MUSEUMS & GALLERIES
Photography can take you where nothing else can. Serene Tseng and Solveig Steinhardt visited two different photo exhibitions at C/O Berlin .
Photography helps people to see. Here are two new exhibitions from C/O Berlin.
Who knew that deep in the endless stretches of East Berlin's gray existed a vibrant, curiously bourgeois enclave? Located in Prenzlauer Berg, Hufelandstraße stretches for one kilometer atop old cobblestones,
Gründerzeit- era houses, and linden trees flanking the sidewalk.
In the mid-1980s, photographer Harf Zimmermann went from house to house and from resident to resident to document the street and its inhabitants, capturing the flourishing enclave in what he didn't know would be the last days of socialism. His black-and-white images of unrepaired, crumbling exteriors, still riddled with WWII bullet holes, stand in stark contrast to the color-infused interiors and home life of the intellectuals, artists, musicians, party officials, and even piano makers that lived on Hufelandstraße. The photographs, exposed at C/O Berlin (p. 40) until 2 July in
Hufelandstraße. 1055 Berlin, give us a glimpse of a GDR we are not used to imagining, one we can hardly fathom by visiting the street today, since almost all the old residents have moved out and the buildings have been renovated in one of the city's quickest gentrification processes of the last 25 years.
To see more of the world, step into the next room to see William Klein, Photographs and Films, showcasing more than 300 large photos, vintage prints, and videos by William Klein. Over more than 60 years of career, the American photographer experimented with photography and video to portray people and fashion in the streets of Paris, Moscow, Rome, and New York. Thanks to his direct voice, which differed from the aesthetically driven style of the 1950s, his work reveals unexpected perspectives, recounting both the beauty and the ugliness of his chosen subjects. Scenes of New York life, city traffic, advertising billboards, and big cars convey his view of New York, portrayed as a dark, oppressive place, but the real focus of the show is on Klein's ability to create an interaction between photography and film, showing that artistic expression can go beyond the boundaries of the medium.
Mrs. Topfel and her grandson René in their one-room apartment, Harf Zimmermann 1986. Inset, below: Club Allegro Fortissimo, Paris 1990, William Klein.