1991

Schlosstrasse, Wittenberg 1991

Tate

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Curatorial notes

Curator: Today we're looking at Thomas Struth’s “Schlosstrasse, Wittenberg 1991”, a photograph held in the Tate collection. Editor: My first thought? Stillness. An unnerving quiet seems to emanate from this grayscale street scene. Curator: Indeed. Struth’s composition emphasizes symmetry and axiality, drawing the eye toward the imposing tower in the distance. Editor: That tower dominates! It feels like a stoic observer, a silent guardian of history witnessing post-reunification Germany. Curator: Precisely. The photograph's muted tones and almost clinical clarity contribute to its detached, objective quality. Editor: But beneath that objectivity, I sense a deep reflection on memory, loss, and perhaps even a hesitant hope for the future. Curator: A poignant intersection of formal structure and evocative atmosphere, wouldn’t you agree? Editor: Absolutely. Struth captures a city suspended between past and future, inviting us to contemplate our own place within that narrative.

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tateabout 1 year ago

http://www.tate.org.uk/art/artworks/struth-schlosstrasse-wittenberg-1991-p20157

tateabout 1 year ago

Thomas Struth began taking photographs of industrialised cities when he was studying under Bernd Becher (born 1931) at the Düsseldorf Academy in the late 1970s. He has continued to explore and develop the theme for almost twenty years, focusing his attention on such cities as New York, Tokyo, Berlin and Naples. Since the mid 1980s he has also produced landscapes, portraits and photographs of visitors in museums. Struth's images of the urban environment concentrate on seemingly unspectacular streets and public spaces. He seeks to record the face of urban space, seeing the architectural environment as a site where a community expresses its history and identity. In interviews he has stated that his images aim to explore what public spaces 'might say about the people who live in these sites.' (Quoted in Gisbourne p.5.) In recording the urban environment, Struth deliberately refers to the tradition of black and white documentary photography, adopting a seemingly objective position. The compositions are simple and the photographs are neither staged nor digitally manipulated in post-production. Struth has said: 'for me it is more interesting to try and find out something from the real than to throw something subjective in front of the audience.' (Quoted in Minelli p.190.) However, in spite of a link to the reportage tradition, Struth avoids both its snapshot approach and its quest for the capture of a fleeting, spontaneous image. Rather he carefully selects the sites where, using long exposures he makes sharply focused images. In 1991, two years after the unification of East and West Berlin, Struth began working on an extensive series of images that sought to record the face of the former East Germany, (of which Tate owns five). He travelled the country, taking photographs in a variety of cities which had previously been inaccessible from the West. In Schlosstrasse, Wittenberg 1991 he employs techniques which have characterised his street scenes since the 1970s. He places the camera in the centre of the road at eye level, creating a vertiginous one-point perspective that leads the viewer's eye along the street, past an assortment of dilapidated nineteenth century buildings, to a pair of church spires which rise up at the end of the road. A few bicycles, a delicate cast iron balcony, some trees and a single lamp post enliven the scene. Struth avoids all human activity and incident so that the street appears deserted like an empty stage-set. The central focus of the photograph is an empty space. The image has a melancholic atmosphere of absence, a mood which is enhanced by the neutral grey light of early morning that bathes the scene. The slightly shabby East German world that Struth depicts is one in which time is presented as having stood still. It is a world that is at once recognisable, but also alien because it had been hidden from Western eyes for forty years. The uninflected image gives no hints as to how it is to be interpreted, and the viewer is led to linger over what might otherwise seem an un-noteworthy, everyday vista. As Struth has said, his work is intended to 'give pause', and thus resist immediate consumption. He seeks to bring about a 'move to investigative viewing' which is also a 'call to interact.' (Quoted in Buchloh p.31.) Further Reading: Mark Gisbourne, 'Struth', Art Monthly, no.176, May 1994, pp.3-9Giovanna Minelli, Another Objectivity, exhibition catalogue, Centre National des Arts Plastiques, Paris 1989, pp.189-194Benjamin Buchloh, Portraits: Thomas Struth, exhibition catalogue, Marian Goodman Gallery, New York 1990Thomas Struth, 'Photographs from East Germany', October, no.64, Spring 1993, pp.34-55, reproduced p.45 Imogen Cornwall-JonesJuly 2001

Schlosstrasse, Wittenberg 1991

Thomas Struth

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