Exhibition: ‘Forced Labour. The Germans, the Forced Labourers and the War’ at the Jewish Museum, Berlin

Exhibition dates: 28th September 2010 – 30th January, 2011

 

Gerhard Gronfeld (German, 1911-2000) 'Arrival at the transit camp' 1942 from the exhibition 'Forced Labour. The Germans, the Forced Labourers and the War' at the Jewish Museum, Berlin

 

Gerhard Gronfeld (German, 1911-2000)
Arrival at the transit camp
1942

 

Female forced labourers from the Soviet Union on their arrival at the Berlin-Wilhelmshagen Transit Camp, December 1942.

Source: Deutsches Historisches Museum, Berlin

 

 

This is an emotional and sobering posting.

The photograph of the Liberated forced laborer with tuberculosis by an unknown photographer (1945, below) is as heartbreaking as the photograph of a mother and child, Tomoko Uemura in Her Bath, Minamata (1972) by Eugene Smith. The look on the man’s face when I first saw it made me burst into tears… it is difficult to talk about it now without being overcome. An unknown man photographed by an unknown photographer.

There is something paradoxical about the solidity of the doctor’s steel helmet, his uniform and the fact he is a doctor contrasted with the strength, size and gentleness of his hand as it rests near the elbow of this emaciated man, this human … yet the intimacy and tenderness of this gesture, as the man stares straight into the camera lens – is so touching that to look at this picture, is almost unbearable. Man’s (in)humanity to man.

Some pertinent facts

The Germans abducted about 12 million people from almost twenty European countries; about two thirds of whom came from Eastern Europe. Many workers died as a result of their living conditions, mistreatment or were civilian casualties of the war. They received little or no compensation during or after the war … At the peak of the war, one of every five workers in the economy of the Third Reich was a forced labourer. According to Fried, in January 1944 the Third Reich was relying on 10 million forced labourers. Of these, 6.5 million were civilians within German borders, 2.2 million were prisoners of war, and 1.3 million were located at forced labor camps outside Germany’s borders. Homze reported that civilian forced labourers from other countries working within the German borders rose steeply from 300,000 in 1939 to more than 5 million in 1944.

Examples

Russian Foreign Civilian Forced Labourers in Nazi Germany (total number approximately): 2,000,000

Russian Number of Known and Estimated Survivors Reported by Reconciliation Foundations: 334,500

(Source: Beyer, John C. and Schneider, Stephen A. “Forced Labour under Third Reich – Part 1” (pdf). Nathan Associates Inc.. 1999.)

Russian “volunteer” POW workers

“Between 22 June 1941 and the end of the war, roughly 5.7 million members of the Red Army fell into German hands. In January 1945, 930,000 were still in German camps. A million at most had been released, most of whom were so-called “volunteer” (Hilfswillige) for (often compulsory) auxiliary service in the Wehrmacht. Another 500,000, as estimated by the Army High Command, had either fled or been liberated. The remaining 3,300,000 (57.5 percent of the total) had perished.”

(Source: Streit, Christian. Keine Kameraden: Die Wehrmacht und die Sowjetischen Kriegsgefangenen, 1941-1945, Bonn: Dietz (3. Aufl., 1. Aufl. 1978))


The remaining 3,300,000 had perished. A sobering figure indeed (if you can even imagine such a number of human beings).

Dr Marcus Bunyan


Many thankx to the Jewish Museum in Berlin for allowing me to publish the photographs in the posting. Please click on the photograph for a larger version of the image.

 

 

Unknown photographer. 'Liberated forced laborer with tuberculosis' 1945 from the exhibition 'Forced Labour. The Germans, the Forced Labourers and the War' at the Jewish Museum, Berlin

 

Unknown photographer
Liberated forced laborer with tuberculosis
1945

 

A doctor of the U.S. Army examines a former forced labourer from Russia who was ill with tuberculosis. The Americans had discovered the sick forced labourers in a barrack yard in Dortmund. Dortmund, 30 April 1945.

Source: National Archives, Washington

 

Gerhard Gronfeld (German, 1911-2000) 'Registration at the transit camp' 1942 from the exhibition 'Forced Labour. The Germans, the Forced Labourers and the War' at the Jewish Museum, Berlin

 

Gerhard Gronfeld (German, 1911-2000)
Registration at the transit camp
1942

 

Berlin-Wilhelmshagen Transit Camp, December 1942. Labour office staff registered the forced labourers and handed out employment certificates.

