Kai-Uwe Schulte-Bunert


1990 – 1994 Studies Art History at TU Braunschweig 

1996 – 1997 Photography Education in Italy

since 1999 photographer and artist

2013 Founding member of the THEMA group

lives and works in Berlin and Reggio Emilia (Italy)  


DANTE – Museum für Angewandte Kunst, Gera mit Preisverleihung 14. Aenne-Biermann-Preises 2023

DANTE – Ein Bauer/Ein Mulitmedia-Projekt, Galerie Filser& Gräf, München, Einzelausstelung

“La notte della fotografia”, Piacenza, Gruppenausstellung


“Un’idea di paese”, Fortezza Firmafede, Sarzana, Grzuppenausstellung

 “DANTE, un contadino”, Teatro Sociale Luzzara, Einzelausstellung

 “Not a single day”, QUARANTAN9VE, Reggio Emilia, Präsentation

 “New Post Photography”, MIA, Milano, Gruppenausstellung

 “New Post Photography”, Monat der Fotografie, Bratislava, Gruppenausstellung

 “Das Werk zum Sonntag”, Online-Ausstellungsreihe, Gruppenausstellungen

“Das Werk zum Sonntag”, Online-Ausstellungsreihe, Gruppenausstellungen

“L’arte fa bene”, Online-Benefiz-Aktion, Gruppenausstellung

„Aufgeblüht und abgelichtet: Blumen in der Fotografie“, Städtische Galerie Stihl Waiblingen

POINT OF VIEW mit Frank Bauer, Romulo Celdran u. Teresa Riba, Galerie Filser & Gräf, München (GA)

“Auslöschung”, Lost Places Thüringen, Gruppenausstellung der Preisträger (1. Preis), Pößneck

1. Preis, Wettbewerb “Lost Places Thüringen”

“Forma”, Gruppenausstellung, Castello di Sarzano, Casina

2017 Flashback, Galerie Filser & Gräf, München

Family Object Code, Einzelausstellung, Schwemme-Brauerei, Halle (Saale)

“On/Photography”, Gruppenausstellung, On Arte, Biennale dell’immagine, Minusio (Schweiz)

Nominierung, Felix-Schoeller-Award 2017

Felix-Schoeller-Award 2017, Gruppenausstellung aller Preisträger und Nominierten, Osnabrück

“inner light”, Einzelausstellung, MeWe, Galerie für Fotografie, Berlin

“Souvenir Shop“, Galerie 8,75, Reggio Emilia, Einzelausstellung

“Wohlverdient“, Club der polnischen Versager, Berlin, Einzelausstellung„Ein Blick“, Kunst Mitte

Messe für zeitgenössische Kunst, Magdeburg, Einzelausstellung

„Made in Italy“, Galerie Lazisee, Lazise, Gruppenausstellung

Accrochage“, Galerie Filser & Gräf, München, Gruppenausstellung

VEB Backhefe“, Fotofestival Görlitz, 2015, Einzelausstellung

“NOI“, Musei Civici, Reggio Emilia, Einzelausstellung

“L’uovo e la croce“, Magazzini Criminali, Gruppenausstellung

2014 “EIN BLICK” bei Galerie Filser & Gräf, München 

“Stop Motion”, Spazio km 129, Fotografia Europea 2013,(EA) “Vajont”, Festival del Diritto, Piacenza, (GA)

“Il Paesaggio della Bonifica”, Palazzo del Pio, Carpi, (GA

“normale”,  Boorea Temporary Gallery, Fotogafia Europea 2012,(EA) “Walls”, Galerie Kugelbahn,  Berlin, (EA)

“Future – Landscape”,  Parco del Contemporaneo, Forte Marghera, Mestre (Venezia), (GA) 

“Cinema”,  Magazzini Criminali, (GA)

“Workers in progress”, Spazio km 129, Fotografia Europea 2012,(GA)

