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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),
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  • Camaro in Der Philharmonie, 2011 / Pressemappe

    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.