Amelie Gappa

Art historian and curator, And She Was Like: BÄM!
© Viola Halfar

Amelie Gappa is an art historian and curator specializing in contemporary and modern art. The focus of her practice is the examination of the border areas of the arts: from questions of genre to the principle of the exhibition and the concept of art in general. She has previously worked for institutions such as the Kunstverein für die Rheinlande und Westfalen, Düsseldorf, the Museum Ludwig, Cologne and the Kunstmuseen Krefeld and most recently co-curated the program at La Felces in Cologne. She currently works as a freelance curator and PR consultant for the agency welcome design, which specializes in the fields of design and architecture. She organizes events on a voluntary basis for the feminist initiative And She Was Like: BÄM!, which is active in the fields of art and design.

Recommended by Amelie Gappa

don't believe in horoscopes, but right now I feel 100% like a cliché Gemini. Why? I can't decide and I'm slightly overwhelmed. There are some really great institutions and exhibitions in the Photoszene 2025 program. So I decided to focus on spaces that not only show exciting positions, but also work great as a small tour.

1. start at Ebertplatz - four exciting exhibitions await you there: at Gold+Beton, Mouches Volantes, Gemeinde Köln, Labor and the ICA, right next door.

2. a quick espresso and sweet cannolo at Espressino and hop on your bike (approx. 17 minutes) or take the S-Bahn from Hansaring - and you're in Kalk (yes, for all those living on the right bank of the Rhine: it's really not far, do it!) to see Brigitte Dunkel's photo installation in the shop window of the Idyll. And maybe afterwards a movie at Lichtspiele Kalk and/or dinner at Nobiko?

Recommended by

5 voices from Cologne's cultural scene and their tips for Photoszene 2025, so that you can navigate your way through the festival with the help of their recommendations. The overall offer can sometimes be a bit overwhelming, so we took a closer look at the program.

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