tv Arts.21 - The Cultural Magazine Deutsche Welle October 7, 2017 11:30pm-12:00am CEST
events. in the w makes that part of traveling easy because it's available and thousands of hotels resorts and cruise ships worldwide. have you found either side send us a picture that shows the w. in your room you can reprice. travel quiz. welcome to our twenty one from berlin. where do you post your photos on instagram flicker tumblr facebook or do you stick them in a photo album like our parents and grandparents the digital revolution has changed photography overwhelming us daily with an endless flood of images seventy percent
of people in germany now take photos with this muffins and with the right up anyone can take professional level snaps or can they when it's for travel art when it's displayed in a museum or in a prestigious gallery like here at camera work. which photos make history and which ones can be dangerous for us what does photography mean today that's the focus of this special edition of art's twenty one. click filter post anyone can be a photographer on instagram a smartphone app with around seven hundred million users. likes and hashtags other main weapons in the battle for attention on this social network the pictures do the talking. i think it has had an additional ticket we interpret the pictures quickly. and
intuitively that's today's fast paced nature it's deceptive though because we don't know the context of the picture these are little but also very meaningful messages that are sent out into the world that. messages from everyday life moments captured and displayed like a public. it's has been an instagram is since its infancy and a successful one his account balance to graham has a million followers. he shoot scenes from around the city but he's ditched the smartphone for a better camera. artist has made his hobby into a korea. and would have. been doing this for seven years i installed the app two weeks after it was released no one knew then how big the network would become. so big that mischa with his keen eye has managed to make a living from it. what type of image and which filters and styles make
a snapshot into a liked piece of art michelle's experience in p.r. has proved useful in some of instagram has its own language formats and photos that work on instagram don't work on other platforms and vice versa but i know a good instagram picture is one that maybe has symmetry or a certain alignment there are also instagram trends and site geist twenty five. the style is constantly changing but the form stays the same the pictures must be square and because of the sheer volume they have to be instantly understandable. the platform is flooded with more than one hundred million posts every day. this is not really and big for the. it's a way of taking in photos very quickly and briefly. and because instagram is mostly
used on a smartphone that's what it's been designed for anyway the resolution is reduced that means the pictures have to work without details although they're small they need relatively big shapes and lots of color. or contrast in black and white butt. in this reduced form. little. bit can live as students shooting digital and analog depending on what they want to convey. instagram as a virtual portfolio as an advertisement for their creativity follow is equals more sharing and it wider audience. service and it's your stage in a way you play around with your own work and i also became aware of the power that instagram has and how i can use it as a professional tool. it's
a chance to try something new be creative and even push the confinements of the square frame. i like telling stories through pictures. i missed tar one day i had the idea of dividing the photos up in a particular way or cutting them up to tell a story with a series of pictures that are intertwined i also try to incorporate lines that you don't see to construct pictures like a mosaic. the permanence of a printed photo contrasts with the transiently nature of online. class has a project that combines the best of both worlds. and i came to l.a. in october and the election was an early november i thought a day later protests against trump erupted all over l.a. i was there taking photos and thought i need a way to share these right now on the entire. and out into the world they went
spontaneously and unfiltered but he's now printed these photos and at that to use the comments included as a record of that explosive moment in time. of course the photos in my book have been selected much more consciously and deliberately than my instagram photos but if you look at a book much more intensely you can take it off the shelf and look through it again any time you want it whereas instagram photos ninety nine point nine percent of the time and i never look at them again kind of photographing the up until i'm going like that you know. nothing hands around too long in the fleecing world of instagram but that makes it an ideal testing ground for new i.d.'s. images posted to social media eventually disappear in the timeline into a digital nirvana so what does last images that end up in museums or in galleries
like camera work here in berlin as prints mattered and framed behind glass or in a coffee table book images that are recognized as art or that. that sells right history iconic photography that's meet one man who creates images of that kind don't have. is a picture really worth a thousand words. is really the powerful one here. when thomas epic it picks up his camera captures those fleeting moments that express so much. because new york but he's a globe trotter whose works are displayed around the world six decades of photos graced the walls of this gallery. do you plan your works or leave them to chance. it helps it be like a plot by ready plan my picture is i'm really a fly by profession and i walk around and try to see and discover things it's
a method that yields a fair bit of disappointment because i tend to arrange anything. that. purpose started taking pictures when he was sixteen and soon realized he was more interested in people then in formal composition. his images are like short stories they speak of an unmanipulated found reality that's been captured in seemingly simple clear cut images. hamburg nine hundred fifty five children play in the bombed out city. seventy eighty percent of my pictures happened by chance. in one nine hundred seventy three east and west germany signed an agreement allowing a few selected journalists to take part in an exchange. and his wife and journalist spent four very intense years in communist east berlin. only the iron curtain the separated the two countries life years seemed very foreign and hope was
