The Ethics of Seeing

Total Page:16

File Type:pdf, Size:1020Kb

The Ethics of Seeing The Ethics of Seeing Twentieth-Century German Documentary Photography Reconsidered Studies in German History Published in Association with the German Historical Institute, Washington, D.C. General Editor: Simone Lässig, Director of the German Historical Institute, Washington D.C., with the assis- tance of Patricia Sutcliffe, Editor, German Historical Institute Volume 1 Volume 12 Nature in German History Raising Citizens in the ‘Century of the Child’: Edited by Christof Mauch The United States and German Central Europe in Comparative Perspective Volume 2 Edited by Dirk Schumann Coping with the Nazi Past: West German Debates on Nazism and Generational Conflict, 1955–1975 Volume 13 Edited by Philipp Gassert and Alan E. Steinweis The Plans that Failed: An Economic History of the GDR Volume 3 André Steiner Adolf Cluss, Architect: From Germany to America Edited by Alan Lessoff and Christof Mauch Volume 14 Max Liebermann and International Modernism: An Volume 4 Artist’s Career from Empire to Third Reich Two Lives in Uncertain Times: Facing the Challenges Edited by Marion Deshmukh, Françoise Forster- of the 20th Century as Scholars and Citizens Hahn and Barbara Gaehtgens Wilma Iggers and Georg Iggers Volume 15 Volume 5 Germany and the Black Diaspora: Points of Contact, Driving Germany: The Landscape of the German 1250–1914 Autobahn, 1930–1970 Edited by Mischa Honeck, Martin Klimke, and Thomas Zeller Anne Kuhlmann Volume 6 Volume 16 The Pleasure of a Surplus Income: Part-Time Crime and Criminal Justice in Modern Germany Work, Gender Politics, and Social Change in West Edited by Richard F. Wetzell Germany, 1955–1969 Volume 17 Christine von Oertzen Encounters with Modernity: The Catholic Church in Volume 7 West Germany, 1945–1975 Between Mass Death and Individual Loss: The Place Benjamin Ziemann of the Dead in Twentieth-Century Germany Volume 18 Edited by Alon Confino, Paul Betts and Dirk The Respectable Career of Fritz K.: The Making and Schumann Remaking of a Provincial Nazi Leader Volume 8 Hartmut Berghoff and Cornelia Rauh Nature of the Miracle Years: Conservation in West Volume 19 Germany, 1945–1975 Follow Tribesmen: The Image of Native Sandra Chaney Americans, National Identity, and Nazi Ideology in Volume 9 Germany Biography between Structure and Agency: Central Frank Usbeck European Lives in International Historiography Volume 20 Edited by Volker R. Berghahn and Simone Lässig The Second Generation: Émigrés from Nazi Germany as Historians Volume 10 Edited by Andreas W. Daum, Hartmut Lehmann Political Violence in the Weimar Republic, 1918– and James J. Sheehan 1933: Battle for the Streets and Fears of Civil War Dirk Schumann Volume 21 The Ethics of Seeing: Photography and Twentieth- Volume 11 Century German History The East German State and the Catholic Church, Edited by Jennifer Evans, Paul Betts and Stefan- 1945–1989 Ludwig Hoffmann Bernd Schaefer THE ETHICS OF SEEING Photography and Twentieth-Century German History S Edited by Jennifer Evans Paul Betts and Stefan-Ludwig Hoffmann berghahn N E W Y O R K • O X F O R D www.berghahnbooks.com Published in 2018 by Berghahn Books www.berghahnbooks.com © 2018 by Jennifer Evans, Paul Betts and Stefan-Ludwig Hoffmann All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system now known or to be invented, without written permission of the publisher. Library of Congress Cataloging-in-Publication Data A C.I.P. cataloging record is available from the Library of Congress British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978-1-78533-728-4 (hardback) ISBN 978-1-78533-729-1 (ebook) CONTENTS List of Illustrations vii Acknowledgements