Meaning of "Ostberlin" in the German dictionary
Being there was also about boosting your status since it was the most famous club in those years. I loved this club.
There was something circus-like about it, with a net hanging over the dance floor and transsexual performers, the so-called Disco Bats, swinging on trapezes. BB: That was the Paradise Garage on King Street—a disco located in a former garage that was an important gathering place for the black gay community in particular. A lot of people would go there because of Larry Levan and his music, mainly because people went to the Paradise Garage to dance until the early morning hours.
Since the owners had no license to serve alcohol, there were only juices and fruit. The public brought their own drugs, mostly poppers, cocaine, or marijuana. AB: What was the musical antipode to disco music back then? Nonetheless, everyone at the Mudd Club hated everything that had to do with Studio AB: Some of your images are from the roller disco. BB: In New York there were a lot ofreally good roller skaters who used to party and perform their tricks together. There was a mood of friendly competition, the air was sweaty, the audience full of energy.
AB: Did you feel a part ofthe scene then, or more like a kind ofobserver? BB: I was a journalist, observing, taking notes. I still felt accepted. What attracted me the first night was just a feeling of being free to express yourself the way you wanted. BB: Exactly. I thought we were very tolerant. But in fact, my generation was heavily influenced by doctrine. You always had to be anti-everything. Anti-establishment, anti-Vietnam, anti-war, anti-materialism, anti-short hair.
The scene of the late seventies in New York City was open- minded in a totally different way. Everything unfolded in the brief period of time after Stonewall, i. It was about equality and sex, for a short time everything was possible. AB: What made a photo special for you then? So do I. When I went to Studio 54 for the first time, there was a long line of paparazzi who were only interested in somehow shooting a star. Every movement was documented there. If anything, as a portrait photographer, I wanted to have Mick Jagger sitting in my studio, with real light and decent equipment, interacting with him personally.
In the clubs, I was much more interested in the other people who, in turn, wanted to celebrate the celebrities because they brought the vibe with them. So I only focused on what was going on alongside the stars and in particular in the underground clubs. AB: Which makes your photographs fundamentally different from other images from this time. Discrimination and racism still ruled the streets; equal rights were never part of the equation then. I think, in general, the world is a better place today, even though there seem to be current movements trying to ratchet everything back a bit, but that will pass.
I believe people really want a world of belongingness, tolerance, and acceptance. On this evening, at the legendary Monkey Bar, various DJs, including Nicky Siano and Arman Nafeei, will pay tribute to the photographer by bringing disco fever back to life with new and old hits. Bill Bernstein is a successful commercial and editorial photographer living in New York City. His photographic career began at the Village Voice in the s where he documented pop culture and street photography. He went on to shoot celebrity portraiture for Elle Magazine and his work has since appeared in magazines and journals around the world.
OSTBERLIN - Definition and synonyms of Ostberlin in the German dictionary
It was a momentary glimpse of a culture of inclusion that we are only beginning to see emerging in our world today. Sie hat das Vorwort zum ausstellungsbegleitenden Buch verfasst. Trotz der vielen Pendler zwischen Ost und West sind auf den Bildern nur wenige, oft einsame Menschen zu sehen. It was a cold January morning in when East Berlin photographer Konrad Hoffmeister set out to explore the border running through his city—one of the front lines in the entire world where two enemy forces faced one another.
Unlike in Korea, however, no bullets were fired initially in Cold War Berlin. Barely two years later this changed completely. Barbed wire stretched across locations where Hoffmeister photographed the border along his walk; stone-by-stone a wall began taking shape that would ultimately divide Berlin in half for nearly three decades. The route of the photographer passed through all four sectors: the French, the British, the American and, of course, the Soviet. Around Bernauer Strasse he began taking pictures, he then walked along the sector border to Kieler Bridge and from there south through Tiergarten to Potsdamer Platz, then headed east along the front line via Checkpoint Charlie to Schlesisches Tor.
His attention was rarely focused on the busy crossing points of the still-open border. Rather, his photographs feature walls, fences, and trenches, as well as the omnipresent warning and propaganda signs of the mutually hostile occupying forces and their German allies. A pale light illuminates the wintery landscape through which the border passes; the atmosphere is icy.
