Artists

Press release

Photographers: Derek Bennett (1944–1990), Christiane Eisler (b. 1958), Karl Kugel (b. 1957), Ute Mahler (b. 1949), Henry Maitek (1922–2007), Evelyn Richter (1930–2021), and Erasmus Schröter (1956–2021) The Museum Ludwig’s photography collection comprises approximately 70,000 works, spanning from the early days of photography in the early 19th century to the present day. In our photography galleries, we regularly curate exhibitions featuring selected themes and photographers. The display presents a selection of photographs from East and West Germany taken in the period around 1980. The works of seven photographers afford insights into social and everyday lifeworlds in both German states, each shaped by different political and economic systems. Portrait photographs by Derek Bennett, Christiane Eisler, and Ute Mahler feature alongside photographs of everyday scenes captured by Henry Maitek and Evelyn Richter. Karl Kugel documented his trip from the Rhineland to West Berlin and assembled the prints in the form of a photo-essay. Erasmus Schröter photographed nighttime street scenes in Leipzig with an infrared camera, thus defamiliarizing our accustomed view of everyday life. In many cases, the only indication of whether the photographs were taken in the Federal Republic or in the GDR is given by the captions. The selected works do not depict historical events. Instead, they focus on seemingly incidental situations and people. Many of the images defy straightforward interpretation, refraining as they do from typified representation. Precisely this openness foils any expectations the viewer may have with regard to visibly different realities of life in two political systems. Supplementary details on the historical setting help to contextualize what we see. Society in the Federal Republic was beginning to change around 1980 as a result of labor migration and the emergence of new social movements. Public discussion was dominated by various political debates and protests — for example, those triggered by NATO’s Double-Track Decision, environmental issues, or squats. These developments were accompanied by a political change that ultimately led to the conservative-liberal administration under Federal Chancellor Helmut Kohl. In the GDR, the signing of the Final Act of the “Conference on Security and Co-operation in Europe” in Helsinki in 1975 took place amid hopes of greater freedoms — hopes that were, however, disappointed. At the same time, economic problems were becoming increasingly acute, and the supply situation worsened dramatically for the population. Many people therefore experienced the 1980s as a phase of entrenched stagnation. Life in the Federal Republic is portrayed by three photographers in the show; born in Poland, the United States, and France, respectively, their view of German society is thus one from the outside. The very titles of their works — Deutschland ins Gesicht geschaut [Looking Germany in the Face] by Henry Maitek (1969), Stille Zwiesprache. Bildnisse von Deutschen [Silent Dialogue. Portraits of Germans] by Derek Bennett (1978–1981), and Deutsche Reise [German Journey] by Karl Kugel (1983/1987) — point to their engagement with the image of the Germans after 1945. Social conditions in the GDR are documented in the works of four photographers associated with the Academy of Fine Arts in Leipzig (HGB). Ute Mahler, Christiane Eisler, and Erasmus Schröter all studied there, while Evelyn Richter taught at the Academy from 1981 to 2001. Photography served a special social function in the GDR and was intended to convey the state doctrine of “actually existing socialism.” State requirements were accordingly strict until the mid-1970s. Only then were people gradually afforded greater freedom in their choice of means of artistic expression, and themes of everyday life began to feature in photography. During Bernhard Heisig’s (1976–1987) tenure as Rector, the HGB allowed its students relatively broad leeway. Evelyn Richter exemplifies an approach to teaching that encouraged self-confident, autonomous decisions on subjects and motifs. The focus of the display is on photographs from the period around 1980. These are accompanied by individual works by Henry Maitek and Evelyn Richter from the 1960s that broaden the time frame and open up additional perspectives. Curator: Barbara Engelbach