xii Introduction: Photography as an Ethics of Seeing 1 Jennifer Evans 1. Thoughts on Photography and the Practice of History 23 Elizabeth Edwards 2. Seeing the ‘Savage’ and the Suspension of Time: Photography, War and Concentration Camps in German South West Africa, 1904–1908 37 Claudia Siebrecht 3. The ‘Face of War’ in Weimar Visual Culture 57 Annelie Ramsbrock 4. Documenting Heimkehr: Photography, Displacement and ‘Homecoming’ in the Nazi Resettlement of Ethnic Germans, 1939–1940 79 Elizabeth Harvey 5. Visible Trophies of War: German Occupiers’ Photographic Perceptions of France, 1940–44 108 Julia Torrie 6. Gazing at Ruins: German Defeat as Visual Experience 138 Stefan-Ludwig Hoffmann 7. Edmund Kesting’s Polyphonic Portraits, and the Abstract Face of the Socialist Self in East Germany 157 Sarah E. James – v – vi | Contents 8. Seeing Subjectivity: Erotic Photography and the Optics of Desire 182 Jennifer Evans 9. Photographing Reurbanization in West Berlin, 1977–84 205 Anna Ross 10. The Diversification of East Germany’s Visual Culture 227 Candice M. Hamelin 11. The Intimacy of Revolution: 1989 in Pictures 250 Paul Betts Epilogue: Hope Flies; Death Dances: Moving towards an Ethics of Seeing 274 Julia Adeney Thomas Index 287 ILLUSTRATIONS 0.1 ‘Berlin Nazifrei – Racism not welcome anywhere’. NPD- Aufmarsch in Kreuzberg verhindern, 26 April 2014. Photographer: PM Cheung. 1 2.1 ‘Unser gefangener Herero in Ekupa’ (‘our captured Herero in Ekupa’), 1904–5. Bildarchiv der Deutschen Kolonialgesellschaft, Universitätsbibliothek Frankfurt am Main, 082-2990-405. 45 2.2 Herero prisoners in chains, 1904 war. National Archives of Namibia 02506. 46 2.3 ‘Gefangene Herero Weiber’ (‘captured Herero women’), 1904–5. Bildarchiv der Deutschen Kolonialgesellschaft, Universitätsbibliothek Frankfurt am Main, 082-2990-418. 48 2.4 ‘Gefangene Hottentotten beim Ziegelofen setzen’ (‘captured Hottentots building a brick kiln’), no date. Bildarchiv der Deutschen Kolonialgesellschaft, Universitätsbibliothek Frankfurt am Main, 013-2069a-05. 49 2.5 ‘Wißbegierige Hererokinder mit Gefangenenabzeichen’ (‘inquisitive Herero children wearing prisoner of war tokens’). National Archives of Namibia, 23422. 50 3.1 ‘A burned body’, in: Ernst Friedrich, Krieg dem Kriege! (1924), Munich 2004, p. 75. 59 3.2 ‘Dead soldiers in a trench’, in: Ernst Friedrich, Krieg dem Kriege! (1924), Munich 2004, p. 97. 60 3.3 ‘Disfigured soldier while undergoing treatment’, in: Ernst Friedrich, Krieg dem Kriege! (1924), Munich 2004, p. 216. 60 3.4–3.6 ‘Disfigured soldiers before and after treatment’, in: Bilder von der Arbeit des Düsseldorfer Lazaretts für Kieferverletzte (Abt. des Kgl. Reservelazaretts I), Düsseldorf c. 1916–17. 67 3.7 ‘Disfigured soldier before treatment’, in: Ernst Friedrich, Krieg dem Kriege! (1924), Munich 2004, p. 217. 69 3.8 ‘Surgical treatment of Mustafar Ipar’, in: Jacques Joseph, ‘Ungewöhnlich große Gesichtsplastik’, Deutsche Medizinische Wochenschrift, 25 April 1918, pp. 465–66. 70 – vii – viii | Illustrations 4.1 Latvian Germans being filmed by Wochenschau (newsreel) cameraman boarding bus in courtyard of premises of Frauenbund in Riga, c. November 1939. Photographer: Alexander Frankenstein. Archive of the Carl-Schirren-Gesellschaft, Lüneburg. 79 4.2 Dobrudja German resettlers walking up the gangway at Cernavoda to embark on a Danube ship bound for Belgrade and the transit camp at Semlin, November 1940. Photographer: Liselotte Purper. Bundesarchiv Bild 137-071224. 85 4.3 ‘The Reichsführer SS and Chief of the German Police, Heinrich Himmler, greets homecomers on the bridge at Przemysl’ (transl. of original caption), from: Hans Richter, Heimkehrer: Bildberichte von der Umsiedlung der Volksdeutschen aus Bessarabien, Rumänien aus der Süd-Bukowina und aus Litauen (Berlin: Eher,1941). 