Source: Deutsches Historisches Museum, Berlin

 

Unknown photographer. 'Humiliation of Bernhard Kuhnt in Chemnitz' Nd from the exhibition 'Forced Labour. The Germans, the Forced Labourers and the War' at the Jewish Museum, Berlin

 

Unknown photographer
Humiliation of Bernhard Kuhnt in Chemnitz
Nd

 

The inscription, “Always dignified! The naval fleet’s mutineer Bernh. Kuhnt arrives at his new workplace (washing off the dirt),” refers to the myth that mutinous social democratic and communist sailors were responsible for the defeat of the German empire in the First World War.

Source: Bundesarchiv, Koblenz

 

Workbooks issued by the employment office of the German Reich for foreign forced labourers from the exhibition 'Forced Labour. The Germans, the Forced Labourers and the War' at the Jewish Museum, Berlin

 

Workbooks issued by the employment office of the German Reich for foreign forced labourers; Buchenwald Concentration Camp Memorial, Weimar

 

Unknown photographer. 'Selection in a Prisoner of War Camp: Recruitment for Mining' 1942 from the exhibition 'Forced Labour. The Germans, the Forced Labourers and the War' at the Jewish Museum, Berlin

 

Unknown photographer
Selection in a Prisoner of War Camp: Recruitment for Mining
1942

 

In the summer of 1942, Soviet prisoners of war were selected from the prisoner of war camp Zeithain to perform forced labor in Belgian mines.
Source: Gedenkstätte Ehrenhain Zeithain

 

Selection in a Prisoner of War Camp

In the summer of 1942, Karl Schmitt – head of the Wehrmacht mining division in Liège, Belgium – went to Berlin on vacation with his wife. On the way, he visited the Zeithain prisoner of war camp in Saxony. The Soviet POWs were ordered to present themselves for inspection with the aim of deploying them to Belgian mines under German control. They were accordingly checked for physical fitness. Karl Schmitt decided who was to be transported to Belgium and who was not.

Soviet prisoners of war were frequently put to work in mines. The Reich Security Main Office had ruled that they could be employed only in work gangs kept separate from German workers. The authorities considered the mines particularly suitable in that respect.

Source: Gedenkstätte Ehrenhain Zeithain.

 

 

Over 20 million men, women, and children were taken to Germany and the occupied territories from all over Europe as “foreign workers,” prisoners of war, and concentration camp inmates to perform forced labor. By 1942, forced labourers were part of daily life in Nazi Germany. The deported workers from all over Europe and Eastern Europe in particular were exploited in armament factories, on building sites and farms, as craftsmen, in public institutions and private households. Be it as a soldier of the occupying army in Poland or as a farmer in Thuringia, all Germans encountered forced labourers and many profited from them. Forced labor was no secret but a largely public crime.

The exhibition Forced Labor. The Germans, the Forced Laborers, and the War on view at the Jewish Museum in Berlin provides the first comprehensive presentation of the history of forced labor and its ramifications after 1945. The exhibition was curated by the Buchenwald and Mittelbau-Dora Memorials Foundation and initiated and sponsored by the “Remembrance, Responsibility and Future” Foundation. Federal President Christian Wulff has assumed patronage for the exhibition. The exhibition’s first venue on its international tour is the Jewish Museum Berlin, other venues are planned in European capitals and in North America.

Forced labor was without precedent in European history. No other Nazi crime involved so many people – as victims, perpetrators, or onlookers. The exhibition provides the first comprehensive presentation of the history of this ubiquitous Nazi crime and its ramifications after 1945. It shows how forced labor was part of the Nazi regime’s racist social order from the outset: The propagated “Volksgemeinschaft” (people’s community) and forced labor for the excluded belonged together. The German “Herrenmenschen” (superior race) ruthlessly exploited those they considered “Untermenschen” (subhumans). The ordinariness and the broad societal participation of forced labor reflect the racist core of Nazism.

The exhibition pays special attention to the relationships between Germans and forced labourers. Every German had to decide whether to treat forced labourers with a residual trace of humanity or with the supposedly required racist frostiness and implacability of a member of an allegedly superior race. How Germans made use of the scope this framework reveals something not only about the individuals but also about the allure and shaping power of Nazi ideology and practice. Through this perspective, the exhibition goes beyond a presentation of forced labor in the narrow sense to illustrate the extent to which Nazi values had infiltrated German society. Forced labor cannot be passed off as a mere crime of the regime but should rather be considered a crime of society.