“Future – Landscape in DC”, Blocco di Taibon, Dolomiti Contemporanee 

“Die Tiefe der Räume”, Galerie Filser & Gräf, München 

“San Lazzaro”, Fotografia Europea 2011, Reggio Emilia, Katalog “Verde, bianco, rosso”, Electa 

“Liberi tutti”, Magazzini Criminali, Cavazzone (Viano) 

“grafie – immagini dell´architettura”,  Loggia del Grano, Mantova 

“grafie 2”,  Fiera Millenaria di Gonzaga, 

“Walls”, Magazzini Criminali, Festival della Filosofia, (EA)

“3x il té delle 5“, Galleria Magazzini Criminali, Sassuolo (GA) 

“Tra Terra e Acqua“, Musei della Bonifica, Boretto, Video-Portraits (GA) 

“1. Persone“, Spazio Gerra, Reggio-Emilia (GA)

“fondo vivo”, Chiesa della Madonna, Castelnovo Sotto, (EA)

“walk of art”, Galleria Magazzini Criminali,  Sassuolo (RE), (GA)

“übersehen”, Fotografien 2004 – 2009, Galerie Filser & Gräf, München, (EA)

“Wohlverdient” und “10 Sekunden Nacht”, Galerie Story Hotel, Berlin, (EA)

“fondo vivo”, Palazzo Bentivoglio Gualtieri, Sala dei Falegnami, (EA)

“Sopravvivere al quotidiano”, Fotosintesi Piacenza ´09, (GA)

“Collection”, Mois de la Photo Paris 2008, (GA)

“2_geteilte orte”, Villa Elisabeth Berlin, Katalog MdF Berlin 2008

“2_luoghi divisi”, Musei Provinciali di Gorizia, Katalog/Buch, Damiani, Bologna

“10 Sekunden Nacht”, Fotografie, Installation, Galleria Magazzini Criminali, Sassuolo, 

“Confini / Frontiere”, Pordenone, (GA)

“personale”, Galleria Studio de Bonis, Reggio Emilia, (EA)

“2_geteilte orte”, Kulturhist. Museum Görlitz/Dom Kultury Zgorzelec, 

“10 Sekunden Nacht”, Fotografien, Installation, Savignano Immagini Festival, (EA)        

“2_geteilte orte”, Fotografia Europea, Ex OPG, Reggio Emilia; Katalog “le cittá / l ´europa”

2006 “artbag-project“, Settimana della fotografia Europea, Centro Internazionale Loris Malaguzzi,    Reggio Emilia; Katalog „Looking at the city“, Damiani, Bologna, 2006

„Passaggi”, Baustellen TAV, km 129, Reggio Emilia, (EA)

„Il volto della follia – 100 anni di immagini del dolore”, a cura di Sandro Parmiggiani,  

Palazzo Magnani, Reggio Emilia, Gruppenausstellung, Katalog „Il volto della follia“, 

„Dramatik des Alltags”“, Fotografien, Theater Görlitz, (EA)

“Specie di spazio”“, Fotografien, Officina delle Arti, Reggio Emilia, (EA)  

“VEB Backhefe – Wunden der Zeit”“, Fotografien v. verlassenen Fabrik, Görlitz, (EA)


2019 art KARLSRUHE mit Galerie Filser & Gräf, München

2018 art KARLSRUHE mit Galerie Filser & Gräf München

2017 KunstMitte 2017, Messe für zeitgenössische Kunst, Magdeburg

2011 ART.FAIR, Köln, mit Galerie Filser & Gräf, München

art KARLSRUHE, mit Galerie Filser & Gräf, München


DANTE- A farmer

Dante lives in the countryside near Reggio Emilia in northern Italy. For almost thirty years, since the death of his parents, he has been running a small farm on his own, where he moved with his parents when he was six years old. His everyday life, which is always the same, is determined by the needs of the 12 cows and the rhythm of the seasons. Dante still carries out most of his activities by hand or with the help of outdated machines. He doesn’t know what it means to be on vacation, and he has never had a day off in fifty years. However, Dante does not regret his choice. He appreciates the freedom and his self-determined life. But now, at the age of 64, he has to leave his home and give up his job because the owners of the farm are throwing him out. The documentary accompanies Dante Menozzi in his last year as a farmer.

