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You are here: Home Leisure Arts & Culture Talking Vernissage: Turning the lens around
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10/03/2009Talking Vernissage: Turning the lens around

Talking Vernissage: Turning the lens around Our local art critic, Jessica Saltz, visits a trio of exhibits in Oranienburgerstrasse’s galleries where artists use themselves as artistic inspiration.

Oranienburgerstrasse has become a byword for culture for Berlin’s visiting mini-breakers. The surrounding streets of Mitte and Hackescher Markt are now a filtering system, pushing gormless tourists who want to tick their travel guide boxes towards the Monbijouplatz stretch. The street satisfies most standard expectations of the city like a warped Disneyland parade: seven-foot-tall corseted prostitutes in stacked leather boots; the opulent synagogue that survived Kristallnacht; obligatory ‘offbeat’ bars and boutiques and the cathedral of Berlin grunge Kunst – Tacheles.

Tacheles is like a speared mammoth that is ungracefully wheezing its final breaths. Yet another institution integral to the city’s personality waiting to be wiped off the map, it keeps itself temporarily afloat by parodying itself – providing a digestible, PG version of “squat culture” for the wide-eyed tourists until the day its crumbling, tattooed grey walls are knocked down.

Female artists are currently holding fort in the Oranienburgerstrasse galleries: Cindy Sherman at Sprüth Magers, Annie Liebowitz at C/O Berlin and Baccara Smart at Galerie Morgen. Baccara Smart’s exhibition Kicking Sawdust is the Berlin premiere for the London artist, whose series of paintings pay heed to the largely obsolete form of the traditional circus, complete with huge elephants, vibrant clowns and twirling dancers.

Her father’s circus was a large source of inspiration for this series of dreamlike paintings. A magician circulated the opening party, evoking in the crowd the same sort of childlike glee and fascination that Smart’s paintings achieve.

Cindy Sherman, Nobody's Here But Me

 

I had never been to a Cindy Sherman exhibition before the current Sprüth Magers show but had seen singular images in various collections. For an artist who has stuck so rigorously to one subject – herself – in her photographic portraiture, her work has an entirely different effect when viewed collectively. There is something ominous about standing in a room with 20 larger-than-life Cindy Shermans staring down at you.

She has a remarkable ability to satirise women from every different Western subculture, from the aristocracy to aging American housewife. Most photographers have a dialogue with their subjects through the lens but each Sherman photograph is an intimate monologue. The photographs are completed with a measured control that is certainly evident in her images.

The opening of the Liebovitz show at C/O was tragically ironic – the arrival of the iconic American Vanity Fair photographer in Berlin came only days after the German counterpart of the magazine folded. After a mere two years of existence, it buckled under financial difficulties, which meant there were mixed moods among the crowd that welcomed the star to Germany.

A Photographer’s Life is Liebovitz’s personal and professional chronology, weaving images of her personal family portraits with photographs from her longstanding career at Vanity Fair.

I adore Liebovitz’s rich technicolour magazine shoots – she has an ability to make every rising celebrity seem like a 1950s screen hero and I am sure some current Hollywood celebrities have her to thank at least in part for their stellar careers.

10 Questions for Annie Leibovitz

However, there were too many personal images in the exhibition for my taste and not enough of the work that makes Liebovitz one of the world’s most admired photojournalists. At her best, Liebovitz has a unique ability as a 20th Century magazine photographer to convey luxurious Hollywood glamour without lowering herself to the current trend for stark, lifeless images or oversexed photography.

In contrast, Liebovitz’s photos of her family on a beach, which comprise a large part of the current exhibition, soon bored me. Additionally, the fact that a whole room of the exhibition is dedicated to out of focus, floor-to-ceiling images of barren deserts is peculiar. The collection is extensive though and there is enough on display for even the most picky of Liebovitz fans.


Annie Liebovitz – A Photographer’s Life
C/O Berlin – Through April 24

Baccara Smart
Galerie Morgen, Berlin – Through April 18

Cindy Sherman
Sprüth Magers, Berlin – Through April 18

Benjamin Bergmann - tief unten tag hell
Pinakothek der Moderne, Munich – Through August 23
Tief unten Tag hell" von Benjamin Bergmann © rosmary
 "Tief unten Tag hell" von Benjamin Bergmann © rosmary

The installations created by Benjamin Bergmann (*1968) revolve around fundamental and recurrent questions faced by mankind: the preoccupation with the significance of one's actions, the need for fulfilment and meaning and the treatment of time and transitoriness. Bergmann's most recent work – created specifically for the large staircase foyer – presents a mysterious borderline situation: hundreds of baskets are suspended high up under the ceiling in the museum. They are reminiscent of the changing rooms in collieries and make the existence of a hidden world tangible. The potential up-and-down movement of the items of clothing corresponds to the miners' daily routine, which however, is not rendered visible.


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