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    Pulse:
    (Not) Food Porn: From Feed to Culture

    In today’s visual culture, "food porn" has transformed how we perceive, desire, and celebrate what we eat. Highly stylized imagery exposes abundance, perfection, and excess, even as opposing social media trends lean into raw, unedited food aesthetics. Yet behind these mediated images lies a stark reality: massive global food waste and rapidly shifting cultural relationships to sustenance. On International Day of Awareness of Food and Waste we assemble a series of images to attune to other ways of seeing and understanding food culture(s). See and read more about each position here.

    Selection

      • Stefanie Langenhoven, From the series "I do not want to become my Mother", South Africa | DER GREIF
        Stefanie Langenhoven, From the series "I do not want to become my Mother", South Africa
      • Paloma Pasetto de Souza, "Holy Pareidolia" from "Museum of Disobedience", London, United Kingdom | DER GREIF
        Paloma Pasetto de Souza, "Holy Pareidolia" from "Museum of Disobedience", London, United Kingdom
      • Chloe Dichter, from the series "Snackshots", New Mexico, USA | DER GREIF
        Chloe Dichter, from the series "Snackshots", New Mexico, USA
      • Glenna Jennings and Jalisa Robinson, "Infiltration C11 – medium yellow, foreign-born centering (for Lelia I. Francis)", from the series "The Price of Eggs", 2025, Dayton, OH, USA | DER GREIF
        Glenna Jennings and Jalisa Robinson, "Infiltration C11 – medium yellow, foreign-born centering (for Lelia I. Francis)", from the series "The Price of Eggs", 2025, Dayton, OH, USA
      • Carlos Del Río-Bermúdez, Untitled from the series "Good Gravy", Spain | DER GREIF
        Carlos Del Río-Bermúdez, Untitled from the series "Good Gravy", Spain
      • Caroline Heinecke, Untitled from the series "Future Food", 2022, Berlin, Germany | DER GREIF
        Caroline Heinecke, Untitled from the series "Future Food", 2022, Berlin, Germany
      • Eva Vei, Untitled from the series "Touch the floor and lick your finger", 2025, Sweden | DER GREIF
        Eva Vei, Untitled from the series "Touch the floor and lick your finger", 2025, Sweden
      • Naomi Livia, "Egg White V" from "Fried Egg Portraits", 1995, USA | DER GREIF
        Naomi Livia, "Egg White V" from "Fried Egg Portraits", 1995, USA
      • Thomas Nondh Jansen, "Dutch food" from the series "Everyday", Netherlands | DER GREIF
        Thomas Nondh Jansen, "Dutch food" from the series "Everyday", Netherlands
      • Teresa Menka, Untiled from the series "We eat with our eyes", 2025, Ghana | DER GREIF
        Teresa Menka, Untiled from the series "We eat with our eyes", 2025, Ghana
      • Nastya Platinova, Untitled from the series "Milk Bar", Warsaw, Poland | DER GREIF
        Nastya Platinova, Untitled from the series "Milk Bar", Warsaw, Poland
    DER GREIF
    Carolina Semprucci

    Carolina Semprucci is an Italian writer and editorial designer based in London. She is currently graphic designer and assistant editor at Der Greif. Working internationally across cultural and commercial projects, her practice combines photography, design for publishing, and writing. She holds a BA in Journalism and Publishing at the University of the Arts London, where her thesis project Retrospective was awarded the Wood Stephens Master Printer Award. Her published writing, focusing on the intersections of everyday photography, digital imagery, and new technologies, has appeared on PhMuseum’s Annual, Photography+, Gabble, and has been published by Kult Books. In her design practice, Semprucci has collaborated with a range of clients and organisations including ArtULTRA, the Future Justice Project, and The Justice Gap. Alongside working as a freelancer, she has previously taught on the Publishing course at the London College of Communication and is currently Writer in Residence at Photoworks.

    DER GREIF
    Caroline von Courten

    Caroline von Courten is an essayist and theorist by inclination, and a curator and editor by profession. Based on a farm outside Munich, she is the Artistic Director of Der Greif, where she develops exhibitions, publications, research collaborations, and programs centered on photography. She also lectures in the Camera Arts BA program at the Lucerne School of Design, Film and Art, where she teaches and critically examines photographic theory, post-photography, and visual/network culture. Caroline previously served as Managing Editor at Foam Magazine and held curatorial positions at the Stedelijk Museum Amsterdam and the Nederlands Fotomuseum. She co-developed the Dutch Doc Award, organized the satellite exhibition "Quickscan NL" in Shanghai during the World Expo, and financed her early studies by performing as a hairdresser on concert stages and working as an image editor for Mister Motley. In 2023, she completed her PhD at Leiden University with "The Photographic Surface – Between Substances and Spaces," a philosophical study of photography’s shifting materiality. Her writing has been published widely, including for Aperture, Foam Magazine, UNSEEN Magazine, and C/O Berlin, and she recently contributed to Foam’s 25th anniversary issue as one of its selected thoughtmakers. Caroline frequently moderates public programs and serves as an advisor and juror for major photography initiatives across Europe.

    DER GREIF
    Francesca Hummler

    Francesca Hummler is a German-American artist, educator, and curator based between London and San Diego. She has been the Community Manager and Program Curator of Der Greif since 2022. In 2024, she launched Der Greif’s Face-to-Face program at Les Rencontres d’Arles, offering feedback sessions to photographers and culminating in a celebratory screening showcasing participants’ work. She also spearheaded a symposium on AI in Photography in collaboration with FOAM Magazine, Photoworks, and The Photographers’ Gallery during Paris Photo 2024. She graduated from the Royal College of Art with an MA in Photography with distinction in 2022. Previously, she worked as an Educational Delivery Manager and Photography Tutor at Photofusion in London, where she curated exhibitions and led community-focused photography programs, combining teaching, curriculum development, and career support for underrepresented groups. She has actively participated as a portfolio reviewer for FORMAT25, Photo-Match at Fotofestiwal Łódź, Shutter Hub YEARBOOK, UWE Bristol Photography BA Degree Show, and Offspring Photo Meet. She has also taught at Poway Adult School and lectured as a guest tutor at Paperdrop Lab and Fachhochschule Dortmund, University of Applied Sciences and Arts.

    DER GREIF
    Ilaria Sponda

    Ilaria Sponda is an independent art curator, editor and writer. She works at the intersection of art, visual culture and systems of distribution. She is currently co-curator at Fodoks and was recently curatorial assistant at Lothringer 13 Halle and Goethe Institut Athens, and Haus der Kunst München. She was active as an independent curator in Milan, focusing on practices rooted in post-disciplinary realities that reflect a world where installations behaves like images, images behave like objects and online life leaks into material life. She holds a MA in Culture Studies from Universidade Católica Portuguesa and her writing has been published in hus Magazine, The British Journal of Photography, NERO, Lampoon, Umbigo, Lynx Contemporary, as well as in catalogues and artist books. She has actively participated as a portfolio reviewer for Sarajevo Photography Festival and Leipzig Photobook Festival.