Over 60 representative case histories form the core of the exhibition. As is true of the majority of documents on show, they resulted from meticulous investigations in Europe, the USA, and Israel. Moreover the exhibition team viewed hundreds of interviews with former forced labourers that have been carried out in recent years. In terms of content, these case histories range from the degrading work of the politically persecuted in Chemnitz through the murderous slave labor performed by Jews in occupied Poland to daily life as a forced labourer on a farm in Lower Austria.

Among the surprises of the extensive international archival research was discovering unexpectedly broad photographic coverage of significant events. The photos relating to the case histories represent the second pillar of the exhibition. Whole series of photos were traced back to their creator and the scene and people depicted. This presentation, based on well-founded sources, allows quasi dramatic insight into aspects of forced labor. Cinematically arranged photo or photo-detail enlargements form the introduction to the continued inquiry into the history of forced labor.

The exhibition is divided into four sections. The first covers the years from 1933 to 1939 and unveils in particular how the racist ideology of Nazi forced labor struck roots. What was propagated up to the beginning of WWII, partly laid down in laws and widely implemented by society in practice, formed the basis for the subsequent radicalisation of forced labor in occupied Europe culminating in extermination through labor. This escalation and radicalisation is the focus of the second section of the exhibition. The third part covers forced labor as a mass phenomenon in the Third Reich from 1941/1942, ending with the massacre of forced labourers at the end of the war. The fourth section explores the period from the time of liberation in 1945 to society’s analysis and recognition of forced labor as a crime today. Former forced labourers have the last word.

Press release from The Jewish Museum website

 

Unknown photographer. 'Daimler facility in Minsk' 1942 from the exhibition 'Forced Labour. The Germans, the Forced Labourers and the War' at the Jewish Museum, Berlin

 

Unknown photographer
Daimler facility in Minsk
1942

 

Female forced laborers of the Daimler facility in Minsk, September 1942.

Source: Mercedes-Benz Classic, Archive, Stuttgart

 

Minsk: German firms in occupied Eastern Europe

In Minsk, a town which had suffered major destruction, Daimler-Benz ran a large repair facility for motorised Wehrmacht vehicles. Together, Daimler and Organisation Todt set up more than thirty repair sheds on the grounds of a ruined military base. With a workforce of five thousand, the facility was soon one of the largest enterprises in occupied Eastern Europe. The management exploited prisoners of war and members of the local population, among them Jews. Labourers were also deported from White Russian villages to the Minsk works as part of the effort to crush the partisan movement.

In the occupied areas of Eastern Europe, many German companies took advantage of the opportunity to take over local firms or establish branch operations. The unlimited availability of labourers was an important factor in their business strategies.

 

Unknown photographer. 'Foreign workers at BMW in Allach' 1943 from the exhibition 'Forced Labour. The Germans, the Forced Labourers and the War' at the Jewish Museum, Berlin

 

Unknown photographer
Foreign workers at BMW in Allach
c. 1943

 

All the foreigners in aircraft engine production had to be visibly identifiable as such. The Soviet prisoners of war had the “SU” symbol on their jackets. Concentration camp inmates could be recognised by their striped uniforms. These photographs were most likely propaganda photos. Munich-Allach, c. 1943.

Source: BMW Group Archiv.

 

Munich-Allach: Working for BMW

Toward the end of the war ninety percent of the workforce at the largest aircraft engine factory in the German Reich – BMW’s plant in Munich-Allach – consisted of foreign civilian workers, POWs and concentration camp inmates. The number of workers had risen from 1,000 in 1939 to more than 17,000 in 1944.

Forced labourers worked not only in the assembly halls, but also on the factory’s expansion. Due to BMW’s importance to the armament industry, the authorities gave it priority over other companies in the assignment of workers. Nevertheless, its personnel demand was never completely met.

Some of the Western European workers lived in private quarters. For all others, barrack camps were set up all around the factory grounds until 1944, ultimately accommodating 14,000 people. That figure included several thousand concentration camp inmates which the company management had applied for already in 1942.

 

Unknown photographer. 'KZ-prisoners on the industrial union color building site, Auschwitz' c. 1943 from the exhibition 'Forced Labour. The Germans, the Forced Labourers and the War' at the Jewish Museum, Berlin

 

Unknown photographer
KZ-prisoners on the industrial union color building site, Auschwitz
c. 1943
Source: © Bundesarchiv, Koblenz

 

Unknown photographer. 'Liberated Jewish women' 1945 from the exhibition 'Forced Labour. The Germans, the Forced Labourers and the War' at the Jewish Museum, Berlin

 

Unknown photographer
Liberated Jewish women
1945

 

These young Jewish women were released from a forced labor camp at Kauritz (Saxony) by U.S. Army troops in early April, 1945. They are part of a large group removed from homes in France, Holland, Belgium and other occupied areas in Europe.