a keen observer. a mother's there's no it was the they quickly realised i was a westerner and could do things. others couldn't. it was very rare for a police officer to step in front of my lens like this even if chanukah was across the street and on the gulf that missed us that is not. in the mid one nine hundred seventy s. hope they went to new york as a correspondent for the german magazine down and he stayed during that era and he had a brief and powerful encounter with boxing legend mohammed ali that's like. we dropped by the gym where he was training he saw us during the break between two strikes of the gong and came towards us that he put out his hand in greeting and did this the gong sounded and he was gone it took all of two seconds like it had he would say i think we'll get out but hoped it was quick enough to get this shot now an iconic
portrait over the course of three decades he shot six separate series of photographs on mohammed ali he covered the highs and lows of the boxers professional career his conversion to islam and his refusal to fight in vietnam. even today the pictures still hold surprises for their creator. that's just a tad alighting is completely wrong but when i printed it i suddenly saw a completely different than the one i knew. and today thomas or can appreciate the shot he even loves the scratches on it to him it offers a glimpse of the other ali stoic and suffering. some of the photographers work become more powerful with a nine eleven it was in new york but not in manhattan been. groped my way driving along on the brooklyn side of the hudson river heaping my eye on the dark clouds of smoke but i couldn't get close enough. i got out for
a moment and press the shutter four times feel good i feel like a fan then i got back in my car and thought no that wasn't it. and. i think it was are they cut here plus so who said if your photos aren't good enough you're not close enough. and i was just the opposite i was really far away. that david could took what might be his most controversial image a group of people talking while the twin towers burned in the background if this thing was not your aim as a photographer to create images that last that might become icons on line. you don't think about that you think about taking a good picture in a given situation history will decide the rest is an image survives or not. his brand of photojournalism is committed to portraying reality respectfully and without forest or. now in his eighty's served as president of the photo
agency magnum for four years in an age of selfies he still believes in the power of photography that when employed consciously and subtly they can be an instrument for change. was one of the best photojournalists in west germany. is germany's legendary journalist here at the camera gallery his view of the twentieth century socialist world is on display snapshots memories of global history. mr. thomas bernard un thomas or belong to the same generation
how much freedom did you have as a photojournalist in east germany. the freedom wasn't limitless as you know i'll give you an example. visited me at my studio in berlin in the one nine hundred eighty s. . i was so pleased because he was this great photographer. from whom i had the highest respect he came in and i knew that the stars and the secret police were standing outside because they don't let a western reporter for stone magazine out of their sight for a minute. i wanted to buy pictures but i couldn't sell them to him to stand up for what they wanted pictures in which east germany didn't look so great so i had to throw her out and he didn't know why and i couldn't tell him he phoned me up to hold me should she do what you were permitted to travel during the communist era and this picture was taken on a trip to vietnam what's the story behind it that's been its mission plights might not be a bad travel to vietnam thirteen times i was there and more time to photograph the
war the victims not the fighting but the victims to show what war destinee people. i was in a park and saw people doing exercises lying there and learning to shoot pretty girls shooting those were the kinds of photos that thrilled me as a boy. suddenly i saw this couple leaving and somewhere in my head i had the idea that they were symbolic of so i ran after them and while i was running i took pictures. i kept running after them and taking pictures. then i thought i need to see their faces so i overtook them and they saw me and my camera would have to come out from the lesson they let go of their hands and stared at me it was over he said nothing happened they were shocked they stared at me with blank faces that intimacy was gone so that's how the photo came to be. it went around the world as a poster as advertising and as an anti-war photo of me and i'm proud of that thank
you very much so must be a lot. back then in his times a photojournalist used just a camera today often it's a smartphone that catches the decisive moment or a drone flying through the existence is documented and examined. the line between the private and the public has long been. investigating the connection between photography and. buildings in public places we are being watched from all sides and in many ways. through our mobile phones and with every google search we've long since lost all control over the data others are collecting on us. who is watching whom and why is the question behind several photo exhibitions currently on show in berlin this was surveillance in the one nine hundred seventy s. one man surrounded by monitors delivering
a barrage of images by the time he spotted a crime that had already been committed. photo stills of bank robbers taken by surveillance cameras. these days the technology is far more sophisticated frontex the european border and coast guard patrols the mediterranean using high definition cameras to identify and observe refugee boats but the technology keeps the observers and the observed at a distance. this is the perspective and wrote a song to capture his photos. on what i saw as a very special about it was that when the border patrolmen actually made contact with these people the distance was extremely great. and.
