In a powerful exhibition at the Photographers’ Gallery, London, Donna Gottschalk’s poignant work intertwines with the thought-provoking pieces from the 2026 Deutsche Börse Photography Prize. This showcase not only casts a light on the resilience of LGBTQ+ identities but also confronts the stark realities faced by marginalised communities. Running until 7 June, the exhibition invites viewers to engage with a rich tapestry of personal and political narratives captured through the lens of various artists.
A Glimpse into Gay Life in the 60s and 70s
When Donna Gottschalk revealed her sexual orientation to her mother in the conservative climate of 1960s New York, her mother warned her, “You’ve chosen a rough path.” This sentiment resonates throughout Gottschalk’s exhibition, “We Others,” which immerses visitors in her experiences as a gay woman during a time when homosexuality was criminalised and societal acceptance was virtually non-existent.
The exhibition opens with a photograph of Gottschalk’s mother in her beauty salon located in the crime-ridden Alphabet City, setting the tone for an exploration of familial bonds amid societal turmoil. Accompanied by reflective texts from French writer Hélène Giannecchini, the images serve as a narrative of Gottschalk’s evolution from a teenager discovering her identity to a vital participant in the Gay Liberation Front.
Among the most stirring images are those of Gottschalk’s sister, Myla. An innocent photograph of Myla at age 11 contrasts sharply with a later image taken after a brutal attack, illustrating the harsh reality of violence against the LGBTQ+ community. Yet, the exhibition also celebrates Myla’s journey of transition, culminating in a photograph that captures her joy and authenticity in 2013.
The Radical Potential of Photography
Gottschalk’s work is not just a personal diary; it is a radical political statement. One of her most iconic photographs depicts a couple nestled under a tattered blanket in an apartment, with a bold poster reading “Lesbians Unite!” above them. This image, conceived in a time when images of joyous LGBTQ+ lives were scarce, becomes a symbol of defiance and hope.
The Deutsche Börse prize shortlisted works complement Gottschalk’s narrative by showcasing the importance of the camera in documenting and advocating for marginalised voices. For the first time, the prize features solely women and non-binary artists, reflecting a shift towards inclusivity and representation in the art world.
Exploring the Depths of Marginalisation
The exhibition further intensifies with Rene Matić’s installation, which echoes Gottschalk’s themes of community and identity. Matić, whose work is characterised by intimate snapshots of their queer friends and family, employs innovative glass-panel structures that allow the images to interact dynamically. The result is a visceral experience, evoking the closeness of bodies at a club while simultaneously addressing the vulnerability of their subjects.
In stark contrast, Jane Evelyn Atwood’s documentary photography plunges viewers into the harrowing realities of women in prisons during the 1990s. Atwood, one of the first female photojournalists to gain access to these institutions, spent a decade documenting the inhumane conditions faced by incarcerated women. Her images, which display the brutality and trauma experienced by many, serve as a powerful indictment of systemic injustices—an urgent call to action for reform.
Meanwhile, Weronika Gęsicka’s work presents a more playful yet alarming exploration of misinformation. Using stock and AI-generated imagery, Gęsicka creates fictional entries that question the reliability of knowledge in our digital age. Her vibrant pieces serve as a warning about the dangers of disinformation, urging viewers to navigate the increasingly murky waters of truth and falsehood.
Dreams of Displacement
The exhibition culminates with Amak Mahmoodian’s evocative multimedia piece, “One Hundred and Twenty Minutes.” Drawing from the dreams of 16 exiles, Mahmoodian’s work elegantly weaves together photography, poetry, and film, creating a sensory journey through the subconscious. The recurring motifs of mirrors and spectral figures resonate deeply, reflecting themes of longing and loss while celebrating the indomitable human spirit.
Mahmoodian’s sensitive approach to documenting displacement avoids the pitfalls of exploitation, instead highlighting the universal capacity to dream and remember. Her work reminds us that, even amid the chaos of uprooted lives, there exist elements of hope and connection that can never be taken away.
Why it Matters
This exhibition at the Photographers’ Gallery is not merely an artistic showcase; it is a vital discourse on identity, resilience, and the ongoing struggles faced by marginalised groups. By presenting a diverse array of voices and perspectives, it encourages a deeper understanding of the complexities surrounding LGBTQ+ rights, social justice, and the power of photography as a tool for change. In a world increasingly divided, it serves as a reminder of the profound connections that unite us, urging society to confront its past while striving for a more inclusive future.