Source: National Archives, Washington

 

Unknown photographer. 'Wladyslaw Kolopoleski' Nd from the exhibition 'Forced Labour. The Germans, the Forced Labourers and the War' at the Jewish Museum, Berlin

 

Unknown photographer
Wladyslaw Kolopoleski
Nd

 

“In addition to the hard work, which exceeded my strength, I was beaten on the slightest provocation, sometimes to the point of unconsciousness. Once, for example, I suffered a severe head injury after I was beaten by Max Ewert, an SA officer. I not only lost consciousness, but I had to have head surgery,” wrote Władysław Kołopoleski, a young Pole born in Łódź in 1932. He was deployed in April 1940 on the estate of mayor Max Ewert in Gervin, now Górawino, in Pomerania.

Source: Foundation “Polish-German Reconciliation,” Warsaw

 

 

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Review: ‘presentation/representation: photography from Germany’ at the Monash Gallery of Art, Wheelers Hill, Melbourne

Exhibition dates: 3rd July – 30th August, 2009

Curator: Thomas Weski

Artists: Laurenz Berges, Albrecht Fuchs, Karin Geiger, Claus Goedicke, Uschi Huber, Matthias Koch, Wiebke Loeper, Nicola Meitzner, Peter Piller, Heidi Specker.

An exhibition of the Institut für Auslandsbeziehungen e. V. (ifa/Institute for Foreign Cultural Relations), Stuttgart, Germany and presented in cooperation with the Goethe-Institut Australien.

 

Matthias Koch (German, b. 1967) 'Submarine Laboe near Kiel, built 1944' 2006 from the exhibition 'presentation/representation: photography from Germany' at the Monash Gallery of Art, Melbourne, July - August, 2009

 

Matthias Koch (German, b. 1967)
Submarine Laboe near Kiel, built 1944
2006
© Matthias Koch

 

 

I was looking forward to this exhibition and so on a cold and very windy winter’s day I ventured out on the drive to the Monash Gallery of Art in Wheelers Hill expecting to be challenged by a new generation of German photographers. I was to be sorely disappointed. This show, with the exception of excellent work by Andreas Koch and good work by Laurenz Berges, epitomises all that I find woeful about contemporary photography.

There is a lack of life and vigour to the work, no sense of enjoyment in taking photographs of the world. The narratives are shallow and vacuous inducing a deep somnambulism in the viewer that is compounded by the silent, deeply carpeted gallery making the experience one of entering a mausoleum (this is a great space that needs to be a contemporary space!). How many times have I seen photographs of empty spaces that supposedly impart some deep inner meaning? See how a great artist like Tacita Dean achieves the same end to startling effect with her film Darmstädter Werkblock (2007). How many times do I need to see ‘dead pan’ portrait photographs that are again supposed to impart rich psychological meaning? I have seen too many already.

Conceptually the work is barren. Technically the proficiency of some of the work is almost non-existent. If this standard of work was put up for assessment in a university course it would fail miserably. For example in Nicola Meitzner’s work Forward Motion (2006), vertical portraits (of the same person in different poses) and streetscapes of Tokyo are poor quality prints mounted in unattractive silver aluminium frames. They are forgettable. If an artist were to study the work of, say, Manuel Alvarez Bravo, then one might gain some insight into how to photograph the city and the people that live in it in a way that elicits a response from the viewer to the photo-poetry that is placed before them.

Uschi Huber’s photographs of boarded up shop fronts, while a nice conceptual idea, are again lacking in technical proficiency and are nothing we haven’t seen many times before while Peter Piller’s ten print-media type pigment prints of girls at a shooting range with rifles do not bare comment on both a conceptual and technical level. Similarly, Wiebke Loeper’s colour photographs of the city of Wismar – houses, roads, water, oat fields, people peering into shop windows – sent to friends living in Melbourne to show them the desolation and rebuilding of the city are seriously year 12 work.

The two redeeming artists are Laurenz Berges and Andreas Koch.