86 4.4 Archive caption: ‘Homecoming of the Bessarabian Germans: A resettler transport crosses the bridge over the Pruth, which forms the border between Russia and Romania’ (‘Heimkehr der Bessarabiendeutschen: Ein Umsiedler-Transport passiert die Brücke über den Pruth, der die Grenze zwischen Russland und Rumänien bildet’), 13 October 1940. Photographer: unknown. Bundesarchiv Bild 183-L09719. 87 4.5 Female resettlers and helper. Caption on archive record card: ‘Verpflegung während der Fahrt’ (‘Food being served during the journey’), October/November 1940. Photographer: Liselotte Purper. Bundesarchiv Bild 137-071225. 88 4.6 Bessarabian German mother with baby and nurse; published in Deutschtum im Ausland 23(11/12), November/December 1940. Photographer: unknown. Bundesarchiv Bild 137-061927. 89 4.7 ‘Grandfather and grandson – returned home to the great Reich of their people’ (trans. of original caption). From Lothar von Seltmann, Tagebuch vom Treck der Wolhyniendeutschen (Potsdam: Voggenreiter, 1941). 90 4.8 Portrait of Jochen Bippus from Tarutino in Bessarabia. Index card information notes that photo was to be published in Das Schwarze Korps; typed caption on back noted that he was the son of a headmaster ‘at the intellectual heart of the ethnic German colony, Pomeranian descent. A real German boy’s face – a sign that the Bessarabian Germans have kept themselves racially completely pure and unmixed over four generations’ (‘Er ist der Sohn eines Direktors aus dem geistigen Mittelpunkt der volksdeutschen Kolonie, pommerscher Herkunft. Ein echtes deutsches Jungengesicht, ein Zeichen dafür, dass sich Illustrations | ix die Bessaraber rassisch ganz rein und unvermischt über die 4. Generation erhalten haben’). Photographer: Erich Märtz. Bundesarchiv R49 Bild-0406. 91 4.9 ‘Durchgangslager Belgrad-Semlin’. Münchner Illustrierte Presse 17(42),
Recommended publications
  • A Resource Guide to Literature, Poetry, Art, Music & Videos by Holocaust
    Bearing Witness BEARING WITNESS A Resource Guide to Literature, Poetry, Art, Music, and Videos by Holocaust Victims and Survivors PHILIP ROSEN and NINA APFELBAUM Greenwood Press Westport, Connecticut ● London Library of Congress Cataloging-in-Publication Data Rosen, Philip. Bearing witness : a resource guide to literature, poetry, art, music, and videos by Holocaust victims and survivors / Philip Rosen and Nina Apfelbaum. p. cm. Includes bibliographical references (p.) and index. ISBN 0–313–31076–9 (alk. paper) 1. Holocaust, Jewish (1939–1945)—Personal narratives—Bio-bibliography. 2. Holocaust, Jewish (1939–1945), in literature—Bio-bibliography. 3. Holocaust, Jewish (1939–1945), in art—Catalogs. 4. Holocaust, Jewish (1939–1945)—Songs and music—Bibliography—Catalogs. 5. Holocaust,Jewish (1939–1945)—Video catalogs. I. Apfelbaum, Nina. II. Title. Z6374.H6 R67 2002 [D804.3] 016.94053’18—dc21 00–069153 British Library Cataloguing in Publication Data is available. Copyright ᭧ 2002 by Philip Rosen and Nina Apfelbaum All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 00–069153 ISBN: 0–313–31076–9 First published in 2002 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America TM The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 Contents Preface vii Historical Background of the Holocaust xi 1 Memoirs, Diaries, and Fiction of the Holocaust 1 2 Poetry of the Holocaust 105 3 Art of the Holocaust 121 4 Music of the Holocaust 165 5 Videos of the Holocaust Experience 183 Index 197 Preface The writers, artists, and musicians whose works are profiled in this re- source guide were selected on the basis of a number of criteria.
