Camera Austria

Camera Austria Camera Austria - Labor für Fotografie und Theorie Die Auszeichnung gehört zu den höchstdotierten Preisen für künstlerische Fotografie in Europa.
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Die Zeitschrift Camera Austria International widmet sich der Debatte um die Rolle der Fotografie zwischen Kunst und Massenmedium, zwischen Ästhetik und sozialer Praxis, zwischen Dokument und Diskurs, Politik und Bild. Gegründet 1980 von Christine Frisinghelli, Seiichi Furuya und Manfred Willmann, nimmt die zweisprachig (dt. /engl.) erscheinende Zeitschrift bis heute eine besondere und internationa

l beachtete Stellung im Raum der Debatte um Fotografie als Praxis zeitgenössischer Kunst ein. / Since 1980 Camera Austria International magazine has been fostering debate on the role of photography as situated between art and mass medium, between aesthetics and social practice, between discourse and the documentary, politics and imagery. Established 1980 by Christine Frisinghelli, Seiichi Furuya, and Manfred Willmann the bilingual (German/English) published magazine continues to occupy a special, internationally respected role in the scope of discourse on photography as a contemporary art practice. Das Ausstellungsprogramm in unseren Räumen in Graz legt das Augenmerk auf Fragestellungen, die sich vor dem Hintergrund gesamtkultureller Bedingungen mit den Dispositiven der Fotografie, neuer Bildtechnologien und mit deren Wirkungsweisen und Rezeptionsmustern beschäftigen. Dabei geht es immer wieder auch um aktuelle Themen von gesellschaftlicher Relevanz, in denen schließlich (auch fotografische) Bilder eine zentrale Rolle spielen. / The exhibition programme at our venue in Graz focuses on issues which, against the backdrop of overall cultural conditions, address the dispositifs of photography, new image technologies, as well as their methods of agency and patterns of reception. Of repeated interest here are topical issues of societal relevance, where pictures (including photographic ones) ultimately play a pivotal role. In der Edition Camera Austria werden regelmäßig Bücher zu wichtigen Themen oder in Kooperation mit herausragenden KünstlerInnen publiziert. / In the Edition Camera Austria, books on important topics are published on a regular basis, on occasion in cooperation with prominent artists. Seit 2001 betreut Camera Austria das Fotoarchiv des Soziologen Pierre Bourdieu, seit 2003 wird die Ausstellung »Images d’Algérie« weltweit in zahlreichen Übernahmen gezeigt. / Since 2001 Camera Austria has been maintaining the photographic archive of sociologist Pierre Bourdieu, and since 2003 the exhibition “Images d’Algérie” has been shown worldwide by numerous other art institutions. Seit 1989 vergibt eine internationale Jury alle zwei Jahre den Camera Austria-Preis für zeitgenössische Fotografie der Stadt Graz an eine*n Künstler*in, die/der einen herausragenden Beitrag in der Zeitschrift publiziert hat. Erste Preisträgerin 1989 war Nan Goldin, es folgtenOlivier Richon, Seiichi Furuya, David Goldblatt, Hans-Peter Feldmann, Allan Sekula, Aglaia Konrad, Walid Raad, Marika Asatiani, Sanja Iveković, Heidrun Holzfeind, Joachim Koester, Annette Kelm, Jochen Lempert, Lebohang Kganye, und Belinda Kazeem-Kamiński. / Since 1989, the Camera Austria Award for Contemporary Photography by the City of Graz has been bestowed every two years, by an international jury, on an artist who has published an outstanding contribution in the magazine. The accolade counts among the most prestigious awards for art photography in Europe. The first award recipient was Nan Goldin in 1989, followed by Olivier Richon, Seiichi Furuya, David Goldblatt, Hans-Peter Feldmann, Allan Sekula, Aglaia Konrad, Walid Raad, Marika Asatiani, Sanja Iveković, Heidrun Holzfeind, Joachim Koester, Annette Kelm, Jochen Lempert, Lebohang Kganye, and Belinda Kazeem-Kamiński. Mit mehr als über 6000 Monografien, Ausstellungskatalogen, Nachschlagewerken und Publikationen zur Fotografiegeschichte und -theorie seit den 1970er Jahren – sowie mehr als 4000 Titeln aus ca. 60 Zeitschriften – bietet unsere öffentliche Bibliothek in Graz die Möglichkeit, die Verknüpfungen von Fotografie mit Gegenwartskunst vor einem internationalen Hintergrund zu recherchieren. / With over 6,000 monographies, exhibition catalogues, reference works, and publications on the history and theory of photography since the 1970s—in addition to more than 4,000 titles from approx. 60 magazines—our public library in Graz provides opportunities for researching the associations between photography and contemporary art against an international background. Im Jahr 2017 hat Camera Austria einen Großteil des Projektarchivs der Jahre 1974 – 2002 digitalisiert und veröffentlicht. Damit ist Camera Austria eine der wenigen, wenn nicht gar die einzige Institution im Bereich zeitgenössischer Kunst in Österreich, die ihr Archiv in einem Handapparat in der Studienbibliothek öffentlich zur Verfügung stellt. / In the year 2017, Camera Austria digitalized and published a large portion of its project archive spanning the years 1974–2002. This makes Camera Austria one of the few, if not the only, institution in the realm of contemporary art in Austria to open their reference collection in the reference library to the public