Berges four large type C colour photographs of an empty house and the surrounds as seen through a window are intimately detailed visions of human absence from the built environment: the huts, piles of wood chips, barren trees, the feathers on the floor of one print, the cigarette butts on the floor of another, the marks on the wall in blue and red add to a sense of abandonment and alienation from the environment – traces of human experience, identity and memory etched into the photographic medium.

As the text on the Institut für Auslandsbeziehungen (IFA) website observes,

“Laurenz Berges is a chronicler of absence. His minimalist photographs point to the earlier use of spaces, only fragments of which are shown, whose inhabitants have put them to other, new uses. Berges depicts the traces of this change in austere images that, due to their reduction, tell their stories indirectly and almost involuntarily. These are stories about the existential significance certain spaces have for our identity, and also about their transitoriness and their loss.”1


The star of the show was the work of Matthias Koch. His five large aqua-mounted type C prints from the series Sites of German History (2006) are both technically and conceptually superb, full of delicious ironies and humour. Using an aerial aesthetic (apparently by climbing the ladder of a fire engine that he owns) Koch looks down on the landscape and through his images formulates new ways of seeing national symbols (even though many of them are not in Germany). His re-presentation of spatial inter-relations and objects embedded in their rural and urban surroundings are both simple yet layered and complex.

Unfortunately I have only two photographs (above and below) to show you of his work. None other was available but the images gives you an idea of his raison d’être. The specimen of U-995, built in Kiel in 1944, is presented as a trapped and mounted animal, preserved for our delectation and inspection with gangways and stairs to view the innards. Little hobby craft lie on a beach behind while people paddle in the shallows, a ship barely seen in the distance out at sea. The fact that this U-boat was once used to destroy such a ship, the irony of the proposition, is not lost on the viewer.

Other images in the series include a photograph of the derelict runway of the Heinkel factory as seen from above, the overgrown concrete slabs cracked and lifting, the edges filled with grass, the distant view dissolving into mist and nothingness. The photograph Harbour, Allied landing near Normandy, 1944 (2006, below) shows an American jeep and half-track of the period on the beach of the Allied landing in Normandy, tyre tracks swirling in the sand while in the distance the concrete block remains of the Mulberry harbour used in 1944 still litter the coastline. How many men, both German and American, died on this beach all those years ago? In another tour de force Atlantic Defence Wall near Cherbourg. Bunker construction built 1940 (2006) concrete bunkers dot the landscape with the beach and sea beyond as people sunbathe on the grass amongst the ruined bunkers, probably oblivious to the context of their surroundings. Koch is a master of the re-presentation of the context of memory, history and place.

Overall this exhibition is a great disappointment. I find it hard to believe that the exhibition has been curated by the same man who curated the recent Andreas Gursky exhibition at the National Gallery of Victoria. The choice of work and the presentation of technically poor prints is not up to standard. I also find it difficult to reconcile some of the reviews I have read of this exhibition with the actual work itself. Thank goodness for the photographs of Matthias Koch for he alone made the journey into outer Melbourne a worthwhile journey into the memory of the soul.

Dr Marcus Bunyan

 

1/ Anonymous. “Presentation/representation: Laurenz Berges,” on the Institut für Auslandsbeziehungen (IFA) website [Online] Cited 08/08/2009 no longer available online


    Many thankx to Monash Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

     

     

    Matthias Koch (German, b. 1967) 'Harbour, Allied landing near Normandy, 1944' 2006 from the exhibition 'presentation/representation: photography from Germany' at the Monash Gallery of Art, Melbourne, July - August, 2009

     

    Matthias Koch (German, b. 1967)
    Harbour, Allied landing near Normandy, 1944
    2006
    © Matthias Koch

     

    Laurenz Berges (German, b. 1966) 'Garzweiler' [surface mine] 2003 from the exhibition 'presentation/representation: photography from Germany' at the Monash Gallery of Art, Melbourne, July - August, 2009

     

    Laurenz Berges (German, b. 1966)
    Garzweiler [surface mine]
    2003
    C print
    130 x 171cm (51.2 x 67.3 in.)
    © Courtesy Galerie Wilma Tolksdorf, Frankfurt/Berlin

     

     

    This international touring exhibition was developed by the Institut für Auslandsbeziehungen (ifa) in Germany and is presented in cooperation with the Goethe-Institut Australien.

