| | | |  | | | Stefanie Bürkle: aus der Serie "Face Facade", Mock ups Bundespressekonferenz, 1999
© Stefanie Bürkle/ VG-Bild-Kunst Bonn | | | | | Berlin, Berlin. Part 2 | | | | Works from a Private Collection in Berlin | | | | | | | ... until 25 August 2024 | | |  | | | | | | | | | |  | | | Bernd Uhlig: Dialoge 1/99 (Sasha Waltz), Sophiensäle, Berlin 1999
© Bernd Uhlig | | | | | | In the Project Room of the Helmut Newton Foundation, complementary presentations are always held alongside the special exhibitions on the first floor, as in this case. Many artists and photographers live and work in Berlin, capturing stunning images that document, comment on, and interpret the city in various ways. The photographs presented here could also have been part of the anniversary exhibition Berlin, Berlin.
The diversity that is so typical of Berlin and its myth is palpable in this parallel exhibition to Berlin, Berlin. With just one shot by a photographer, a spark of something different emerges – something distinct from a characteristic signature. This contrasts with the floor above, where entire series reveal a consistent style.
Part 2 has a faster rhythm; here, aesthetic and cultural realms collide, much like a subway ride from one stop to the next or a drunken night at a corner bar. Berlin is known for its eclectic mix – from currywurst to Michelin-starred cuisine, Charlottenburg to Lichtenberg, local dialects to newcomers’ accents, soccer fandom to high culture, Christiane F. to Rolf Eden, 1968 student radicals to the bourgeoisie, Prussian history to urban wastelands, allotment garden parties to techno beats. As former governing mayor Klaus Wowereit said in a 2003 interview: “Berlin is poor, but sexy.” His remark unintentionally became the city’s best PR slogan, at least for a while. And so Berliners and their elected officials press on, often within a framework of “interim use,” yet they persist in shaping a city that remains undeniably alluring and utterly unique. | | | | | |  | | | Anna Lehmann-Brauns: Kino International, Berlin, 2004
© Anna Lehmann-Brauns | | | | | | In this second part of the exhibition, we observe the ruined buildings two decades after the end of World War II, the former “death strip,” and Checkpoint Charlie both immediately after the fall of the Berlin Wall and many years later. We also see the architecture mock-ups at Potsdamer Platz when large corporations were staking their claims there in the early 2000s, and the wasteland at Anhalter Bahnhof and at Tempelhofer Feld. This diversity is quintessential to Berlin, where the open space in the heart of the city is cherished by some and viewed by others as a missed opportunity for much-needed housing construction.
Portraits are also included in this rather unsystematic compilation, capturing both familiar and unfamiliar faces. We see them on the subway, absorbed in the tabloid newspaper BZ; waiting at the traffic lights in the Märkisches Viertel; or reading Heiner Müller at home in Pankow. Additionally, theater pictures from the Schaubühne and Sasha Waltz’s company complement the selection, also recalling earlier in-house exhibitions. Some of these images may play a role in later exhibitions of the Helmut Newton Foundation, making this display both a look back and a look forward. | | | | | |  | | | Maurice Weiss: S-Bahnhof Friedrichstraße, Berlin, November 1989
© Maurice Weiss | | | | | | In the Project Room, the arc spans from journalistic to artistic-conceptual photography across various genres, offering a captivating, kaleidoscopic glimpse into the city’s many faces.
Participating artists: Wilfried Bauer, Viktoria Binschtok, Stefanie Bürkle, Thierry Buignet, Janos Frecot, André Kirchner, Karl-Ludwig Lange, Robert Lebeck, Anna Lehmann-Brauns, Herbert List, Roger Melis, Hans W. Mende, Rudi Meisel, Gundula Schulze Eldowy, Anna Thiele, Bernd Uhlig, Marc Volk, Ruth Walz, and Maurice Weiss | | | | | |  | | | Anna Thiele: Tempelhof. Metamorphosis #933, Berlin, 2015
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