Die Ausstellung FOTOGRAFIE ZERSTÖREN, kuratiert von Maik Gräf, Jenny Schäfer und Daniela Zeilinger, ist noch bis kommend...
02/02/2025

Die Ausstellung FOTOGRAFIE ZERSTÖREN, kuratiert von Maik Gräf, Jenny Schäfer und Daniela Zeilinger, ist noch bis kommenden Sonntag, den 9. Februar 2025, bei Camera Austria zu sehen!

Neben den fotografischen Arbeiten von Laurel Chokoago, Elisa Goldammer, Maik Gräf, Almut Hilf, Maximilian Koppernock, Mitko Mitkov, Sophie Pölzl, Claudia Rohrauer, Caspar Sänger, Jenny Schäfer, Janine Schranz, Wiebke Schwarzhans, Dirk Stewen, Daniela Zeilinger findet ihr außerdem ausgewählte Publikationen von Künstler*innen der Ausstellung bei uns:

- Elisa Goldammer: ELW. Von dem verschwundenen Leben Elfriede Lohse-Wächtlers. Self-published, 2022.
- Almut Hilf: BERÜHRT, GEFÜHRT. TOUCH, MOVE. Self-published.
- Almut Hilf: Figuren in voller Ausrüstung betreten das Zimmer. Self-published, 2018.
- Lisa Krusche, Jenny Schäfer: Die Anrufung der Riesin. Starfruit Publications, 2024.
- Wiebke Schwarzhans: BEFORE IT’S IN FASHION IT’S EN VOGUE. Materialverlag – HFBK Hamburg, 2018.
- Daniela Zeilinger: Dots. Self-published, 2024.

Just printed the folder for our upcoming exhibition SUSANNE KRIEMANN: RAY, ROCK, ROWAN (BEING A PHOTOGRAPH), opening on ...
30/01/2025

Just printed the folder for our upcoming exhibition SUSANNE KRIEMANN: RAY, ROCK, ROWAN (BEING A PHOTOGRAPH), opening on March 7, 2025. 😍

Wir freuen uns auf die Buchpräsentation – Elias Holzknecht: Micheldorf Micheldorf Micheldorf Micheldorf heute Abend um 1...
28/01/2025

Wir freuen uns auf die Buchpräsentation – Elias Holzknecht: Micheldorf Micheldorf Micheldorf Micheldorf heute Abend um 18:00 im Ausstellungsraum von Camera Austria.