these surveillance systems placed so much technology and distance. in the twin. survey islands is nothing new in the past it was done by god or the gods they were all seeing even without the help of technology. even in the wilderness we never know who or what is watching the fields have the woods have ears the dead proverb is the title of this sixteenth century painting while some are afraid of eavesdroppers others eavesdrop because they were afraid of prince's fictional deaves dropping device bears a striking similarity to modern concepts the man's radar installations were another manifestation of the urge to listen and. i think this issue will become more and more important. as government agencies expand their ability to surveil
and as technology. allows that to happen and as public tolerance for this type of activity because of the culture of fear of and paranoia that's created as a result of. terrorism in extreme violence. for years now muslims in new york city have been under new york constant surveillance in two thousand and eleven the associated press released secret documents compiled by a special police unit such everyday activities as shopping praying and exercising were monitored the result is a climate of fear and suspicion. such practices were all too familiar to east germans the state security ministry archives are packed with files that document the most mundane daily activities even using a public letter box was cause enough for suspicion. when chinese artist ai wei wei was placed under house arrest in beijing in two thousand and twelve the state installed fifteen cameras to keep an eye on him he went and bought some more
recorded himself around the clock and uploaded the images to the. internet taking the surveillance to the absurd. we're used to the presence of cameras in our lives. and specially in the context of national security we there has been a justification for this level of surveillance in our daily lives and the exhibit invites hubris to really think about what the consequences might be in terms of their rights. today drones record millions of images per day worldwide they might be sent by private agencies or the military. a wrong interpretation of data can prove fatal in yemen in two thousand and eleven twelve people were killed by a us military drone they had been identified as a terrorist group but were in fact a wedding party. belgian artist. based in installation on this instance of collateral damage he traveled around the united states for months with
a drone of his own the images he collected were not random. they showed groups praying or practicing sports in towns and in specific locations much like the people in yemen or pakistan who were accidentally killed by the american drone. who treats was out to make people think about how images are used. here that you know took images from google street view he scans of people and hangs posters in the original locations his paper street ghosts are seen the world over their fleeting images on the internet which can be passed around forever. what's obvious is that surveillance has reaching into our daily lives through small and rampant internet sharing through the apps we download the data.
i think surveillance has now become manifest in our lives and many people hardly even aware of fact. these exhibitions reveal how we are being monitored every single day without knowing it maybe we should be more concerned about big data. the world's first photograph was created in the twenty's in france using a camera. the grainy view. from a window of buildings and a landscape that would take another one hundred fifty years before of a tub or a few was recognized as an art form of its own found its way into museums to this day we often wonder what makes a photo an artwork no one answers that better than the photographers of what's
known as the school. photographs that are sober straight on and ruthlessly subjective no shadow no want official light no forced emotion at times somewhat fashioned like something out of a scientific archive. the images on display at frankfurt's and stable museums vary widely in tone and subject matter but they are one thing in harmony they were all shot by photographers who studied in dusseldorf in the one nine hundred seventy s. and eighty's it was a new subject at the city's quince to cademy instructed by barack and hillary better. the bashers class turned out the most influential generation of german photographers in the field of fine art. for no one could foresee the success of the so-called better class. it's something of
a logo that was applied subsequently by people on the outside the school to. better class it was the remarkable thing about the base class was that we never perceived band. as a teacher as such. banta and hill of were never interested in technical experiments but they taught their students it was pure documentary photography guided by their own personal approach show things the way they are without dramatization without embellishment. the bettas photography focused on industrial architectural forms in germany's war region and in the united states. shot from the tops of buildings for a higher vantage point there black and white series from the one nine hundred sixty s. and seventy's are austere almost clinical talk. many are testimony to production sites
that have long since disappeared at the time there was little appreciation for their work so evidently at all it's with the zeitgeist. that's fine awfully there was a u.-haul rick embrace of all things new and so in that respect our immediate circle was not thrilled with the fact that we were taking pictures of these outdated facilities that were still working but had seen their day life and obviously no one thought these pictures were pretty sure and fun before his death club. but that's history killa and better his photographs have since acquired legendary status some to have their students. thomas wolfe is a prominent exponent of what's become known as the disorder of school his photographs are marked like those of his teachers by formal clarity and minimalist reductions of two works in series though he uses technology to pursue new visual
opportunities his expansive works are like paintings a style informed by the better class. because we worked with a large format camera we were able to produce large format pictures. which previously just hadn't existed in that shape or form of the school in the middle of the my lionel. screen neither painting nor silks grade simply no other medium offered such precise pictorial presence. of persons. photographs become pictures is the title of the stable museum exhibition a comprehensive survey of disallowed or school alumni whose careers reveal great differences but the main inextricably linked to the better class for photographers who made an art of their medium.
forty years ago the great art critic susan sontag wrote about the nature of photography saying that the photograph is to console her importance and that still has not changed and the digital age you can find more on the topic on our facebook page or have a look at my instagram blog that's all for now from berlin until next time to one.
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prospects for returning. d.-w. maybe four miles. wide family. from a journey of somebody. the best known internationally and. brand. a shared passion. f.c. byron munich to truly understand all the unique history irks. me as some young. yet can see kind of you can't touch us refining them by an. exclusive journey into the soul of my own munich. yes i mean it's a kind of culture to walk we are who we are in accept us for what we are we're a family unbelievable. the media sun media phenomenon starting october fifteenth on