Exhibition dates: 27th April – 10th November, 2024
Presentation in the Photography Room
Curator: Barbara Engelbach
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
77. Deutscher Katholikentag, Köln (German Catholic Day)
1956
Gelatin silver paper
29.6 x 39.6cm
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
A special event in Cologne was the 77th Catholic Day in 1956. It attracted over 800,000 people to the closing rally. Konrad Adenauer gave a speech at the time as Chancellor of the Federal Republic of Germany. Chargesheimer does not show the reason for the crowd, but the mass that forms an uncanny formation when it raises its right hand in greeting. In other photographs, the crowd appears to consist of individual people in random constellations.
I was born in 1958. Britain was still recovering from the privations of the Second World War with rationing not ending until mid-1954. Germany was a divided country, West and East, with communism an ever present threat across the border. The Iron Curtain.
Chargesheimer’s objective street photographs picture a Germany which remembers (is embedded in) the horrors of the past even as it strives to create a new future. His images document the immediacy of this world of darkness and light in dystopian and utopian scenes… as though people are dreamt into strange, fractured cities.
In dystopian photographs such as Hinterhof, Cologne (Around 1957, below) and Unter Krahnenbäumen, Cologne (Before 1958, below), Chargesheimer “captured the mountains of rubble in expressionistic images; the bombed-out ruins of houses radiate a gloomy blackness. Dark backgrounds and harsh contrasts can also be found in his portrait photos.” Illicit, fleeting intimacies and remembrances stain the photographs.
In seemingly mundane utopian photographs, Chargesheimer’s charged eye observes the conflation of the everyday and the absurd: the conformity of suit, tie, dress and handbag in Cologne (Around 1957, below) or the shredded paper being spread by the woman for the celebration of Corpus Christi in Ohne Titel (Konfetti streuendes Mädchen) (c. 1956-1957, below) in an almost empty street, the vanishing point leading off into an interminable, indeterminate distance.
“Chargesheimer takes an interest in people and their lives. This is reflected in the long series of images of individual people and their situations. He photographs a boisterous woman in a top hat in a bar, a couple with a dog in an inn, people decorating the street with flowers and shredded paper for Corpus Christi. Chargesheimer’s careful selection and editing bring the photographs to life. You can immerse yourself in them like in a neo-realist film from the 1950s.” (Text from Museum Ludwig)
Chargesheimer’s documentary visual style (his everyday language of light and life) has a hard cutting edge, sharpened by Germany’s political and social situation – that macrocosmos reduced and intensified in the microcosmic theatre of the street. His photographs alter both spatial and temporal perceptions through their “topographic immediacy… plung[ing] viewers into the nearly real-time plight of believable and flawed protagonists.”1
The drama of the streets. Dark and light. Such is life.
Dr Marcus Bunyan
1/ Ara H. Merjian, Rhiannon Noel Welch. “It’s a Neorealist World,” on the Art In America website September 22, 2020 [Online] Cited 01/11/2024
Many thankx to Museum Ludwig for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“Durch Straßen wie diese führte mein Schulweg, sieben Jahre lang; viele tausend Male bin ich durch solche Straßen gegangen, aber nie in sie eingedrungen; erst viel später – in der Erinnerung begriff ich, was Straßen wie diese bedeuten, ich begriff es, wie man plötzlich Träume begreift, wenn ich in fremden Städten stundenlang durch Straßen ging und eine wie diese suchte, aber nicht fand.”
“My way to school led through streets like these for seven years; I walked through such streets many thousands of times, but never entered them; only much later – in memory – did I understand what streets like these meant, I understood it in the way one suddenly understands dreams when I walked for hours through streets in strange cities and looked for one like this but did not find it.”
Heinrich Böll Streets Like These (1958) from Unter Krahnenbäumen. Bilder aus einer Straße. Mit einem Text von Heinrich Böll (Unter Krahnenbäumen. Pictures from a street. With a text by Heinrich Böll) (Google Translate of the German)
Intimate moments and the rough Rhineland: under the pseudonym Chargesheimer, Carl-Heinz Hargesheimer became a photography legend in post-war Cologne. The Museum Ludwig celebrates the 100th birthday of the former citizen.