Im Gespräch mit Humangeograph ULRICH ERMANN und Redakteurin JUNE DREVET geht ELIAS HOLZKNECHT auf die Rolle von Fotografie als Medium für die Konstruktion einer Narration ein. Darüber hinaus sprechen sie über die humangeographische Perspektive auf Regionen und deren Bewohner*innen sowie die Bedeutung ländlicher Räume im fotografischen Diskurs.

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9. In the work of DANIELA ZEILINGER, media- and mater...
24/01/2025

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.

In the work of DANIELA ZEILINGER, media- and material-reflexive processes interleave to create images that always question the conditions of their own respective modes of representation. Playing a central role in her art are experimental work processes and a variety of media-related transformations. Using the techniques of collage and montage, which entwine analogue material and the digital likeness, Zeilinger creates pictures that reveal themselves as complex layering and that challenge the underlying conditions of photographic and painterly representation.
At the points of contact between analogue and digital photography, and between painting and drawing, the artist refers in her exhibited works to the simple dot as a basic motif and as the utmost concentration of formal expression. Whether as a “grain” in analogue photography or a “pixel” in its digital counterpart: the dot represents the smallest possible image-forming unit. The literal analogue-digital layers of mediatic units from image to likeness generate, in their duality, a motif-related interconnection that opens up a new visual category in the likeness of image and likeness. (Niklas Koschel)

Daniela Zeilinger, dots #1 and dots #2, both 2023/2024. Analogue exposure of a glass plate coated with photo emulsion, Photogram on Baryta, paper, clip frame, 50 × 40 cm.
Photo: MK

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9. The interdisciplinary work of DIRK STEWEN has its ...
23/01/2025

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.

The interdisciplinary work of DIRK STEWEN has its roots in photography and reflects experimentation with the medium’s forerunners: drawing and painting. Combining a stringency of form and poetic experiments is typical for his work. In his installations, Stewen integrates images, texts, gaps, and large dimensions, with the aim of encouraging viewers to embrace sensitivity and openness in order to break through thought patterns and hierarchies.

Dirk Stewen, Untitled, 2023. Inkjet print and ink on paper and photo paper, clip frame, 59,4 × 42 cm.
Photo: MK

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.Promises of value, as well as the illusions and con...
22/01/2025

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.

Promises of value, as well as the illusions and contradictions of consumer culture, become the material used in WIEBKE SCHWARZHANS’S artistic-research practice. A psychoanalytical, q***r-feminist view of fashion and its strategies of display play a pivotal role in her works, as does her interest in language and texture. Often, one of her working tools is a scalpel: for making cuts, and for ablating and dissecting surfaces. Mirrors are a recurring motif and material. In "BRILLIANT CUT" (2024) as well, the surfaces of a fashion magazine page and the coating of mirror glass is manually worked with scalpels, razors, and veneer. By removing the color layer of the magazine with much precision, along with the silvery mirroring layer, the respective carrier material—paper or glass—is revealed and made visible. Ornament and mirror image become intervolved in the etched-out area.

Wiebke Schwarzhans, Brilliant Cut, 2024. Fashion magazine pages edited with a scapel, mirror, hardboard, mirror clips, 50 × 40 cm.
Photo: MK

The STUDENT EXHIBITION “Light Squared. As Soon as I Open my Eyes, I See a Film,” organized by IZK Institute for Contempo...
21/01/2025

The STUDENT EXHIBITION “Light Squared. As Soon as I Open my Eyes, I See a Film,” organized by IZK Institute for Contemporary Art of TU Graz, is in full swing!

Come around at our exhibition space and visit the student presentations until 5 p.m. or join for a drink afterwards!