    [Show full text]
  • Introduction the Surreal Without Surrealism
    INTRODUCTION The Surreal without Surrealism The time will come, if it is not already come, when the surrealist enterprise:': will be studied and evaluated, in the history of literature, as an adventure of hope. —Wallace Fowlie, Age of Surrealism Indubitably, Surrealism and the GDR are closely connected, and are more closely related to each other than one might think. When, for example, one listens to the recollections and reads the memoirs of those who lived in this country, apparently no other conclusion can be drawn. Life in the East German Communist state had a surrealistic disposition, was associated with the grotesque, absurd and irrational. Admittedly, Surrealism did not exist in the GDR. Not only are the insights of Hans Magnus Enzensberger and Peter Bürger on the death of the historical avant-garde convincing and applicable to the GDR;1 it is also significant that no German artist or writer who considered him- or herself a Surrealist prior to 1945 returned from exile to settle in the SBZ or the GDR. Most of the celebrities of German Surrealism during the Weimar Republic were forced to go into exile or did not return to Germany at all. Max Ernst, for example, remained living in the USA, and then in 1953 moved to his wife’s old quarters in Paris; Hans Arp decided to live in Switzerland, and in 1949 chose the USA as his home country. Others who had lived through and survived Hitler’s Germany had to face the harsh demands of National Socialist cultural politics that downgraded the avant-garde to the status of Entartete Kunst, or degenerate art, and sidelined and even terrorized its representatives.
    [Show full text]
  • Heinrich Zille's Berlin Selected Themes from 1900
    "/v9 6a~ts1 HEINRICH ZILLE'S BERLIN SELECTED THEMES FROM 1900 TO 1914: THE TRIUMPH OF 'ART FROM THE GUTTER' THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Catherine Simke Nordstrom Denton, Texas May, 1985 Copyright by Catherine Simke Nordstrom 1985 Nordstrom, Catherine Simke, Heinrich Zille's Berlin Selected Themes from 1900 to 1914: The Trium of 'Art from the Gutter.' Master of Arts (Art History), May, 1985, 139 pp., 71 illustrations, bibliography, 64 titles. Heinrich Zille (1858-1929), an artist whose creative vision was concentrated on Berlin's working class, portrayed urban life with devastating accuracy and earthy humor. His direct and often crude rendering linked his drawings and prints with other artists who avoided sentimentality and idealization in their works. In fact, Zille first exhibited with the Berlin Secession in 1901, only months after Kaiser Wilhelm II denounced such art as Rinnsteinkunst, or 'art from the gutter.' Zille chose such themes as the resultant effects of over-crowded, unhealthy living conditions, the dissolution of the family, loss of personal dignity and economic exploi tation endured by the working class. But Zille also showed their entertainments, their diversions, their excesses. In so doing, Zille laid bare the grim and the droll realities of urban life, perceived with a steady, unflinching gaze. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . S S S . vi CHRONOLOGY . xi Chapter I. INTRODUCTION . 5 . 1 II. AN OVERVIEW: BERLIN, ART AND ZILLE . 8 III. "ART FROM THE GUTTER:" ZILLE'S THEMATIC CHOICES .
