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| Hildegard Ochse | |
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Hildegard Ochse was borne 1935 in Bad Salzuflen (Germany) |
| 关于此艺术家 | |
Hildegard Ochse photographic artwork speaks for her self. |
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| 按此以放大图像 (假如你已上传更大的图像) | |
The Berlin Wall - Brandenburg
1990 |
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| The Berlin Wall and the Brandenburg Gate in Berlin in 1990 as part of a serie about the Berlin Wall.
View from Berlin (west) to Berlin (east).
For more photos and information please visit her website.
About the exhibition:
Hildegard Ochse photographic series depicting the Berlin wall represent a powerful internal tension for the artist. This can happen to any creative person who tries to make a remarkable statement out of unpromising ingredients. When the wall became accessible to the public it attracted large crowds determined to take pictures of this historic structure also known as the anti-fascist protection wall1. By the time it was pulled down it had become a worn-out icon of the "Berlin tut gut" programme the government1s advertising campaign.
Today, the countless photo books and postcards of the infamous wall are only of interest to foreign visitors who find themselves in Kreuzberg Strasse, or who want to wander around Potsdamer Square. For the tourists and souvenir hunters, these garish images and graffiti were no less important than more durable attractions such as the Memory Church or the Congress Hall. But all this is history. The key question is why an artist would want to work with images that had become a total clichŽ. As we all know, if you haven't actually taken your own photographs of the wall, you will have been shown someone elses snapshots. But the phenomenon could not last forever. Many visitors were not content just to take pictures. Before long, invading armies of 'wall woodpeckers ensured that most of the multi-coloured western side of the wall had disappeared before the authorities could step in. Again, miles of film were exposed in the quest to document each stage in the wall's irreversible devastation.
During the turbulent winter months of 1989/90 when it was already half torn-down, Hildegard Ochse took a series of black-and-white photographs of the wall. For an artist this must have seemed like a brave but futile venture. Nevertheless, as someone who had chosen to work more on the fringe of things the effort was worthwhile. Looking at these photographs, one is immediately struck by a feeling of peace and a momentary sense of emptiness. By working with such hackneyed subject matter, the artist reveals a feeling of time quickly disappearing. By seeing the wall as if looking through the camera's lens, a lost epoch is revealed. We see in her pictures the transformation of Germany and we can experience some of the mixed feelings felt by Hildegard herself. We may also feel the presence of the artist visiting, brooding, and circumnavigating the space. In the process we discern a process of questioning and self-questioning. This is a private and a public situation that raises questions that cannot be grasped immediately. Whose reality does the image depict? At what point do local history and world history meet? The camera mingles unknown and well-known areas together. The urban spaces it captures are suggestive. Hildegard's images capture this uncertainty and reveal the enigma of the situation.
These are historic images, yet they speak of a time that has not quite disappeared. When we see these images today we get a spatial sense of openness. It is almost frightening to note how intractable it all seemed until now. We may still feel that certain areas are still sealed off. The space contained by the unknown terrain is still infinite and mysterious. We may become lost in this empty, distant space. Large cities cannot be museums. What was once a highly charged region between the East and the West of Berlin is now so barren and lifeless, that it is hard to trust these documentary photographs. The roads are open again, the border areas in many places are no longer visible. From the outside, history has been made to vanish. By contrast these pictures manage to remain topical. This is because they describe an internal condition that has become shared within certain sectors of society.
As the viewer becomes absorbed into the pictures s/he slowly gets in touch with spatial distances and the relative proximity of things, details come more into context. Iron reinforcement girders, supporting columns, fragments of barbed wire all conspire to bring back lost meanings. They are objets trouvŽs, through which Germany's transformation is made to seem almost palpable. Their grave context enables these mundane objects to become enduring symbols of state hegemony. Unremarkable surveillance towers suggest many possible lines of sight to many other spaces. They imply a critical distance from which no other spaces can be isolated. They establish a system of reference that is common to all the photos. They provide a sense of formal coherence that unifies the series as a whole, whilst leaving a conceptual space from which the viewer can discern any political or emotional undercurrents.
Britta Schmitz / Berlin
Translation 2004: Alma
Tischler Wood / UK
(c) 1990 by Hildegard Ochse / Benjamin Ochse. All rights of the producer and the owner of the work reserved, unautorised copying, public performance,
hiring or rental of the material prohibited. |
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Jerusalem by night
About 1995 |
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| Part of a serie about Jerusalem. For more photos and information please visit her website.
(c) 1995 by Hildegard Ochse / Benjamin Ochse. All rights of the producer and the owner of the work reserved, unautorised copying, public performance,
hiring or rental of the material prohibited. |
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Italy
About 1990 |
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| Italy
(c) 1990 by Hildegard Ochse / Benjamin Ochse. All rights of the producer and the owner of the work reserved, unautorised copying, public performance,
hiring or rental of the material prohibited. |
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Bomarzo - The Garden
1985 |
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| Demeter |
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The Painter
1979 |
','Image'))
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| This photo was taken in Venice in 1979 |
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| 教育程度与个人自传 | |
| 1955 – 1958 Studied in Freiburg i. Brsg. / Germany. Mother of 4 children. 1979 – 1981 Training as Photographer at the Workshop for Photography Berlin-Kreuzberg. From 1983 freelance work. Exhibitions in Berlin and Mailand. Public Collection of the Berlinischen Galerie Universitá di Parma, Centro studi e archivo, dip. fotografia She died in June 1997 in Berlin from cancer. |
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| 未来的展览 | |
| For more photos and information please visit her website. Benjamin Ochse is the caretaker of her collection today. If you wish future information about the collection and her lifework please feel free to contact me. |
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| 网站: www.hildegard-ochse.de | |
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