The project was conceived by Milica Tomić, Ahmad Darkhabani, Martin Schultze, Marcus Ossiander, as a guest critic they invited Camera Austria co-founder Christine Frisinghelli

With works by:
Helen Autrique, Antonela Bandic, Zeynep Bilici, Lisa-Marie Brandauer, Alexander Eber, Fabio Egger, Elias Andreas Ehl, Benedikt Fischer, Bettina Viktoria Flegel, Lukas Fürst, Gaja Gibelli, David Johannes Grafinger, Maximilian Großpietsch, Malte Lars Henningsen, Marija Jančić, Thomas Jauk, Klaudia Koren, Adrian Joachim Kirchner, Nico Knefz, David Josef Loibner, Stella Majstorovic, Gabriele Maschera, Jan Priedigkeit, Carina Schmid, Robert Schwarzl, Maria-Alexandra Şerbănescu, Ceyda Soyran, Felix Stockinger, Lissa Tie Tokutake Hirokawa and Aldo Ulbing

This course took place as a classroom collaboration between IZK and the Institute for Experimental Physics.

Architecture and physics students explored light-related concepts in physics, photography, and film. By investigating the role of light in art, we aimed to bridge artistic practice with experimental physics, examining the points where these two fields intersect.

They studied the cinematographic apparatus as a system of relationships inspired by film and photography mechanics but evoked through materials and technologies not initially intended for film production or cinematic use. The course examined how unconventional media can be adapted or reinterpreted to create new cinematic experiences (Levi, 2012). Building on these explorations, students have deepened their understanding of light, film, and cinema through various experiments in both art and physics.

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9. Works by JANINE SCHRANZ oscillate along the interf...
21/01/2025

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.

Works by JANINE SCHRANZ oscillate along the interface between photography and architecture. She places physical-spatial experiences in relation to visual perception by transferring the basic conditions of the medium of photography as found in her installative experimental arrangements onto concrete architectures. Her piece "Ground Glass" (2024) deals with the negative form of the proscribed clip frame in the exhibition "Destroying Photography." Schranz processes the surface of the glass by hand using different grains of sand, which is a technique also used to produce ground glass in the field of photography. While the rough side of a pane of ground glass in a camera captures a real image, the glass panes processed by the artist show the physical ablation process and reference the materiality of the glass itself (quartz sand).

Janine Schranz, Ground Glass, 2024. Glas, handgeschliffen, jeweils 57 × 43 cm.
Photo: MK

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9. In her practice, JENNY SCHÄFER deals with the mean...
20/01/2025

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.

In her practice, JENNY SCHÄFER deals with the means of photography, found footage, consumer objects, archaeology, and aesthetics-related socioeconomic issues. In addition to spatial installations, she also develops individual images or collages, as well as artist’s books. In terms of content, she is interested in the visual languages of hope, conspiracy narratives, romanticism, landscapes, stones, aesthetics of everyday life, and taste.
The work "It’s just a photography" (2023) was created in parallel to the text "Of writing on writing on photography of Sontag" (booklet, self-published, 2024). A photograph from a family album shows a child eating cream of tomato soup on the day of her first holy communion. To the right of the photograph is page 107 from the book "Die feinen Unterschiede: Kritik der gesellschaftlichen Urteilskraft by Pierre Bourdieu" (Suhrkamp Verlag, 1987, published in English as "Distinction: A Social Critique of the Judgement of Taste"). Seen there is a chart on the importance of certain photographic motifs for different occupational groups.

Jenny Schäfer, It’s just a photography, 2023. Found object: 15 × 10 cm, Fujicolor Crystal Archive Paper Supreme, glossy, fat-fingerprints, page109 from "Die feinen Unterschiede - Kritik der gesellschaftlichen Urteilskraft by Pierre Bourdieu", 1987, Suhrkamp Verlag, Passepartout with clip frame, 40 × 50 cm.
Photo: MK

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9. The work of CASPER SÄNGER is focused on investigat...
19/01/2025

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.