    [Show full text]
  • Downloaded for Personal Non-Commercial Research Or Study, Without Prior Permission Or Charge
    Hobbs, Mark (2010) Visual representations of working-class Berlin, 1924–1930. PhD thesis. http://theses.gla.ac.uk/2182/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Visual representations of working-class Berlin, 1924–1930 Mark Hobbs BA (Hons), MA Submitted in fulfillment of the requirements for the Degree of PhD Department of History of Art Faculty of Arts University of Glasgow February 2010 Abstract This thesis examines the urban topography of Berlin’s working-class districts, as seen in the art, architecture and other images produced in the city between 1924 and 1930. During the 1920s, Berlin flourished as centre of modern culture. Yet this flourishing did not exist exclusively amongst the intellectual elites that occupied the city centre and affluent western suburbs. It also extended into the proletarian districts to the north and east of the city. Within these areas existed a complex urban landscape that was rich with cultural tradition and artistic expression. This thesis seeks to redress the bias towards the centre of Berlin and its recognised cultural currents, by exploring the art and architecture found in the city’s working-class districts.
    [Show full text]
  • Press Kit Jeanne Mammen 4.10.17
    Jeanne Mammen. The Observer. Retrospective 1910–1975 06.10.2017–15.01.2018 PRESS KIT CONTENTS Press release Selected works of the exhibition Biography Jeanne Mammen Exhibition texts Exhibition catalogue Film “Write Me Emmy!” Education programme Online campaign #JeanneMammenBG Press images 0 WWW.BERLINISCHEGALERIE.DE BERLINISCHE GALERIE LANDESMUSEUM FÜR MODERNE ALTE JAKOBSTRASSE 124-128 FON +49 (0) 30 –789 02–600 KUNST, FOTOGRAFIE UND ARCHITEKTUR 10969 BERLIN FAX +49 (0) 30 –789 02–700 STIFTUNG ÖFFENTLICHEN RECHTS POSTFACH 610355 – 10926 BERLIN [email protected] PRESS RELEASE Ulrike Andres Head of Marketing and Communications Tel. +49 (0)30 789 02-829 [email protected] Contact: Smith –Agentur für Markenkommunikation Felix Schnieder-Henninger Tel. +49 (0)30 609 809 711 Mobile +49 (0)163 2515150 [email protected] Berlin, October 2017 Jeanne Mammen. The Observer Retrospective 1910–1975 06.10.2017–15.01.2018 Press conference: 4.10, 11 am, Opening: 5.10, 7 pm Jeanne Mammen (1890-1976), painter and illustrator, is one of the most colourful characters in recent German art history, and yet one of the hardest to unravel. This Berlin artist experienced war, destruction, poverty and the rise from ruins in her own very personal, productive way. By staging one of the biggest Mammen retrospectives to date, the Berlinische Galerie has initiated a rediscovery of her iconic works from the 1920s, her “degenerate” experiments and her magically poetic abstractions. Jeanne Mammen’s œuvre, with all its fierce fault lines, is a significant reflection of political and aesthetic upheavals in the last century. Art scholars have long valued Mammen as a distinctive figure in the art of the Weimar Republic and the post-war years, rare far beyond the confines of Berlin and Germany.
