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Vintage photos capture the passion and restlessness of East Germany's youth
Photography from the German Democratic Republic, or East Germany, has received limited exposure in the art world -- not least due to the strict limitations imposed by the former authoritarian state.
A new collection of images, first shown at the 2019 Rencontres d'Arles photography festival in the south of France by curator Sonia Voss, shines a light on the works that emerged from the GDR in the last decade before the fall of the Berlin Wall.
Two new exhibitions reaffirm the power of photography for LGBTQ communities worldwide
"The decade preceding the fall of the wall is a very interesting one for the arts in Germany because there was a new generation that had not witnessed the founding of the GDR," Voss said in a phone interview.
"These were young people who were very detached from political ideas, but somehow just as tired and furious about the constraints that they were living with, which made them more likely to break the norms or push the limits compared to previous generations."
Ute Mahler, Berlin, Winfried Glatzeder, Robert and Philipp, 1982, from the "Living together" series.
In the "Restless Bodies" series, Voss explores how the body was at the center of these artists' creativity. Photographing one's own body, Voss explained, was an act of affirmation and resistance in a society that discouraged individuality and was suspicious of the arts. And by photographing others, the artists were able to provide lasting documents of East German realities.
Behind the Iron Curtain: Vintage designs from communist East Germany
Such was the case with Ute Mahler, one of the artists featured in the exhibition, whose "Living Together" comprises family portraits taken in Leipzig. In the exhibition's notes, she explains: "I wanted to get a peek behind the façade of the official rhetoric of optimism. I looked for what was real in people's private lives."
Similarly, Christiane Eisler's photos of Leipzig's punk community offer a glimpse into a private world.
Christiane Eisler, Mita and Jana, Berlin punk girls in Leipzig, 1983. Credit: Christiane Eisler / transit/www.transit.de/Christiane Eisler / transit
"She followed them everywhere for a quite long time. It was a community that was very strongly under repression from Stasi. These are very melancholic portraits because of the tension between the rage and the despair, which was omnipresent in the GDR," Voss said.
Sibylle Bergemann, Heike, Berlin, 1988 (Allerleirauh).
Fashion photographer Sibylle Bergemann was commissioned by popular magazines, but also captured underground fashion scenes.
"She created a group with young designers who made clothes with whatever they could find, to develop a style that you could not see in stores. They made a lot of illegal shows, which were extremely successful, and Sibylle documented many of them," Voss explained.
Manfred Paul, Verena -- Geburt 3, [Verena -- Birth 3], 1977.
While Manfred Paul is primarily known for a series of photographs of Berlin's courtyards, the series focuses on the portraits he shot of his wife as she gave birth to their first son. With their intimacy, they offer a radical contrast to the social discourse seen elsewhere.
York der Knoefel, from the Schlachthaus series [Slaughterhouse], 1986-1988.
Self-taught photographer York der Knoefel spent two years documenting a Berlin slaughterhouse. "He saw it as a metaphor for the human condition and sacrifice for society," Voss said.
"To go with the portraits, he created an installation made out of zinc-coated plates which formed a labyrinth. He is a typical example of how a young person who did not receive a standard education really pushed the limits of photography."
Rudolf Schäfer, Der ewige Schlaf -- visages de morts [The Eternal Sleep -- Faces of the dead], 1981.
The striking portraits taken by artist Rudolf Schäfer are from a morgue at the Charité Hospital in East Berlin.
"I put this series in in the same section of the exhibition as other portraits, because for me it was like a quest for the ultimate essence of an individual. When you're a corpse you're not a social thing anymore, you're not a part of society, you're just yourself down to the essence of your being," said Voss.
Top image: Gundula Schulze Eldowy, Berlin, 1987, from the "Berlin on a dog's night" series.
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Watching these vintage sex education movies, it would be easy to feel a little smug. Most of them are badly acted, strangely staged, and full of outdated language.
But some people would argue that our contemporary take on sex ed isn't all that much better.
On Wednesday, July 24, Eve Ensler, the writer and activist who created 'The Vagina Monologues' and 'V-Day', is in the red chair .
She'll talk to George about the current state of sex ed, and share her belief that it's letting young people down and contributing to feelings of shame and confusion.
"I interview so many young teenagers, and so many boys have no idea what sex is. They don't have a clue. Girls don't know," she tells George.
"So they get together in sexual misery, right? Somebody jumps on somebody, and the girl goes 'that's what sex is? Oh my god, that's a nightmare, I don't want it.' And it begins the pattern."
Catch the full interview with Ensler tomorrow at 7 pm on CBC Television , and enjoy a squirm-inducing trip down memory lane below.
It's hard to say whether this is a sexual education film or a short horror movie. Either way, it's off-putting.