    MGA is hosting the important international exhibition ‘presentation / representation: photography from Germany’, which brings to Melbourne the work of ten of Germany’s best contemporary photographers.

    presentation/representation is curated by Thomas Weski (curator of Andreas Gursky recently seen at the National Gallery of Victoria), and covers the work of the generation of German photographers that has followed the now-legendary Kunstakademie Düsseldorf generation of Gursky, Thomas Ruff, Thomas Struth and Candida Höfer. For the artists in presentation/representation, including Matthias Koch, Laurenz Berges and Heidi Specker, photography is a medium that has its own language and characteristics, and their work collectively explores the limits of the medium.

    Shaune Lakin, Director of the MGA states “MGA is thrilled to present ‘presentation / representation’ and to bring to the people of Melbourne such an important survey of contemporary German photography. As well as providing a comprehensive survey of German practice, the exhibition will complement the experience of those who saw Weski’s wonderful Gursky exhibition at NGV. We are also delighted to host participating artist Matthias Koch.”

    Koch will be presenting a series of public programs including an artist talk, student tutorial and a field trip exploring the industrial suburban sites close to the gallery. “With his critical interest in landscape, architecture and history, Koch will provide some wonderful insights into our local landscape for participants in these programs,” notes Dr Lakin.

    MGA’s Education and public programs coordinator Stephanie Richter says: “This is a great opportunity for students and Melbourne audiences to meet one of Germany’s most celebrated contemporary photographers and to participate in the busy schedule of talks, tutorials and field trips with Matthias.”

    Press release from Monash Gallery of Art website [Online] Cited 05/08/2019 no longer available online

     

    Heidi Specker (German, b. 1962) 'D'Elsi - Elsi' 12007

     

    Heidi Specker (German, b. 1962)
    D’Elsi – Elsi 1
    2007
    Digital Fine Art Print
    Courtesy Fiedler Contemporary, Köln
    Galerie Barbara Thumm, Berlin
    © VG Bild-Kunst, Bonn, Germany, 2007

     

    Claus Goedicke (German, b. 1966) 'Trip to the Moon' 2006

     

    Claus Goedicke (German, b. 1966)
    Trip to the Moon
    2006
    Pigment print on wallpaper
    © Claus Goedicke

     

    Nicola Meitzner (German, b. 1969) 'Forward motion' 2006

     

    Nicola Meitzner (German, b. 1969)
    Forward motion
    2006
    From the tableau Forward motion
    Pigment print
    © Nicola Meitzner

     

    Wiebke Loeper (German, b. 1972) 'To the sisters of Carl Möglin' 2005

     

    Wiebke Loeper (German, b. 1972)
    To the sisters of Carl Möglin
    2005
    From the series To the sisters of Carl Möglin
    © VG Bild-Kunst, Bonn, Germany, 2007

     

    Uschi Huber (German, b. 1966) 'Fronten' 2006

     

    Uschi Huber (German, b. 1966)
    Fronten
    2006
    From the series Fronten 2006
    © Uschi Huber

     

    Albrecht Fuchs (German, b. 1964) 'Daniel Richter, Berlin' 2004

     

    Albrecht Fuchs (German, b. 1964)
    Daniel Richter, Berlin
    2004
    C print
    © Courtesy Frehking Wiesehöfer, Köln

     

     

    Monash Gallery of Art
    860 Ferntree Gully Road
    Wheelers Hill, Victoria 3150

    Opening hours:
    Tuesday – Friday: 10am – 5pm
    Saturday – Sunday: 10pm – 4pm
    Monday and Public Holidays: closed

    Monash Gallery of Art website

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    Exhibition: ‘Czech Photography of the 20th Century’ at the Exhibition Hall of the Federal Republic of Germany, Bonn

    Exhibition dates: 13th March – 26th July, 2009

     

    Jindřich Štreit (Czech, b. 1946) 'Arnoltice' 1985 from the exhibition 'Czech Photography of the 20th Century' at the Exhibition Hall of the Federal Republic of Germany, Bonn,  March - July, 2009

     

    Jindřich Štreit (Czech, b. 1946)
    Arnoltice
    1985
    From the Village Life series
    Gelatin silver print

     

    Jindřich Štreit (born 5 September 1946 in Vsetín) is a Czech photographer and pedagogue known for his documentary photography. He concentrates on documenting the rural life and people of Czech villages. He is considered one of the most important exponents of Czech documentary photography.