    [Show full text]
  • Juli-September Schlesischer Kulturspiegel Śląski Prezegląd Kulturalny
    53. Jahrgang 2018 l Würzburg l 3/18 Juli-September Schlesischer Kulturspiegel Śląski Prezegląd Kulturalny . Slezské Kulturní Zrcadlo Herausgegeben von der Stiftung Kulturwerk Schlesien 18 Informationen über das schlesische Kulturleben – Ausstellungen, Tagungen, Publikationen,3 Wissenswertes Das Bergwerk Laurahütte bei Siemianowitz (fälschlich bezeichnet als „Die Königshütte in Schlesien“), 1842, kol. Stahlstich nach Zeichnung von C. Reiss, 10,3 x 14,8 cm. © Stiftung Kultur- werk Schlesien, Veduten Gleiwitz 003. VON DER STIFTUNG KULTURWERK SCHLESIEN Die Kulturgeschichte des industriellen Zeitalters im Blick Industriekultur und schlesische Unternehmen vor und nach 1945 standen im Mittelpunkt der Jahrestagung. Der Wirtschaftsgeschichte galt die Jahrestagung der Problemen wie das Ruhrgebiet früher stand. Dass Ober- Stiftung Kulturwerk Schlesien vom 1. bis 3. Juni 2018 schlesien kulturell bedeutende Industriebauten aufweist, im Exerzitienhaus „Himmelspforten“ in Würzburg. Dabei verdeutlicht die Aufnahme der alten Bergwerksstadt Tar- ging es um „Industriekultur in Schlesien und schlesische nowitz in die Liste des UNESCO-Welterbes. Unternehmen vor und nach 1945“. Der Begriff Indus- Industrielle Frühformen fanden sich jedoch zunächst triekultur steht für die Beschäftigung mit der gesamt- in den niederschlesischen Gebirgsgegenden, wie Prof. en Kulturgeschichte des industriellen Zeitalters, das in Dr. Arno Herzig (Hamburg) in seinem Vortrag „Von der Deutschland um 1850 einsetzte. Industriekultur umfasst Protoindustrie zum industriellen Zeitalter
    [Show full text]
  • JUN 2 7 2013 JUNE 2013 LIBRAR ES 02013 Mariel A
    Life behind ruins: Constructing documenta by Mariel A. Viller6 B.A. Architecture Barnard College, 2008 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF ARCHVES MASTER OF SCIENCE IN ARCHITECTURE STUDIES MASSACHUSETTS INSTTE AT THE OF TECHNOLOGY MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2 7 2013 JUNE 2013 LIBRAR ES 02013 Mariel A. Viller6. All rights reserved. The author hereby grants MIT permission to reproduce and distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: Department of Architecture May 23,2013 Certified by: Mark Jarzombek, Professor of the Histo4y 7eory and Criticism of Architecture Accepted by: Takehiko Nagakura, Chair of the Department Committee on Graduate Students 1 Committee Mark Jarzombek,'Ihesis Supervisor Professor of the History, Theory and Criticism of Architecture Caroline Jones, Reader Professor of the History of Art 2 Life behind ruins: Constructing documenta by Mariel A. Viller6 B.A. Architecture Barnard College, 2008 Submitted to the Department of Architecture on May 23,2013 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies Abstract A transnational index of contemporary art, documenta in its current form is known in the art world for its scale, site-specificity and rotating Artistic Directors, each with their own theme and agenda. On a unique schedule, the expansive show is displayed in Kassel, Germany from June to September every five years. The origins of the exhibition-event are embedded in the postwar reconstruction of West Germany and a regenerative national Garden Show.
    [Show full text]
  • Hans Grundig's Masterful
    Martin Schmidt An Iconic Work of New Objectivity: Hans Grundig’s Masterful “Schüler mit roter Mütze” The artistic ethos of the painter Hans Grundig is reflected in his attempt to conjoin the sometimes one-dimensional worldview of politically informed art with a more universal human outlook. This is to say that in addition to his overriding preoccupation with the social conditions that prevailed during his turbulent times – particularly class conflicts –, he was nonetheless able to paint with a deeply felt lyricism. Without this aspect, his art would probably have come across as passionless and merely declamatory. And so we always find the human being as the key point of reference for his care and concern, not just ab- stract principles. A highly idiosyncratic way of looking at things shines through Grundig’s work, one that mixes naiveté with artifice, pro- clamation with lyricism, and that supercharges non-descript details with a deeply felt, magical poetry. Lea, the school friend who later became his wife and life’s companion, and whom he fondly referred to as his “silver one” in his memoirs, described him as “a dreamer and warrior rolled into one.” He wanted his art Karl Hubbuch. The schoolroom. 1925. Oil/cardboard and wood. Private Col- to have a social impact, of course. Yet he was also well aware that lection choosing the right side in class warfare, as demanded by the Ger- man Communist Party (KPD) and later by its East German succes- seems designed for titanic hands, assuming spatial logic is applied. Grundig evi- sor (SED), was an artistic dead end that usually produced less than dently is unconcerned about the plausibility of his center-line perspective.