Despite the high volume of crossings between East and West, only a few solitary people are visible in the images. Konrad Hoffmeister , then thirty-two years old, was one of the few East German photographers who observed their era with sufficient skepticism, documenting it on his own independent of any official commission.
Hoffmeister in no way rejected the goal of constructing a socialist state, but he found it unbearable that the Unity Party sought to stifle every independent thought, every deviating viewpoint, in its infancy. But he managed to establish himself as an independent theater, film, and advertising photographer in East Berlin and to pursue his own artistic interests independently and with a great deal of anarchic spirit.
During his lifetime, the photographs, which can only be compared to the much-celebrated Berlin pictures of Arno Fischer, remained largely unknown.
Translation of «Ostberlin» into 25 languages
After his death, his estate was transferred to the image archive of the Prussian Cultural Heritage Foundation SPK , where journalist and photography curator Mathias Bertram was the first to examine the negatives of all 14, Berlin-based images. Together with extensive background information, he published in a selection of photographs in the photo book Konrad Hoffmeister: Von Panik kein Spur, released by Lehmstedt Verlag, which also features seven photographs of the exploratory border walk.
After a fresh look at the negatives, Mathias Bertram and Kirsten Landwehr added twenty images to the selection of photographs for the exhibition, which will now be presented publicly for the first time. The exhibition was organized in close partnership with the Prussian Heritage Image Archive bpk , an agency of the Prussian Cultural Heritage Foundation, which houses and maintains the estate of Konrad Hoffmeister and holds the rights to the photographs. For further informations and footage please contact: Kirsten Landwehr, mail galeriefuermodernefotografie.
Den Fotoapparat des Vaters hatten sie eingesteckt, einfach so. Er entdeckte, dass ihm dieses Medium gefiel, er wurde Fotograf. Vielleicht aber auch einfach, weil sein Blick sich unterscheidet.
Was man in seinen Bildern sieht ist ein Leuchten des Ursprungs. Kirsten Landwehr, mail galeriefuermodernefotografie. Paul Rousteau came to photography by chance, as it were. It must have been sometime in winter, around Christmas time, when the then-sixteen-year-old young man was wandering around the foggy landscape of Alsace with a friend. At a crib somewhere on the side of the road.
He discovered that he liked this medium, so he became a photographer. Perhaps because the themes he happened upon then have not wavered—his love of nature, flowers, birds, of a particular fundamentality and simplicity. But perhaps also simply because the way he looks at things is different. After moving to Paris almost seven years ago after studying art in Belgium and photography in Switzerland, Rousteau came to the realization that his luminous images made him stand out among his peers like a far too colorful outsider.
Like a rare bird: while everyone else was snapping images of gritty suburbs, ruins, pain, and decay, he used his camera to probe the inside of a flower blossom to explore its hidden truth. Instead of focusing on the city, social problems, injustices, or similar contemporary public realities, the young photographer turned his eye inward. Toward the private, a particular domesticity: In his images—many of them part of a book designed for his son—one sees the rounded belly of his pregnant girlfriend, bananas, apples, lemons, still lifes extracted from his everyday life as a young father, flowers and butterflies, the naked little bodies of his children, a particularly beautiful sunset.
They are the images of a paradise—that of the children, the innocent, perhaps the naive. Each of them bathed in warm Californian colors therefore, often a bit blurred, like watercolors, somewhat fleeting, like a dream right after waking. Abstraction is never far off, his photographs are pure impressions; some recall the sfumato of Sarah Moon, many the interplay of light and color of dancer Loie Fuller. Rousteau calls them mental landscapes, direct translations of his clearly very colorful perceptions.
In all their luminous cheerfulness, however, they are above all also expressions of a particular melancholy transformed into images. Ones that are no longer so naive, that refuse to let go of this childlike capacity to find delight in the grandiosity, the overwhelming beauty of a meadow, a sky, a banal flower, a particular color nuance or unexpected atmospheric light. The name of the exhibition There are always flowers for those who want to see them , a quote by Henri Matisse, a painter the photographer greatly admires along with Monet or Bonnard, attests to this melancholy—to the desire to never loose the capacity to see flowers.
In his images one sees the fundamental illuminated. And it is extremely beautiful. Juni - 7.
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Perspectives in Urban Ecology
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