The work of CASPER SÄNGER is focused on investigating, through autobiographical experiences, the simultaneity of ambivalent circumstances in photography as a medium. Individual aspects are singled out and converted to image form. Various arrangements take shape in the photographs, in that closeness and distance, movement and stagnation, model and reality are presented simultaneously and thus engage in dialogue with one another. "Sudden Eternity" (2023) shows sunlight, which for a brief moment projects the shape of the window frame onto the curtain in Sänger’s workroom; the lettering is affixed to the pane and casts a shadow. In photography as well, the split-second light from reality is projected onto a light-sensitive surface and thus transformed for all time into an image. Erfassung (2023), in turn, shows a gap created by the seating posture of a person, giving rise to the view of a still life. Through the act of photographing, the gaze decides through different gaps—be it viewfinder or lens—which detail views can be captured from reality. Here the gap or “hole” is not only the basic physical condition for photography, but also an ambivalent concept that does not clearly reveal whether it as a word is describing the material or the emptiness.

Caspar Sänger, Erfassung and Sudden Eternity, 2023. 2 Inkjet prints, clip frames, 50 × 40 cm each.
Photo: MK

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9. Photography as concept and field, as technology an...
18/01/2025

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.

Photography as concept and field, as technology and material, has become the motif and object of study for CLAUDIA ROHRAUER. She reflects on the medium based on its core functions: recording, depicting, and visualizing. Her focus here lies on the relationship between the person doing the depicting and that which is being depicted, and on the materiality of photographic images. Since 2023, her works have shown traces of artistic research on plant-based and nontoxic photo chemicals. "Developing power & self-efficacy (Yourinol 1)" (2024) shows her own attempt to produce a film-developing agent by extracting urine. The series takes a performative approach to thematizing issues of the ecology of darkroom work and self-efficacy as part of one’s own work process.
Claudia Rohrauer, Developing power & self-efficacy: Production Yourinol 1, 2024. Gelatin silver print handmade by the artist on Baryta, partially colored, clip frame, 50 × 40 cm. Photo: David Dobrowsky.

Claudia Rohrauer, Developing power & self-efficacy: Droptest Yourinol 1, 2024. Gelatin silver print handmade by the artist on Baryta, partially colored, museum cardboard, pencil, clip frames, 50 × 40 cm each.
Photo: MK

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9. In her work, SOPHIE PÖLZL employs analogue photogr...
17/01/2025

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.

In her work, SOPHIE PÖLZL employs analogue photographic materials, large-format films, or photo paper that she has exposed over extended periods without a camera. The process and the change involved are the subject of her investigation of all things temporary. Gently yet decisively, she places the observation of passing of time at the heart of her practice.

Light on: position, zoom, segment, overlap, focus, shift, precision: light off
Sophie Pölzl, 1...2...3...4...5...6...7...8...9...10...11…12, 2024. Photographs, paper, 50 × 40 cm each.
Photo: MK

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.In her text, MIRA ANNELI NAß touches on the title o...
16/01/2025

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.

In her text, MIRA ANNELI NAß touches on the title of the exhibition "Destroying Photography" through the planes of (photographic) materiality, (photo) theory, and (photo) history, but also through photography as a medium of historiography and death, of censorship or erasure at the same time. Indeed, photography has always been distinguished by a dialectics of preserving and destroying.

Mira Anneli Naß, o.T., 2024. 3 inkjet prints, 50 × 40 cm each.
Photo: MK

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9. MITKO MITKOV (b. 1989 in Ruse, BG) lives and works...
15/01/2025

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.

MITKO MITKOV (b. 1989 in Ruse, BG) lives and works in Hamburg (DE). He works toward translating (non)verbal ideas and concepts into appropriate forms that vary from printed matter through sound-based pieces to fluid social constructs. Under the name Dialog mit der Jugend (Dialogue with Youth), he releases records and is the founder of the Bad Boy Jesus City Swimmers Club as well as the platform Bad Boy Jesus Tape Club that navigates between contemporary music and experimental sound.

Mitko Mitkov, A nice pair, 2024. Lithograph on handmade paper, clip frames, 50 × 40 cm each.
Photo: MK

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9. In his photographic practice, MAXIMILIAN KOPPERNOC...
14/01/2025

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.