    [Show full text]
  • Hitler, Goebbels and the Frogs on the Nile a 1931 Political Photomontage
    Schneider: Hitler, Goebbels and the Frogs on the Nile Hitler, Goebbels and the Frogs on the Nile A 1931 Political Photomontage Thomas Schneider University of British Columbia∗ 1. Ancient Egypt in Political Caricature Since the Napoleonic expedition,1 ancient Egyptian sceneries and artifacts have played an important role in political caricatures relating to events of Egypt’s own modern history.2 One example discussed recently by Donald Reid is “The Wafd’s last cabinet in pharaonic guise” from 1950, by Iskandar Saroukhan, which taunts the government’s purported dedication to pharaonism (fig. 1).3 The caricaturist seems to have used ancient Egyptian templates for some of the depicted personae: E.g., as Reid noticed, the blind minister of education, Taha Hussein, is depicted as the Louvre scribe (with dark glasses). One may also compare Prime Minister Mostafa al-Nahhas who sits as Egyptian king on the throne to the left: with an individual depicted to his right (in a woman’s dress but representing a male cabinet minister), the blue crown on his head, the heqa sceptre in his left hand, and mace, flail and ankh in his right hand, this is precisely modelled on the depiction of Amenhotep III and his mother Mutemwia in Theban Tomb 226 (fig. 2), to give just one additional example.4 ∗ Initial research for this article was conducted as part of the project “Egyptology in the Nazi Era: National Socialism and the Profile of a Humanistic Discipline, 1933-45”, funded by the Social Sciences and Humanities Research Council of Canada (2012-6). 1 A first example is satirist James Gillray in his 1799 “Egyptian Sketches”, see Draper Hill, ed., The Satirical Etchings of James Gillray (New York: Dover Publications, 1976).
    [Show full text]
  • Künstlerische Hochschulen in Der DDR
    Daniel Hechler | Peer Pasternack Künstlerische Hochschulen in der DDR. 25 Jahre zeithistorische Aufklärung 1990–2015 Hochschulforschung Halle‐Wittenberg Herausgegeben für das Institut für Hochschulforschung (HoF) von Peer Pasternack Daniel Hechler | Peer Pasternack Künstlerische Hochschulen in der DDR 25 Jahre zeithistorische Aufklärung 1990–2015: Eine Auswertung mit bibliografischer Dokumentation AVA – Akademische Verlagsanstalt Leipzig 2015 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Natio- nalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.d- nb.de abrufbar. Reihe „Hochschulforschung Halle-Wittenberg“ AVA – Akademische Verlagsanstalt Leipzig 2015 © Institut für Hochschulforschung an der Universität Halle-Wittenberg (HoF) Collegienstraße 62, 06886 Lutherstadt Wittenberg, [email protected], http://www.hof.uni-halle.de Druck: Osiris-Druck Leipzig ISBN 978-3-931982-99-7 Inhalt Teil A. 25 Jahre Aufarbeitung, Erforschung und Dokumentation der DDR‐Geschichte künstlerischer Hochschulen ..................................... 7 1. Die künstlerische Ausbildungslandschaft in der DDR und danach ................................................................................ 9 1.1. Hochschulen ............................................................................... 9 1.2. Fachschulen .............................................................................. 15 2. Erinnerungspolitik und Zeitgeschichtsforschung
    [Show full text]
  • AGOMWBW-Rundbrief Nr. 712 Vom 18.06.2017