PARAGONE 1 – Fruit models

The Romans were the inventors of the first fruit cabinets. They brought many fine fruit varieties to Gaul and Germania via Greece.

They created large collections of fruit varieties known as “opotheques”, which were appreciated and admired. The local monasteries were responsible for spreading this cultural asset to our orchards.

During the heyday of pomology from the end of the 18th to the end of the 19th century, fruit cabinets were created by well-known and skilled artists in collaboration with famous pomologists.

These lifelike model fruit collections were used to teach the science of varieties in rural fruit growing.

The ARNOLDI Fruit Cabinet is a pomological model fruit collection made of porcelain or porcelain composition mass, which was produced by Thuringian artists in Elgersburg in the mid to late 19th century.

This collection of varieties was published by Heinrich ARNOLDI, Gotha.

The natural fidelity of the models in form and color was constantly improved by ARNOLDI through close cooperation with the best pomologists of this era (including LUCAS, OBERDIECK, KOCH and TRAPP).

Today, the Museum of Nature in Gotha houses a collection of 353 varieties from the 150-year-old ARNOLDI fruit cabinet. This consisted of a total of 455 fruit varieties produced between 1856 and 1899.

This valuable collection is considered unique in the world today. (Text: Klaus & Dr. Ute Schuh)

Kai-Uwe Schulte-Bunert lends these plant and fruit models a new, lively identity in his aesthetically formal photographs, sharpening our eye for the essentials without, however, missing the delicate feeling for the beauty of nature in an image content consisting only of light, object and surface.

PARAGONE 2 – Flower models

The Silesian pharmacist Carl Leopold Lohmeyer (1799-1873) sold his pharmacy in Neisse, now Nysa in Poland, in 1855 and returned to his favorite science, botany. Inspired by Professor Ferdinand Julius Cohn (1828-1898), he produced more than 300 of these “Lohmeyer plant models” between 1866 and 1869, which he bequeathed to the University of Zwinger in Breslau.

Some of Lohmeyer’s models could be dismantled and demonstrated the flower structure of important plant families, various plant organs and developmental states.

Robert Brendel copied Lohmeyer’s plant models and had them made by skilled workers in his own name from March 1866. In 1869, Brendel was already able to show 45 flower models as well as models of 10 agricultural, 5 fruit and forest plants at the international horticultural exhibition in Hamburg.

In the second half of the 20th century, the PHYWE company in Göttingen was still producing botanical models under the name “Brendel model”.

These models are considered absolute rarities. The University of Vienna owns a collection of seven models produced in Breslau.

Originally, the focus was purely on the educational purpose of the models, which were mostly made of papier-mâché, wood, shirt fabric, glass beads, feathers and gelatine. At that time, their artistic value was not taken into account.

The models underwent a change in meaning from scientific demonstration objects to historically valuable documents of nature education in the 19th and early 20th centuries on the one hand, and sought-after collector’s items on the other. (Text: Matthias Svojtka)

Kai-Uwe Schulte-Bunert lends these plant and fruit models a new, lively identity in his aesthetically formal photographs, sharpening our eye for the essentials without, however, missing the delicate feeling for the beauty of nature in an image content consisting only of light, object and surface.


A farmer builds himself a house as a retirement home. Shortly afterwards, he dies in an accident on his own farm. A granddaughter and her husband are able to modernize and take over the house thanks to a lottery win. Those were my parents. I grew up in this house.

Having a home is something concrete, being at home is an impression, both are fragile and fleeting.

I approach the ambivalence of the subject from two directions. Form and content overlap.

1)On site. Photos that I took around the house, blossoms from a tree planted by my father in the garden, my own wife and daughter by the river.

2)Archive. A house floating in space that I reconstructed from the original building receipts from 1938; a photo of the builder; things connected with the house; the receipt for the lottery win; my grandmother’s glasses; the family Bible; my parents’ furnishing plan; old land register extracts, …