He captured the mountains of rubble in expressionistic images; the bombed-out ruins of houses radiate a gloomy blackness. Dark backgrounds and harsh contrasts can also be found in his portrait photos. For example, on the famous “Spiegel” cover photo from 1956 with a portrait of Chancellor Konrad Adenauer, which for some was all too diabolical and therefore damaging to the election campaign. Romy Schneider and Jean-Paul Belmondo were later better off.
His early death remains a mystery to this day. Chargesheimer died on New Year’s Eve 1971, probably taking his own life. He was only 47 years old.
Installation views of the exhibition Chargesheimer, Museum Ludwig, Köln 27. 4. – 10.11.2024 showing in the bottom image Chargesheimer’s Große Vitrine (Gebetsmühle) (Large display case (prayer wheel)) Nd
Photo: Rheinisches Bildarchiv Köln/Marc Weber
On May 19, 2024, Cologne photographer Karl Heinz Hargesheimer, who was known as Chargesheimer (1924-1971), would have turned one hundred. To celebrate the centenary of his birth, Museum Ludwig will display a selection of around fifty of his works in the Photography Room. Chargesheimer rose to fame with his photo books Cologne intime and Unter Krahnenbäumen, both of which focus on everyday life in Cologne. The presentation includes forty-three pictures taken within the context of these two series. Two videos allow visitors to access the contents of the photo books. In addition, the presentation includes three of Chargesheimer’s lesser-known sculptures called Meditationsmühlen (Meditation Wheels) and six of his abstract photographic experiments.
In 1957 Chargesheimer’s photographs were published in Cologne intime, a photo book organised by Hans Schmitt-Rost, the then director of the Nachrichtenamt, or news agency, in Cologne. Chargesheimer was tasked with taking representative images of the reconstruction of the city, which had been reduced to ruins in the war, as well as depicting the “typical” residents of Cologne. The photographs contributed by Chargesheimer reflect his unusual, direct view of everyday life. In his 1958 book, Unter Krahnenbäumen, which he organised himself as an independent project, he juxtaposed similar photographs in starkly contrasting series of motifs. This documentation tells the unvarnished truth while affectionately exploring the street in Cologne whose name is featured in the book’s title. Chargesheimer shows life in the streets and in the bars of a lively Cologne neighbourhood that was still intact. German writer Heinrich Böll wrote in the foreword to this publication, “Streets like this one are perhaps the only places where people really live.”
Chargesheimer pursued many interests. Alongside his documentary studies, he investigated photography as an image-producing medium. In the late 1940s, he began experimenting with light graphics and photochemical processes and creating photographs without a camera. Chargesheimer described his experiments with photographic plates and negatives in a text accompanying his first exhibition in Milan in 1950: “Panning, wiping, scraping, cooling, burning – adding acids, bases, colours, and varnishes.” These experiments resulted in painterly works in the style of Art Informel that was prevalent at the time.
In 1967 Chargesheimer began creating kinetic works called Meditationsmühlen (Meditation Wheels) made of Plexiglas. Three of these works from the collection of the Museum Ludwig will be presented in the exhibition for the first time in thirty years. Consisting of multiple levels of crystalline elements made of Plexiglas, the dome-shaped constructions are put into motion through a complex system of gears. The bewildering variety of light reflexes from Plexiglas prisms creates an unusual contrast to the precise mechanics of the gears. Chaos and control seem to complement one another here.
Chargesheimer
On May 19, 2024, the Cologne photographer Chargesheimer (1924-1971), born Karl Heinz Hargesheimer, would have celebrated his hundredth birthday. To mark the occasion, the Museum Ludwig is showing a selection of around fifty of his works. Chargesheimer rose to fame with his photobooks Cologne intime and Unter Krahnenbäumen, which are dedicated to the city of Cologne. In them, he casts a singular and incisive gaze on everyday events. These images convey the artist’s attentive and empathetic approach to photographing the day-to-day lives of people in the various neighbourhoods he documented.