    AGOMWBW-Rundbrief Nr. 712 vom 18.06.2017 Ein gemeinsamer Rundbrief von AG Ostmitteleuropa (AGOM) e.V. Berlin und Landsmannschaft Westpreußen e.V. Berlin. Die hier niedergelegten Informationen decken sich nicht in jedem Fall mit unseren Ansichten Auflage: Verteiler von rund 1.300 Konten www.ostmitteleuropa.de www.westpreußen-berlin.de Anschrift der Redaktion: [email protected] Landsmannschaft Westpreußen e.V., Brandenburgische Straße 24 - Steglitz, 12167 Berlin Ruf: 030-257 97 533 (Büro), Ruf privat (Hanke): 030-215 54 53, Fax: auf Anfrage Postbank Berlin, IBAN DE26 1001 0010 0001 1991 01 BIC PBNKDEFF, LM Westpreußen Redaktionsschluss: 18.06.2017, 13:00 Uhr Der Rundbrief Nr. 713 erscheint voraussichtlich am 10.08.2017 I n h a l t s v e r z e i c h n i s (Seiten 1 - 6) BdV-Leitwort für 2017: „60 Jahre Einsatz für Menschenrechte, Heimat und Verständigung“ (Seite 7) Editorial: Namen als Waffe – von der Kolonialgeschichte bis zur Kulturvernichtung (S. 8) A. a) Leitgedanken (Seiten 9 - 11) „Verletze niemanden, vielmehr hilf allen, soweit du kannst.“ Arthur Schopenhauer „Heimat gestalten und nicht nur verwalten!“ LW Berlin 01) Ein Zentrum der Peinlichkeit. Von Gernot Facius 02) Posselt: Tschechen sollen selbst über Aufhebung der Beneš-Dekrete entscheiden 03) Forum für Tschechen und Deutsche. Die Sudetendeutsche Landsmannschaft will die Aussöhnung voranbringen. Sie sieht sich in einer Brückenfunktion A. b) Forderungen (Seiten 12- 16) BdV-Leitwort für 2017.: „60 Jahre Einsatz für Menschenrechte, Heimat und Verständigung“ (s. S. 5) 01) Kultivieren wir unsere Identität. Kolumne des Vorsitzenden des VDG - Verbandes der deutschen sozial-kulturellen Gesellschaften in Polen, Bernhard Gaida.
    [Show full text]
  • Camaro in Der Philharmonie, 2011 / Pressemappe
    Pressemappe Inhalt Pressetext Camaro-Ausstellung eröffnet am 15. Mai in der Philharmonie – Erster Auftritt der neu gegründeten Alexander und Renata Camaro Stiftung in Berlin Biografie Alexander Camaro: Maler, Tänzer, Dichter, Filmemacher und Musiker Ausstellungen Alexander Camaro Biografie Renata Camaro: Künstlerin, Muse und Stifterin Die Stiftung Bildmaterial Alexander und Renata Camaro Stiftung Potsdamer Straße 98A, D-10785 Berlin Telefon +49 (0)30 263 929 75 Telefax +49 (0)30 263 929 80 [email protected] www.camaro-stiftung.de Pressetext Camaro-Ausstellung eröffnet am 15. Mai in der Philharmonie Erster Auftritt der neu gegründeten Alexander und Renata Camaro Stiftung in Berlin Berlin (11.05.2011) - Alexander Camaro entwarf die farbigen Glasbausteinfenster der Berliner Philharmonie und stellte mehrmals auf der Documenta aus. Jetzt widmen die neu gegründete Alexander und Renata Camaro Stiftung und die Stiftung Berliner Philharmoniker dem Gesamt- künstler und Freund Hans Scharouns eine Ausstellung, die unter dem Titel „Camaro in der Philharmonie“ vom 15. Mai bis zum 23. Juni im Foyer der Berliner Philharmonie zu sehen ist. Im Mittelpunkt steht das abstrakte Triptychon „Herz auf dem Opferstein“, aber auch die Arbeit an den Fenstern der Philharmonie sowie Sequenzen seiner Filme und seines modernen Tanzes werden präsentiert. Gleichzeitig wird in dem historischen Stiftungshaus („Camaro-Haus“) seine Malerei ausgestellt. Alexander Camaro, 1901 in Breslau geboren und 1992 in Berlin gestorben, war Otto-Mueller- Schüler und wurde vielfach ausgezeichnet, unter anderem mit dem Kunstpreis Berlin. Als seine Bilder von den Nazis verboten wurden, tanzte er auf verschiedenen Theaterbühnen und war nach dem Krieg Mitbegründer des Künstlerkabaretts „Badewanne“. Wie kaum ein anderer war er ein vielseitiger Künstler: Er malte, tanzte, filmte, dichtete und musizierte.
    [Show full text]