MILES ALDRIDGE | "after Catellan" & "15 Minutes Fame Polaroid Portrait Project" 10. September 2026 - 14. November 2026

Michael Fuchs Galerie presents a solo show from the British photographer and artist Miles Aldridge, presenting (after Cattelan), on view from 11 September to 14 November 2026. To mark the opening and Berlin Art Week, the gallery will also host a four-day, in-person edition of Aldridge's ongoing 15 Minutes of Fame Polaroid portrait project, from 10 to 13 September 2026.
Booking are available at the webiste

“One day, I received an intriguing email from the artist Maurizio Cattelan. He was about to open a survey of his work at the Monnaie de Paris and proposed that his exhibition would make an interesting setting for my work. I loved the idea and sent Maurizio some sketches, which he approved. We agreed to meet outside the museum at seven in the evening as it was closing, and to spend the whole night inside together making images. When I emerged twelve hours later, at seven in the morning, just as the cleaners were arriving, I had a handful of extraordinary Polaroids as evidence of the work I had shot on film.” - Miles Aldridge

‘After Cattelan’: the iconography of historic and moral meaning, of good and evil, becomes an absurdist boudoir. The image exemplifies postmodern Romanticism, and the reclamation of romantic irony – the palette of a neo-Gothic fantasy: an urgent and persistent need for spectacle and sensation, ritual, the bizarre, unhinged and uncanny,disruption, heightened style, games, seduction, exaggerated emotion, fear, poetry, elegy, wonder, perversity, awe, violence, irreverence, myth, voyeurism, intellectual imagination and wit, the beckoning unknown and unknowable - in the face of technology and time, the world shrunk and the universe explained. Standing in the lobby of the new millennium, it could seem as though this reclaimed Romanticism – as a mood, an instinct, a nexus of aesthetic, emotional and intellectual possibilities –is as logical a progression in art as abstraction; a counter-mood of disruption and intervention; an end-of-history imagery, informed, in part, by the memory of post-structural and deconstructionist parlor games of punning, semiotic collage and appropriation that had distinguished postmodern culture. What lies beyond the Deep Space Industrial Style of coolest postmodernism – beyond the crimson songbird on the kettle spout, the insides on the outside of the modern bank, the “guess-what’s-happening-now…” [6] - may be a Romantic engagement with history and human presence, with aesthetic, emotional and cultural event, ramped up to extremes. - Excerpt from the book "Some Kind of Love" Michael Brace Well

Miles Aldridge (b. 1964, London) is a British artist whose vividly saturated, psychologically charged photographs occupy a distinctive space between cinema, painting, and fashion, exploring the false promise of luxury and the fictions of modern life. He studied illustration at Central Saint Martins and remains one of the few photographers still shooting on film.

Aldridge has worked with leading publications including Vogue Italia, The New York Times, The New Yorker, and Vanity Fair, and in 2024 photographed Elton John for TIME's “Icon of the Year” cover. He has collaborated with artists including Maurizio Cattelan, Gilbert & George, and Harland Miller. His work is held in the permanent collections of The V&A, The National Portrait Gallery, The British Museum, ICP New York, and Fondation Carmignac, among others, and has been the subject of major institutional exhibitions at Fotografiska, Somerset House, and the Hangaram Design Museum, Seoul.