Chargesheimer explored photography’s diverse possibilities. In addition to his documentary work, he utilised photography’s potential as a pictorial medium. In the late 1940s, he began experimenting with light graphics and photochemical processes to produce cameraless photographs. The resulting images are painterly and abstract. From 1967, Chargesheimer also created kinetic sculptures made of Plexiglas, which he called Meditation Wheels.
Press release from Museum Ludwig
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Formlose Mitte (Shapeless Center)
1949
Gelatin silver paper, light graphics
59.6 x 47.7cm
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Untitled
Around 1950
Gelatin silver paper, light graphics, mixed media
59.8 x 49.7cm
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
Chargesheimer (Karl-Heinz Hargesheimer, German 1924-1971)
Ohne Titel (Konfetti streuendes Mädchen)
Untitled (girl scattering confetti)
c. 1956-1957
Museum Ludwig, Cologne
Chargesheimer (Karl-Heinz Hargesheimer, German 1924-1971)
Fußballplatz (Football field)
1957
From: Im Ruhrgebiet (In the Ruhr area)
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv, Köln
Cologne intime, 1957
In the mid-1950s, Chargesheimer photographed different views of Cologne for his photobook Cologne intime. Hans Schmitt-Rost, then head of the municipal news agency in Cologne, had commissioned him to document the successful reconstruction of the city. At the same time, he was to capture images of “typical” local residents. Chargesheimer photographed streets with empty properties cleared of rubble and the prominent new buildings in the city centre. His photographs show crowds of people on the main shopping streets, at the 77th Catholic Convention in Deutz in 1956, and at the Federal Garden Show in 1957. Chargesheimer enlarged details to show particular individuals going about their day. He focused on their distinctiveness, the quality that made them stand out in the crowd.
Hans Schmitt-Rost (1901-1978), who designed the book, uses his evaluative comments to dictate how the photographs should be read. He headed the Cologne City Intelligence Office from 1945 to 1966. In this role, he played a key role in shaping Cologne’s self-portrayal as a city removed from contemporary history, whose actual history is rooted in the Middle Ages. He excluded the Nazi era or relativized it as something foreign to the people of Cologne.
Text from Museum Ludwig
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Schildergasse, Cologne
Before 1957
Gelatin silver paper
29.8 x 39.7cm
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv, Köln
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Cologne
Before 1957
Gelatin silver paper
29.9 x 39.7cm
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv, Köln
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Hohe Straße, near Große Budengasse, Cologne
Before 1957
Gelatin silver paper
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
Chargesheimer captured Hohe Straße from a distance. But he wasn’t concerned with the distance to the action, because he highlighted individual people. They stand out in the crowd because they make eye contact with him or speak to him.
The Hohe Straße in Cologne is an important motif for the publication. The filled shop windows and the streams of passers-by represent the economic boom after the currency reform in 1948… The Hohe Straße was already an important shopping street at the end of the 19th century. The Tietz department store, built in 1895, was also famous. Its owner, Alfred Leonhard Tietz, was forced during the Nazi era to sell the department store chain to Commerzbank, Deutsche Bank and Dresdner Bank for well below market value. He was robbed of his assets and had to flee. The department store was renamed Westdeutsche Kaufhof AG and continued to operate under this name after 1945.
Text from Museum Ludwig
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Kirmes Unter Krahnenbäumen
Before 1957
Gelatin silver paper
26.3 x 39.8 cm
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Kirmes Unter Krahnenbäumen
Around 1957
Gelatin silver paper
26.3 x 39.8cm
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv, Köln
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Autobahnzubringer im Rechtsrheinischen (Motorway feeder road on the right bank of the Rhine)
Around 1957
Gelatin silver paper
39.7 x 29.8cm
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Hinterhof, Cologne
Around 1957
Gelatin silver paper
24.7 x 19.6cm
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
Away from the rebuilt city centre, Chargesheimer photographed intimate neighbourhoods for the photo book Cologne, which were characterised by old buildings, small shops and ruined properties. He also photographed Cologne’s nightlife in bars, workers’ pubs and restaurants with prostitutes without making any judgments.
