Friedrich Seidenstücker (1882-1966) ist bekannt für seine atmosphärischen Aufnahmen vom Berliner Alltagsleben der Weimarer Republik. Unter den Tier- und Zooliebhabern erwarb er sich mit seinen einfühlsamen Tierstudien einen geradezu legendären Ruf und für Historiker sind seine eindringlichen Aufnahmen des zerstörten Berlin eine kostbare Quelle. Seine Bilder wirken, als wären sie das Resultat einer spontanen, Anteil nehmenden Momentfotografie, frei von jeder Überhöhung oder Extravaganz, und zeugen von Humor, den man in der Fotografie eher selten findet. Sein Werk ist von einem grundsätzlichen Optimismus getragen, ohne jedoch die Härten, die Armut und das Elend der Zeit zu verschweigen. Neben sieben Textbeiträgen, die sich mit Seidenstückers Werk im Kontext der Fotografiegeschichte der ersten Hälfte des 20. Jahrhunderts auseinander setzen, beinhaltet die Publikation auch einen wissenschaftlichen Anhang. Ausstellung: Berlinische Galerie, Berlin 29.9.2011-30.1.2012.
The renowned artist Monica Bonvicini (b. 1965, Venice, Italy) has developed an incisive pictorial language and a cross-media approach over the years.With her installations, drawings, and sculptures, she poses questions with respect to gender and power relationships in quite diverse contexts. She focuses on the fields of architecture and sexuality, as well as politics and representation, and reveals how they are interconnected.With her first institutional solo presentation in Berlin, the Berlinische Galerie honours the artist and her particular importance for the city.This exhibition catalogue/artist's book, with texts on Bonvicini's oeuvre and numerous images, is published on the occasion of the site-specific exhibition, Monica Bonvicini at Berlinischen Galerie, Berlin (13 September 2017 - 26 February 2018).English and German text.
Since starting out as a photographer in the mid-1960s, Boris Mikhailov (b. Kharkov, Ukraine, 1938; lives and works in Kharkov and Berlin) has built a wide-ranging and strikingly multifaceted oeuvre. A virtuoso of his art, he has explored a great variety of ways of using the medium to paint a picture of his immediate surroundings that is as unsparing as it is ironic. The book--which accompanies his largest exhibition in Germany to date--brings together a selection of works that includes the experimental pictures of his early years as well as his most recent photographs created in Berlin.
As one of the protagonists of the Berlin Dada movement, Hannah Höch railed against tradition and conservatism in 1920s Germany. Höch and such cohorts as George Grosz and Raoul Hausmann raised anarchic revolution through cutting photomontage, nonsensical performance, and biting visual satire. A singular and important work in the artist's oeuvre is the so-called "Sammelalbum," which she produced and pasted together from found imagery for her own pleasure and use, circa 1933. In it, she arranged a choice selection of newspaper and magazine photographs cut from popular German magazines of the time, such as the "Berliner Illustrirte" and "Der Dame." A diverse, allusive group of images they are, representing everything from her favorite film stars to oddly captured animals and toy dolls, nudes, landscapes, scenic travel vistas and synchronized dancers. By combining the collected pictures in continuous and sometimes contradictory sequences and double-page spreads, Höch created startling and often jarring photo collages. Never before published, "Album" can be considered to represent a heretofore unknown aspect of Höch's work, since its style of collage differs strongly from her well-known photomontages. This publication presents the entire "Album" in an exquisite facsimile reproduction, maintaining the filmic quality of its order and layout. In an accompanying essay, Gunda Luyken considers the content and history of the "Album," locating it in the wider context of Höch's oeuvre.
1910 - 2003 ; Fotografin - Budapest, Berlin, Amsterdam ; [anlässlich der Ausstellung Eva Besnyö, 1910 - 2003, Fotografin, Budapest - Berlin - Amsterdam, Das Verborgene Museum zu Gast in der Berlinischen Galerie - Landesmuseum für Moderne Kunst, Fotografie und Architektur, 28. Oktober 2011 - 27. Februar 2012]
1910 - 2003 ; Fotografin - Budapest, Berlin, Amsterdam ; [anlässlich der Ausstellung Eva Besnyö, 1910 - 2003, Fotografin, Budapest - Berlin - Amsterdam, Das Verborgene Museum zu Gast in der Berlinischen Galerie - Landesmuseum für Moderne Kunst, Fotografie und Architektur, 28. Oktober 2011 - 27. Februar 2012]
Eva Besnyö was not only an exceptionally gifted photographer but was also politically active during her lifetime: she acquired her photographic skills in the studio of József Pécsi in Budapest, became aware of the aesthetics of modern photography in the early 1930s in Berlin and became a respected master photographer in Amsterdam. Eva Besnyö's life and work were not only influenced by Modernism the arts but also by the dramatic political movements and events of 20th century Europe such as Fascism, National Socialism, immigration and persecution. By the time the Hungarian-Jewish photographer arrived Berlin in 1930, she had made the two most momentous decisions of life: to make photography her profession and to leave Fascist Hungary forever. Modern art was a passion for her. She produced true masterpieces with her Rolleiflex during her expeditions around Berlin. When Besnyö immigrated to Amsterdam in 1932, she was one of the outstanding representatives of "New Photography" together with László Moholy-Nagy and Erwin Blumenfeld: her portraits, architectural views and landscapes have retained their intensity to this day. She worked as a photographer until the 1980s, and among her other roles as a chronicler of the "Dolle Mina" feminist movement. In the 1990s she won prestigious awards Germany and The Netherlands for her outstanding body of work."--Publisher's website.
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