In his photographic practice, MAXIMILIAN KOPPERNOCK experiments with perspective, light, and manipulation so as to lend atmosphere to his pictures. He links personal observations and thematic explorations with a visual negotiation of the medium of photography. In his work "In and Out" (2024), Koppernock brings two clip frames together under a printed sheet of glass. It is a monochrome rendering, meant to serve as a symbol of two entities uniting. At the center of the piece, the tongues of two men touch—a motif that contrasts with the destruction in the clip frames below, where a blurred torso stretches out, appearing to dissolve beneath the surface of the water. This juxtaposition invites the viewer to contemplate closeness and solidarity in a fragmented world.

Maximilian Koppernock, In And Out, 2024. Archival Fine Art pigment prints in 2 clip frames, superimposed with a printed glass plate, 40 × 130 cm.
Photo: MK

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9. ALMUT HILF reflects on communication processes and...
13/01/2025

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.

ALMUT HILF reflects on communication processes and power relations in the use of architecture. She perceives built structures as active counterparts and analyzes the inner orientation of spatial gestures. Cyclical, continuous groups of works in the form of analogue collages deal with the coherence of multiple perspectives, plurality, and contingency. In her contribution to the present exhibition, she spreads cutouts from one of her collages on shingles of glass—layered as used in the paneling of buildings. There is a gesture of volatilization and protection present at the same time.

Almut Hilf, o. T., 2024. Laser on foil, glass, 50 × 40 cm.
Photo: MK

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9. In his practice, MAIK GRÄF focuses on q***r theory...
12/01/2025

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.

In his practice, MAIK GRÄF focuses on q***r theory and history. He poses questions related to q***r subjectivity. His photographs address topics of bodily and emotional perception, his objective being to evoke emotions in the beholder and to convey the aspect of vulnerability through the materials he uses. Based on an understanding of photography as a sensory medium, the sensitive surfaces of analogue photography provide the basis for his work and resemble, in terms of vulnerability, the skin of humans.
In "My Whole Being" (2024), Gräf places a thematic focus on the destructive elements that are often part of q***r subjectivization, and that are directed toward people as insults by the heteronormative outside world. Arising here is a connection between the arrows used by Roland Barthes to describe the “punctum”—Saint Sebastian (as a q***r icon) depicted as being hit by arrows in Gräf’s picture—and the condemnations mentioned in the quote by Didier Eribon. After being developed, the Baryta prints were processed using bleach, which assails and tries to dissolve the print. Along the edges, the photographic gelatin layer starts to peel off the paper ground.

Maik Gräf, My Whole Being, 2024. Bleached gelatin silver prints on Baryta, clip frames, text fragment from Didier Eribon, 50 × 40 cm each.

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9. The activities of collecting and researching are t...
11/01/2025

The exhibition DESTROYING PHOTOGRAPHY is on display until February 9.

The activities of collecting and researching are typical of ELISA GOLDAMMER’s work. Taking analogue photography as her point of departure, Goldammer deals in her texts and visual pieces with memories, cities, and the (hi)stories of the people living there. It is through narrative forms that her works make visible how past events continue to have an effect. Here, the focus is on asking questions openly, both as a research strategy and as a way of sparking curiosity and imagination.
It is difficult for us to create exact memories, similar to how photography is not truly objective. In "Es war alles ganz anders" (Everything Was So Different, 2023), Elisa Goldammer examines flawed snapshots from an estate that someone left behind: she mechanically alters found negatives, which have perforations, writing, and cuts. To produce the manually made prints, Goldammer used material from the original period in which the negatives were made. Their arrangement in the frame, covered by tracing paper with a spider-web motif, alludes to the inability to properly remember. The pictures have accepted that it is impossible to show what we want: the way things really used to be.

Elisa Goldammer, Es war alles ganz anders, 2023. 2 hand prints (Baryta), spider paper, paper, clip frames, 40 × 50 cm each.
Photo: MK

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