Tableau C. L. Part I
Tableau C. L. Part II
Tableau A. K.
Das geht auch vorbei
About
About
The Unsaid is a photographic series by Carina Linge exploring memory, absence, and the emotional traces of personal and collective histories.
A classic car without a license plate waits in a garage. A red thread leads to an old photograph. Toy building blocks rest on a flowered sofa while a human skull lies on the floor below.
Tracing hidden childhood memories and family histories, the images become small emotional journeys through time. Linge translates personal states into intuitively readable photographs filled with symbolic references and subtle socio-political undertones.
The subconscious and long-forgotten surface throughout the series: a figure disappears ghost-like into darkness, moths appear as symbols of the psyche. Clues and fragments mingle with hopes, longings, and memories that shape human identity and relationships.
Tableau H. S.
Tableau C. P.
Tableau S. v. H.
Lass leuchten dein Antlitz
About
About
Nachsommer is a photographic series by Carina Linge created at the evangelical convent Kloster Lüne, portraying the inner worlds and life paths of three nuns.
People have always felt the need to live a holistic life. The social, political, economic and ecological problems leave us helpless and powerless. Our present cannot satisfy the longing for a holistic life. Yet never before have so many different models of life been possible as they are today. And yet – with so many possible ways of living – a convent in a monastery where seven conventuals currently live together with the abbess and are involved in social, cultural and educational areas seems strangely out of touch with the times. What is their perspective, their view of our present? Do they lead a holistic life? How do they perceive their world around them? Are they at one with themselves? What can one learn from them?
Individual pieces
Single No. I
Single No. II
Single No. III
Objekt Klein a
Couple No. I
Couple No. II
Fragile
About
About
In the series Einsamer Eros (Lonesome Eros), Carina Linge creates symbolic portraits of singles and couples in the form of tableau-like image constellations resembling psychograms.
Instead of showing faces, the works combine staged body imagery, still lifes, short texts, and found objects that hint at specific individuals and their emotional states. Drawing on the visual language of classical painting, Linge creates metaphorical and symbolically charged images that offer insight into the inner worlds of the portrayed subjects.
Rather than depicting a likeness, portraiture becomes a process of interpretation — an attempt to approach a person’s life from different perspectives and to translate subjective experiences into visual form.
Infrathin (Tableau)
Psyche
Liebeszauber
Danse Macabre
Allegorie der Liebe
Omnia vincit Amor
Individual works
Voicy ton maître
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About
In the series Über das Begehren (On Desire), Carina Linge explores what remains invisible: the traces that linger like shadows, impressions, or residual warmth — memories, projections, relationships, and above all emotions.
The works refer to absence and longing, to things that have passed, were never present, or exist only in imagination. Desire appears here as a space shaped by memory, loss, and projection.
Linge’s imagery draws on diverse iconographic traditions, ranging from Baroque vanitas still life to Greco-Roman mythology, allegory, and medieval love magic. Sexual undertones and personal references intertwine with historical visual languages, allowing the symbolically charged and often melancholic reflections on desire to resonate across time.
Monodram I (Tableau)
Monodram II (Tableau)
Monodram III (Tableau)
Individual works
About
About
Theatrum mundi is a photographic series by Carina Linge exploring the ambivalences of freedom, mobility, and self-realization in contemporary life.
Figures appear on historic stages and interiors. Bodies stand in theatrical light, gestures frozen between action and reflection. Architectural spaces evoke the atmosphere of classical theatre, where roles are assumed and identities performed.
Referencing the historical concept of the theatrum mundi – the world as a stage – the series reflects on a generation shaped by global mobility and seemingly unlimited possibilities, yet marked by uncertainty, fear, and unfulfilled longing.
Created at historic locations such as the Goethe Theatre in Bad Lauchstädt, the photographs combine staged body imagery, symbolic elements, and architectural settings. Public roles and private emotions intersect, revealing the fragile balance between outward appearance and hidden inner worlds.
Der Alb I
Der Alb II
Der Alb III
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About
„In den Tiefen der Gründe“ (In the Depths of Reason) is a photographic series by Carina Linge exploring the fragile boundary between consciousness, dreams, and emotional reality.
Each night a stream of images, thoughts, and emotions passes through us. We wake confused, fearful, excited, or longing. The seemingly absurd fragments of dreams challenge our belief in ourselves as rational and self-controlled beings — reminding us that we spend a third of our lives in a state close to illusion. Through carefully placed references to art history, Linge uses familiar visual languages as a key to explore the emotional constitution and vulnerability of contemporary humans. The visible world expands into the realm of imagination, and movement becomes an expression of feeling itself.
The series invites viewers into a liminal space between reality and fiction — a shifting borderland where memories, associations, and emotions unfold. This ambiguous space can function both as a mirror of reality and as a place of escape.
Närrinnen I
Närrinnen II
Närrinnen III
Närrinnen IV
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About
Närrinnen is a photographic series by Carina Linge portraying contemporary women artists through symbolic role portraits inspired by the historical figure of the fool.
In earlier times, fools held up a mirror to their masters and to society. Through wit, irony, and provocation they revealed uncomfortable truths and exposed social contradictions. In many ways, artists still take on a similar role today. Yet within the art world, women artists often face additional structural challenges and inequalities.
Against this background, Linge portrays female artists as modern “fools” in staged pictorial compositions. Drawing on the figure types of the Commedia dell’arte, the works create charged role portraits in which personal stories, emotions, and reflections of the portrayed artists subtly emerge.
The series combines theatrical imagery with symbolic references, allowing the portraits to oscillate between social commentary and intimate psychological insight.
A primo ad extremum
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About
A Primo ad Extremum is a photographic installation by Carina Linge exploring personal memory objects and their emotional value.
Objects with a unique history or a strong emotional bond can be found in almost every home. Often they are displayed like small treasures — both as cherished possessions and as carriers of personal memories.
Referencing historical cabinets of curiosities, Linge stages these private treasures and photographs them against a neutral background. Carefully illuminated and isolated, the objects appear as auratic images that resemble a catalog of intimate stories and meanings.
Within the installation, the photographs are presented alongside selected objects from existing collections. Through this juxtaposition, the works enter into a layered dialogue that creates a dense network of associations extending far beyond the original significance of the objects.
Tableau C. v. L.
Tableau S. v. S.
Tableau K. T.
Tableau L. E.
About
About
New Age of Dissent is a photographic series by Carina Linge portraying contemporary women artists through symbolic, psychogram-like tableaux.
In staged compositions combining body imagery, still lifes, objects, and subtle gestures, the portraits reveal emotional states and personal narratives rather than conventional likenesses. The figures appear within carefully constructed scenes that suggest inner tensions, doubts, and moments of resistance.
The title references Laurie Penny’s 2011 book Notes from the New Age of Dissent. Describing herself as a “feminist futurist,” Penny writes passionately and critically about the fears and frustrations shaping a younger generation.
Linge’s portraits resonate with these themes. While translating the protagonists’ emotional worlds into symbolic visual language, the series also reflects broader social issues such as sexual identity, exclusion, structural inequality, and critiques of contemporary capitalism.