Koenning: Indefinitely: interview"](https://stories.daylight.co/katrin-koenning-indefinitely/3). *Daylight: Art Illuminated*. Retrieved 2021-08-29.

1. Translation of excerpt from Perreault, L. (2017). "Review of Sarker Protick et Katrin Koenning, *Astres noirs*, Chose commune, Paris, 2016, 168 pages, 91 photographs." *Ciel variable*, (106), 94–94.

1. Caro Díaz, José A. (June 2019). *El Silencio de la Oscuridad: Inmersión en las Bodegas vivas de Chiclana de la Frontera, thesis for the Degree in Fundamentals of Architecture, Universidad de Sevilla, Higher Technical School of Architecture of Seville*. Seville, Spain: Universidad de Sevilla. p. 13.

1. ["School of Art Acknowledgements: Bachelor of Arts (Photography): Lecturing Staff"](https://artgradfest.rmit.edu.au/acknowledgements). *RMIT School of Art Graduate Festival*. Retrieved 2021-08-28.

1. Photography Studies College (2016). ["Capture your your future: Full time courses guide 2017 Bachelor of Photography, Advanced Diploma of Photography"](https://www.psc.edu.au/downloads/2017/Full%20time%20courses%20guide%202017.pdf). *Photography Studies College*

1. Rogers, Fiona & Houghton, Max (2017). *Firecrackers: female photographers now*. Thames and Hudson. ISBN 978-0-500-54474-7.

1. étapes: 238: Design graphique & Culture visuelle. (2017). (n.p.): étapes éditions. p.199

1. ["FORMAT International Photography Festival 2011"](http://kunstaspekte.art/event/format-2011-event) (in German). *kunstaspekte.de*. Retrieved 2021-08-27.

1. Coomes, Phil. ["BBC - Viewfinder: 20 minutes of light"](https://www.bbc.co.uk/blogs/photoblog/2010/10/20_minutes_of_light.html). *BBC Photoblog*. Retrieved 2021-08-27.

1. ["Head On Portrait Prize 2011 - Australian Photography"](http://www.australianphotography.com/news/head-on-portrait-prize-2011-winners-announced). *australianphotography.com*. Retrieved 2021-08-28.

1. Haynes, Leah (2011). "More Winners". *Art Monthly Australia*. **241**: 60.

1. ["2014 Bowness Photography Prize"](https://www.mga.org.au/exhibition/view/exhibition/180). *mga.org.au*. 2015-03-24. Retrieved 2021-08-28.[dead link]

1. "Astres Noirs by Katrin Koenning, Sarker Protick". *Photofile*. No. 98. 2017. pp. 120–121. [ISSN 0811-0859](https://www.worldcat.org/issn/0811-0859)

1. ["Australia & New Zealand Photo Book Award - Results 2016"](https://www.anzphotobookaward.com/auphotobookawards-results-2016). *anzphotobookaward.com*. Retrieved 2021-08-28.

1. ["2019 William and Winifred Bowness Photography Prize"](https://web.archive.org/web/20210828052244/https://www.mga.org.au/exhibition/view/exhibition/259). *mga.org.au*. 2020-03-06. Archived from [the original](https://www.mga.org.au/exhibition/view/exhibition/259) on 28 August 2021. Retrieved 2021-08-28.

1. ["Head On Photo Festival at MiCK gallery | Habitus Living"](https://www.habitusliving.com/happenings/whats-on/head-on-photo-festival-at-mick-gallery). *Habitusliving.com*. 2012-04-30. Retrieved 2021-08-28.

1. ["Katrin Koenning – Athens Photo Festival"](https://www.photofestival.gr/exhibitions/katrin-koenning). Retrieved 2021-08-28.

1. Angel (2015-06-25). ["Katrin Koenning, Fieber - PhotoIreland Festival 2015"](http://2015.photoireland.org/portfolio_page/katrin-koenning/). Retrieved 2021-08-28.

1. ["Chobi Mela 2017: Katrin Koenning, Dear Chris"](https://loeildelaphotographie.com/fr/chobi-mela-2017-katrin-koenning-dear-chris/). *The Eye of Photography Magazine*. 2017-02-01. Retrieved 2021-08-28.

1. ["Katrin Koenning — Na neodređeno"](https://2017.ovfestival.org/hr/event/katrin-koenning-neodredeno/) (in Croatian). *New Citizens*. Retrieved 2021-08-28.

1. ["Paris Photo 2017 - Bringing Together Two Centuries of Photography"](https://www.widewalls.ch/magazine/paris-photo-2017). *Widewalls*. Retrieved 2021-08-28.

1. ["Breaking Point at the Hamburg Triennial | 1854 Photography"](https://www.1854.photography/2018/05/hamburg-triennial/). *1854.photography*. Retrieved 2021-08-28.

1. ["Swell"](https://web.archive.org/web/20210828055033/https://www.mga.org.au/exhibition/view/exhibition/236). *mga.org.au*. 2020-06-04. Archived from [the original](https://www.mga.org.au/exhibition/view/exhibition/236) on 28 August 2021. Retrieved 2021-08-28.

1. ["The Crossing"](https://www.deitta.org/portfolio/the-crossing/). *Myanmar Deitta*. Retrieved 2021-08-28.

1. S, Gowri (2020-12-10). ["Chennai Photo Biennale announces the theme for its third edition in 2021"](https://www.thehindu.com/entertainment/art/chennai-photo-biennale-third-edition-theme/article33298729.ece) (in en-IN). *The Hindu*. [ISSN 0971-751X](https://www.worldcat.org/issn/0971-751X). Retrieved 2021-08-28.

1. ["Katrin Koenning"](https://web.archive.org/web/20210827113453/https://www.mga.org.au/index.php/collection/explore/index/keyword_nature/1/keyword_landscape/1/keyword_cameraless/1/artist/507). *mga.org.au*. Archived from [the original](https://www.mga.org.au/index.php/collection/explore/index/keyword_nature/1/keyword_landscape/1/keyword_cameraless/1/artist/507) on 27 August 2021. Retrieved 2021-08-27.

1. City of Monash. [*Monash Gallery of Art Annual Report 2018–2019: Our Collections*](https://www.monash.vic.gov.au/files/assets/public/about-us/council/council-meetings/2019-24-september/7.2-attachment-council-meeting-24-september-2019.pdf). ISBN 978-1-876764-16-6.

## Further reading

- Bate, David & Clements, Louise (2012). *Hijacked III : Australia*. 3rd ed. Big City; Heidelberg : Kehrer. ISBN 978-0-9807878-4-9.
- Milne, Pippa (2016). *CCP declares : on the social contract*. [Fitzroy, Victoria] Centre for Contemporary Photography. ISBN 978-0-9875976-9-4.
- McLaren, Stephen (2014). *Photographers' sketchbooks*. Farnborough: Thames & Hudson. ISBN 978-0-500-54434-1. [OCLC 881214486](https://www.worldcat.org/oclc/881214486)
- Rogers, Fiona & Houghton, Max (2017). *Firecrackers: Female Photographers Now*. Thames and Hudson. ISBN 978-0-500-54474-7.

## External links

- [Official website](http://www.katrinkoenning.com)

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Adapted from the Wikipedia article [Katrin Koenning](https://en.wikipedia.org/wiki/Katrin_Koenning) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Katrin_Koenning?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.