Pho­tog­ra­phy can take you where noth­ing else can. Serene Tseng and Solveig Steinhardt vis­ited two dif­fer­ent photo ex­hi­bi­tions at C/O Ber­lin .

Where Berlin - - CONTENTS -

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.

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