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Cologne
Around 1957
Gelatin silver paper
30.4 x 23.3cm
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Cologne
1957
Gelatin silver paper
30.4 x 23.3cm
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Unter Krahnenbäumen, Cologne
Before 1958
Gelatin silver paper
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
Unter Krahnenbäumen, 1958
A year after Cologne intime was published by Greven Verlag, they invited Chargesheimer to realise another photobook. This time, the selection and arrangement of the photographs were placed firmly in his hands. He dedicated the book to the small street of Unter Krahnenbäumen in Cologne. The opening pages present everyday life on the street, documenting people working or chatting with neighbours. These are followed by images of Carnival, which is celebrated on the street and in pubs until late into the night. Pages dedicated to children and the elderly mark a change in theme, while those devoted to the funfair or preparations for the Corpus Christi procession show a mix of generations. On the final pages, photographs of locals dancing and laughing on Unter Krahnenbäumen and inside its pubs reveal the year-round liveliness of the street.
Chargesheimer takes an interest in people and their lives. This is reflected in the long series of images of individual people and their situations. He photographs a boisterous woman in a top hat in a bar, a couple with a dog in an inn, people decorating the street with flowers and shredded paper for Corpus Christi. Chargesheimer’s careful selection and editing bring the photographs to life. You can immerse yourself in them like in a neo-realist film from the 1950s.
Text from Museum Ludwig
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Unter Krahnenbäumen, Cologne
Before 1958
Gelatin silver paper
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Unter Krahnenbäumen, Cologne
Before 1958
Gelatin silver paper
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Unter Krahnenbäumen, Cologne
Around 1958
Gelatin silver paper
24.7 x 21.3cm
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
The Eigelsteinviertel was a lively and diverse neighbourhood in the 1920s. That changed under National Socialism, when the SA (Storm Division) and later the Gestapo (Secret State Police) persecuted communists. When the Nazis seized power, Jewish residents were expropriated, deported and murdered; Roma families living in Stavenhof, Unter Krahnenbäumen and on Gereonswall were deported to Auschwitz by the Cologne criminal police in the 1940s. After the war, the construction of the Nord-Süd-Fahrt marked a turning point in urban development. In 1957, the master plan for reconstruction came into force, which formed the basis of urban planning until the 1970s. He envisaged a 34-meter-wide lane for the north-south route across the district, which today also cuts through Unter Krahnenbäumen. The street had already been planned in this form during the National Socialist era. Even before the war began, the Nazi city administration had bought up land on both sides of the planned route.
Text from Museum Ludwig
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Unter Krahnenbäumen, Cologne
Around 1958
Gelatin silver paper
24.8 x 21.3cm
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Unter Krahnenbäumen, Cologne
Around 1958
Gelatin silver paper
24.9 x 21.3cm
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Unter Krahnenbäumen, Cologne
1958
Gelatin silver paper
17.9 x 29.8cm
Museum Ludwig, Cologne
Reproduction: Rheinisches Bildarchiv Köln
Chargesheimer’s work with the unwieldy large format camera Linhof Super Technika meant that he spent a while in each location. He became part of the situation because the residents turned to him and started talking to him. Many of the photos were taken on the Catholic holiday of Corpus Christi. The residents decorated the street with green leaves, house altars and shredded paper for the procession.
Chargesheimer (Carl-Heinz Hargesheimer, German 1924-1971)
Kleine runde Meditationsmühle (Small round meditation mill)
1968 /1969
Acrylic, metal, machine part
Diameter: 34cm
Museum Ludwig, Cologne
Photo: Rheinisches Bildarchiv Köln
Gerd Sander (German, b. 1940)
Portrait of Chargesheimer
1969
Gelatin silver paper
27 x 19cm
Museum Ludwig, Cologne
© Gerd Sander, courtesy of Galerie Julian Sander, Köln
Reproduction: Rheinisches Bildarchiv Köln
Museum Ludwig
Heinrich-Böll-Platz,
50667 Köln, Germany
Opening hours:
Tuesday through Sunday: 10am – 6pm
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