     

     

    Looks like an interesting exhibition. I wish I had been able to see it. Wouldn’t it be such a grand job flying around the world, reviewing photography exhibitions and bringing you my thoughts. I can only wish…

    Dr Marcus Bunyan


    Many thankx to the Exhibition Hall of the Federal Republic of Germany for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

     

     

    František Drtikol (Czech, 1883-1961) 'Wave' 1925 from the exhibition 'Czech Photography of the 20th Century' at the Exhibition Hall of the Federal Republic of Germany, Bonn,  March - July, 2009

     

    František Drtikol (Czech, 1883-1961)
    Wave
    1925
    Gelatin silver print

     

     

    Czech photography produced and produces leading figures in all areas of photography – from classical documentary photojournalism to surrealism, realism or avant-garde works. From 13 March 2009 on, the Art and Exhibition Hall of the Federal Republic of Germany is presenting over 400 photographic works, a historical mosaic of Czech photography from 1900 until the late 20th century that underlines the international reputation enjoyed by Czech photography today. That reputation is not only apparent in the outstanding contributions by such renowned artists as Josef Sudek, Karel Hájek, Václav Jírů, Vilém Reichmann, Jan Reich, Jindřich Štreit, Frantisek Drtikol, Jaromír Funke, Jaroslav Rossler, Josef Koudelka and Jan Saudek, but also in works from a host of younger photographers. The exhibition does not only showcase famous names but also less well-known photographers, providing an overall impression of the variation and innovation in Czech photography.

    From Surrealism and other avant-garde experimentation to realism and classic photo reportage, Czech photographers have long played a key role in all areas of photography and continue to do so to this day.

    This exhibition is the first in Germany to present the history and development of Czech photography from 1900 to the turn of the millennium. Beginning with Art Nouveau-inspired Pictorialism, the comprehensive survey traces the rise of avant-garde photography and the development of photo montage in the 1920s to the 1940s. It examines the influence of ideological pressure on photography during the Second World War, the Stalinist 1950s and the period of Communist ‘normalisation’ after the occupation in 1968 and introduces the visitor to the multifaceted range of contemporary trends.

    Text from the Exhibition Hall of the Federal Republic of Germany website [Online] Cited 10/04/2009. No longer available online

     

    František Drtikol (Czech, 1883-1961) 'Nude' 1927

     

    František Drtikol (Czech, 1883-1961)
    Nude
    1927
    Gelatin silver print

     

    František Drtikol (3 March 1883, Příbram – 13 January 1961, Prague) was a Czech photographer of international renown. He is especially known for his characteristically epic photographs, often nudes and portraits.

    From 1907 to 1910 he had his own studio, until 1935 he operated an important portrait photostudio in Prague on the fourth floor of one of Prague’s remarkable buildings, a Baroque corner house at 9 Vodičkova, now demolished. Jaroslav Rössler, an important avant-garde photographer, was one of his pupils. Drtikol made many portraits of very important people and nudes which show development from pictorialism and symbolism to modern composite pictures of the nude body with geometric decorations and thrown shadows, where it is possible to find a number of parallels with the avant-garde works of the period. These are reminiscent of Cubism, and at the same time his nudes suggest the kind of movement that was characteristic of the futurism aesthetic.

    Text from the Wikipedia website

     

    Eugen Wiskovsky (Czech, 1888-1964) 'Lunar Landscape or Collars' 1929

     

    Eugen Wiskovsky (Czech, 1888-1964)
    Lunar Landscape or Collars
    1929
    Gelatin silver print

     

    The oeuvre of the leading Czech avant-garde photographer Eugen Wiskovsky (1888-1964) is not large in size or subject range, but it is noteworthy in its originality, depth of ideas, and mastery. Wiskovsky’s early New Objectivist works, from the late 1920s and early 1930s, sought artistic effect in apparently non-aesthetic objects: His inventive lighting and cropping allowed their elementary lines to stand out, to lose their worldly associations and take on potential metaphorical meanings. In his dynamic diagonal compositions, Wiskovsky was among the most radical practitioners of Czech Constructivism. His landscape work is similarly distinctive.

     

    Jaroslav Rössler (Czech, 1902-1990) 'Untitled' 1931

     

    Jaroslav Rössler (Czech, 1902-1990)
    Untitled
    1931
    Gelatin silver print

     

    Jaroslav Rössler (25 May 1902, Smilov – 5 January 1990, Prague) was a pioneer of Czech avant-garde photography and a member of the association of Czech avant-garde artists Devětsil (Butterbur).

