Jakob Ganslmeier
born May 4, 1990, Munich
based in Berlin and The Hague

Ostkreuzschule für Fotografie Berlin
FH Bielefeld University of Applied Sciences - Photography
MA programme Photography & Society KABK
Co-Founder and permanent member of editorial team of FOG - documentaries dispersed (
Co-Founder and permanent member of Apparat (

©Jan Düfelsiek

awards, grants, residencies

2021 shortlisted Kassel Dummy Award
2021 ProfiFoto Young Talents Award
2020 Blow Up Press | shortlisted
2020 Getxophoto | shortlisted
2018 Lotto Foundation Young Talent Artprize
2018 Studio Vortex Residency, Arles
2018 Borderline Project | Exhibition, Residency
2017 Photomatch, Fotofestiwal Lodz, Poland
2017 shortlisted Joop Swaart Masterclass
2016 pariticipant of the NITs of the DOCfield>16 festival Barcelona, Spain
2016 shortlisted for the Kolga Photo Award 2016 Tbilisi, Georgia
2016 nominated for Joop Swaart Masterclass
2015 European Exhibition Award (Epea 03) / scholarship, exhibition, catalogue
2015 winner of competition "Blickkontakte" - Magazin Photopresse
2014 mobile residency in Eastern Europe
2013 Aenne Biermann Preis
2012 Hil Award solo exhibitions, catalogue


2022 Poetry Is Out of Place | Comanders House Falstad
2022 Haut, Stein | Museum of Contemporary Art Kraków (MOCAK)
2022 Lovely Planet: Polen | Parliament of Brandenburg
2022 Haut, Stein | Fotograf Festival Prague | Fotograf Gallery 
2022 Haut, Stein| Fotograf Festival Prague | VI PER
2022 Lovely Planet: Polen | BLMK Frankfurt Oder
2022 Haut, Stein | NS Documentationcenter Cologne
2022 Houses of Darkness | Documentationcenter Bergen-Belsen
2021 Haut, Stein | Stéphane Hessel Platz, Weimar
2021 Haut, Stein | Nordhausen
2021 Haut, Stein | Villa Heinrichwerk, Ostritz
2021 Bygone Nearby | Arsenal, Kiev, Ukraine
2021 Thread | Royal College of Art, The Hague
2021 Lovely Planet: Poland | Brandenburgisches Landesmuseum für moderne Kunst, Cottbus
2020 Haut, Stein |Bastion Kronprinz Zitadelle Spandau
2020 Haut, Stein | Museum of modern Art, Krakow (postponed to 2022)
2020 Haut, Stein | Installation in the permanent exhibition
2020 Bygone, Nearby | Online Exhibition (
2020 Parts-Unknown | online
2020 Displaced Heritage, Goethe Institut Kiew (online) exhibition postponed to 2021
2019 100 Years Bauhaus | Brandenburgisches Landesmuseum für moderne Kunst (state museum of modern Art), Cottbus
2019 Die Anderen sind wir | Brandenburgisches Landesmuseum für moderne Kunst (state museum of modern Art), Cottbus
2019 Neo-Right | BWA Galeria, Zielona Gora, Poland
2019 Haut, Stein | Werkschau, FH Bielefeld
2019 Borderline Project | Palace, Brussels, Belgium
2019 Borderline Project | European University, Frankfurt (Oder)
2019 Borderline Project | Centre Marc Bloch, Berlin
2018 Lovely Planet: Poland (solo) | Brandenburgisches Landesmuseum für moderne Kunst (state museum of modern Art), Cottbus
2018 Lovely Planet: Poland, Passerelle, Trigger (solo) | Villa Böhm, Neustädter Kunstverein (art association)
2018 Lotto Brandenburg Kunstpreis | Kunstraum Potsdam
2018 Lovely Planet: Poland (solo) | Westwendischer Kunstverein (art association)
2018 Artist Residency Exhibition by Studio Vortex | Gallerie Voiss Off Arles, Frankreich
2018 Borderline Project | Club der polnischen Versager Berlin
2018 Stadt Raum Portrait | aff Gallery, Berlin
2018 Triennale of Photography, Hamburg | FHBFG Container
2018 Lumix Festival Hannover | FHBFG Container
2017 Epea 03 (European Exhibition Award) House of Photography | Deichtorhallen, Hamburg
2017 Epea 03 (European Exhibition Award) Nobel Peace Center, Oslo Norwegen
2017 Biennale Le latitudini dell'arte Genova, Italy
2017 Deutscher Jugendfotopreis, vhs-Galerie, Konstanz
2017 Wiesbaden Days of Photography, Art House Wiesbaden
2017 Deutscher Jugendfotopreis Forum Gestaltung, Magdeburg
2017 Fotowettbewerb der Hoepfner-Stiftung, Industrie- und Handelskammer, Karlsruhe
2016 Epea 03 (European Exhibition Award) Villa Argentina / Viareggio, Italy
2016 Epea 03 (European Exhibition Award) Fondation Calouste Gulbenkian / Paris, France
2016 BUDE BETT BARGELD / LICHT UNSERER TAGE Ruhrtriennale Jahrhunderthalle Bochum, Germany
2016 European Month of Photography at Mein Blau - FOG documentaries dispersed
2016 "Clearly Ambiguous" at SMAC Gallery, Berlin
2015 FOG excerpts, Kunsthalle Hannover
2015 Deutscher Jugendfoto-Preis, Deutsche Historisches Museum, Berlin
2015 Keep Your Eyes Peeled, AFF Gallerie, Berlin
2014 Vice-Versa-Gallery, Berlin
2014 SEZ - Abschlussausstellung Ostkreuzschule für Fotografie, Berlin
2013 Aenne Biermann Preis, Museum für Angewandte Kunst, Gera
2013 Projektraum, Berlin
2013 dkw. Kunstmuseum Dieselkraftwerk Cottbus
2013 Goethe Institut Zagreb / Kroatien, Gallery Principij, Rijeka
2013 Photographic Museum of Humanity
2013Heinrich Böll Stiftung (solo), Berlin
2013 Synagoge Deidesheim (solo)
2013 Hohenstauffensaal (solo), Anweiler
2012 centre d'art passerelle, Brest / France
2011 Galerie Baustelle, Berlin
2010 Paraty em Foco, Paraty / Brazil