This is a post-war instructional film on menstruation that mainly focuses on teaching girls about how to use sanitary pads, but also gets into some odd advice: don't get your feet wet while you have your period. Make sure not to catch a chill. And look around for a nice hot drink if you're feeling out of sorts.
It may be a little dated, but one of the most interesting aspects of this film (a sequel of sorts to 'Boy to Man', another educational film released three years earlier) is hearing young women talk informally about their lives. Styles may change, but people are still people.
A Girl's Guide To Menstruation: Go Easy On The Square Dancing
This is the second part of a documentary about menstruation from the 1950s, and it's well worth watching for the pipe-smoking, fight-watching '50s dad (he shows up around the 0:30 mark) and the chart of what kinds of things you can and should do while menstruating (that starts around 5:38). Hair washing? Sure! Square dancing? Maybe not.
Masturbating: It Feels Like A Crime!
You've got to feel a little bad for the young guy who kicks this video off by talking directly to camera about his masturbation habits. It's just the beginning of a very frank and open three-and-a-half-minute odyssey through the sexual insecurities of teenage boys. Watching it in a classroom full of teenage boys must have been tons of fun for everyone.
Sex Outside Of Marriage: It's Irresponsible, And Possibly Disastrous
This circa-1960s video from the UK draws on some pretty questionable "science" to make its point: which is that "sexual intercourse outside of marriage" is "irresponsible, and possibly disastrous." The narrator goes on to say "we're not trying to influence anyone. Facts are our business just now."
Imagine what Dan Savage would have had to say if he was around back then.
Early 1960s Instructions On "Drawing The Line"
It's a little unclear what's going on at the beginning of this video, as two young people sit behind picture frames talking about how attracted they are to one another. It looks a little like an early episode of 'Star Trek', especially when "the line" from the title appears out of nowhere. And then it turns into a heated, and kind of self-aware ("don't get upset! It's only a movie"), round table discussion.
Daniel Reynolds , the YouTube user who uploaded this video, points out that one of the most interesting things about it is that "it reveals what dating used to be like: talking it over with the parents, putting on a suit." In fact, the whole video offers more instruction on how not to screw things up with a girl than on sex itself. An interesting window on another time.
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Teenage girls living in the 1940s enjoyed an independence that would make many modern teen envious.
They had been raised by parents and teachers who encouraged them to dress prettily so they could find a young man to marry, and to work a part-time job so they could buy expensive wedding china.
But by the time they were old enough to work part-time jobs, the young men were away at war and mom and dad were both working away from the home. With no young boys to impress and no parents to please, teenage girls, were left with an unexpected level of independence, and a lot of disposable income.
Ballet girls posing in their dressing room at the Cremorne Theatre, Brisbane, 1940.
Teenage girls gather around wearing their ice skates, c. 1944. Photo by Kirn Vintage Stock/Corbis via Getty Images
Smiling teen girl cheerleader wearing varsity letter sweater, Los Angeles, California, 1949. Photo by Camerique/Getty Images
At the Vermont state fair, Rutland.
Backstage at the girlie show at the Vermont state fair, Rutland.
Young fashionable women. Photo by FORTEPAN CC BY-SA 3.0
In school, they were expected to follow a strict dress code, which mandated everything from the type of blouse, skirt, socks, shoes and even type of jewelry and hairstyles they should wear.
But outside of the school, they had more choices about how to spend spare time and money. They bought the clothes they wanted to wear: knit sweaters, plaid skirts, bobby socks, loafers, and nail-polish-painted eye-glasses.
Related video: Great 1940s teenage slang:
Clothing designers were puzzled to find that these teenage girls picked different clothes than the conventional styles preferred by their mothers. Some of them picked more “masculine” styles, donning pantsuits, slacks, denim jeans, and even overalls.
When they weren’t working or at school, they hung out at movie theaters and soda fountains listening to Frank Sinatra, swing dancing and enjoying a carefree and independent life far from the troubles of war.
Students at Washington High School in class, training for specific contributions to the war effort, Los Angeles, California. Ralph Angar, instructor, explains propeller characteristics to students in the aeronautics class (LOC).
In bathing suits, North Africa, 1944.
On vacation at Lake Balaton in Hungary, 1939. Photo by FORTEPAN CC BY-SA 3.0
The teenage girls of the 1940s lived in an exciting and drastically changing world. By the time the war was over, and society started to get back to “normal,” these girls had already enjoyed a taste of independence that they weren’t ready to let go of.
Many of them would grow up to be part of the 1960s women’s rights movement, bringing a new level of independence to American women, for decades to come.
Marea Harris is one of the authors writing for The Vintage News
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