    Rössler was born to the Czech-German father, Eduard Rössler, and a Czech mother, Adela Nollova. From 1917 to 1920, Rössler studied in the atelier of the company owned by renowned Czech photographer František Drtikol. Subsequently, he worked with the company as a laboratory technician. As a 21 years old, he began collaboration with the art theorist Karel Teige, who assigned him to create typographic layout for magazines Pásmo, Disk, Stavba and ReD (Revue Devětsilu). While working on these tasks, Rössler deepened his knowledge of photographic methods. In his works he utilised and combined the techniques of photogram, photomontage, collage and drawing. The beginnings of his photographic work were influenced by Cubism and Futurism, but he also attempted to create the first abstract photographs. In 1923, he became a member of the avant-garde association Devětsil.

    In 1925, he went on a six-month study visit to Paris. The same year he began working as a photographer in the Osvobozené divadlo in Prague. Before his second departure to Paris, he co-worked as a commercial photographer with the pictorial magazine Pestrý týden.

    In 1927, Rössler moved to Paris together with his wife, Gertruda Fischerová (1894-1976). Initially, he focused on commercial photography. He collaborated with the experimental studio of Lucien Lorell, and worked on commissions for notable companies such as Michelin and Shell. However, later he found an interest in the “street life” of Paris, which influenced his future stay in the city. During a demonstration, he encountered the protesters and took photographs of the event. Shortly after that he was arrested, and after a six-month imprisonment he was expelled from the country, in 1935. The alleged reason for his expulsion was his German-sounding surname.

    After his return from Paris, Rössler and his wife resided in Prague, Žižkov. He opened a small photographic atelier, but difficulties associated with the management of the studio caused a significant gap in his artistic work, lasting for almost two decades.

    In the 1950s, he resumed his previous activities and again began experimenting with the camera and photographic techniques. He created so-called “prizmata” (prisms), photographs taken through a birefringent prism. Additionally, he experimented with solarisation and explored the possibilities of the Sabatier effect.

    Text from the Wikipedia website

     

    Jindřich Štyrský (Czech, 1899-1942) From the 'Man with Blinkers' series 1934

     

    Jindřich Štyrský (Czech, 1899-1942)
    From the Man with Blinkers series
    1934
    Museum of Decorative Arts, Prague

     

    Eugen Wiskovsky (Czech, 1888-1964) 'Disaster' 1939

     

    Eugen Wiskovsky (Czech, 1888-1964)
    Disaster
    1939
    Gelatin silver print

     

    Josef Sudek (Czech, 1896-1976) 'The Last Rose' 1956

     

    Josef Sudek (Czech, 1896-1976)
    The Last Rose from the Rose series
    1956
    Gelatin silver print

     

    Josef Sudek (17 March 1896, Kolín, Bohemia – 15 September 1976, Prague) was a Czech photographer, best known for his photographs of Prague.

    Sudek was originally a bookbinder. During the First World War he was drafted into the Austro-Hungarian Army in 1915 and served on the Italian Front until he was wounded in the right arm in 1916 which led to the limb being amputated at the shoulder. After the war he studied photography for two years in Prague under Jaromir Funke. His army disability pension gave him leeway to make art, and he worked during the 1920s in the romantic Pictorialist style. Always pushing at the boundaries, a local camera club expelled him for arguing about the need to move forwards from ‘painterly’ photography. Sudek then founded the progressive Czech Photographic Society in 1924. Despite only having one arm, he used large, bulky cameras with the aid of assistants.

    Sudek’s photography is sometimes said to be modernist. But this is only true of a couple of years in the 1930s, during which he undertook commercial photography and thus worked “in the style of the times”. Primarily, his personal photography is neo-romantic.

    Text from the Wikipedia website

     

    Josef Sudek was a Czech photographer best known for his elegiac black-and-white images of Prague, interiors, still lifes, and the landscapes of Bohemian forests. Many of Sudek’s most memorable images were taken from the window of his small studio, documenting his humble courtyard during changing weather and light conditions. “Everything around us, dead or alive, in the eyes of a crazy photographer mysteriously takes on many variations,” he explained, “so that a seemingly dead object comes to life through light or by its surroundings.”

    Text from the artnet website [Online] Cited 10/01/2019

     

    Jan Saudek (Czechoslovakia, b. 1935) 'Life' 1966

     

    Jan Saudek (Czech, b. 1935)
    Life
    1966
    Gelatin silver print

     

    Josef Koudelka (Czech, b. 1938) 'France' 1987

     

    Josef Koudelka (Czech, b. 1938)
    France
    1987
    Gelatin silver print

     

     

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