clients and publications

Süddeutsche Magazin
Süddeutsche Online
FOAM Magazine
DUMMY Magazine
Green Peace Magazine
Elbphilharmonie Magazine
Akzente Magazin
Photo Presse
Zeit Online
Monopol Magazin
Die Welt am Sonntag Kompakt
Münchener Kammerorchester / Munich Chamber Orchestra
Welt Online
Bavarian State Ministry
Forberg Schneider Foundation
Kunstverein Tiergarten Berlin
Österreichisches Kulturforum Berlin

The project Haut, Stein is a combination of colour photographs which show former Neo-Nazis and their tattoos and architectural black and white photographs.

The colour photos focus on the documentation of the removal of - in some instances - extensive tattoos depicting right-wing symbols and signs. I capture the process as the physical inscriptions disappear, which up to this point, have for years been an expression of one’s identity and political ideology. To remove symbols so fused into the body is a highly deliberate step for an ex-Neo-Nazi, because the elimination of these distinctive marks is an expensive, lengthy and painful process. The process of individuals breaking-away from the right-extremism scene is captured in photographic portraits that trace the renunciation of an ideologically charged environment, both individual and communitarian, via the removal of white supremacist tattoos.

B/W photography shows historical Nazi symbols being integrated in architectures and therefore having a presence in the public space. Despite the so-called denazification, overpaintings or other interventions they are still visible and therefore part of the everyday in cities and on the countryside.

The photos of these architectures and their peculiar historical inscriptions are conceived as diptychs. One shot always shows close ups on the symbols that are three dimensional parts of buildings, incorporated in wall paintings and facades. A second photo presents some sort of establishing shot that allows to understand the contexts (and the strange normality of the existence of these Nazi symbols in the public roam).

The portraits of former Neo-Nazis will be a means to visualize how the break from the scene has been performed and completed in a visible way. Tattoo removal expresses a person’s determination and sincerity to quit the scene: The removal of symbols is a symbol in itself.

The b/w photos examine the condition of the Nazi symbols in public spaces. The motives are spread in Germany and Austria. The parallel to the tattoos is that often the symbols are the same no matter if they are inscribed in architectures or human bodies: swastikas, particular runes and portraits of soldiers. In both cases symbols are being removed or reworked, but sometimes they remain in their original forms (and the unconscious public respectively the individual memory).

The so-called denazification of public space in Germany is bound on a complex history since after WWII it was mainly initiated by the Allied France, GB, USA, and USSR, and handled in often very different, almost individual ways. No specific procedures, strategic or ideological policies can be identified with the different Allied.