Not things. Their echo.

Matthias Koch photographs what remains once the thing itself has vanished — trace, echo, imprint of time on place and memory.

Born in Germany, based in rural southern France after years across Venezuela, Chile and Mexico, he works across four long-term series forming a single constellation — Todtnauberg, Unheimlichkeit, Resonances, Eschaton — each circling the same question: what remains?

Black and white photo of a person's arm and hand, holding a cigarette, with a brick wall in the background.

→ ESCHATON

ESCHATON is the point at which the separate bodies of work converge — and where images that belong to no single series find their place. It is not a retrospective. It is not a summary. It is what happens when a corpus reaches its own horizon and looks back at itself.

A close-up black-and-white photograph of a man with slicked-back hair and glasses, smoking a cigar outdoors.

→ TODTNAUBERG

My grandfather was a Nazi. I grew up in the Black Forest. Todtnauberg begins where beauty and complicity share the same soil.

Group of people standing on a rocky hilltop, some with hats, some taking photos, outdoors in bright sunlight.

→ UNHEIMLICHKEIT

Something is wrong, but nothing has happened yet. Unheimlichkeit photographs that suspension — a present already marked by its own end, familiar and irreparably strange.

A close-up black and white photo of a snail with a patterned shell on a wooden surface, leaving a trail behind.

→ RESONANCES

The land remembers. Not as archive, not as monument — but as texture, as light, as the slow persistence of what has no voice. Resonances is an act of listening.

Selected & featured

2026 Athens Photo Festival , Athens, Greece — shortlisted Todtnauberg

2026 FK Magazine — Todtnauberg

2026 L'Œil de la Photographie — Resonances