Portraits 1/35 (image)

Musician Actress
Portraits 2/35 (image)

Designer Osko & Deichmann
Portraits 3/35 (image)

Woody, the dog of Agnes Obel
Portraits 4/35 (image)

Astronaut trainer Loredana Bessone
Portraits 5/35 (image)

Pediatric cardiac surgeon René Prêtre
Portraits 6/35 (image)

Actress Karoline Schuch
Portraits 7/35 (image)

Art collector Christian Boros
Portraits 8/35 (image)

Actor and director Herbert Fritsch
Portraits 9/35 (image)

Stephan Brun from emission protection at Audi
Portraits 10/35 (image)

Chef Johannes King
Portraits 11/35 (image)

Journalist Dr. Anna Litvinenko
Portraits 12/35 (image)

Quantum theorist Prof. Dr. David DiVincenzo
Portraits 13/35 (image)

Paleontologist and geobiologist Prof. Dr. Reinhold Leinfelder
Portraits 14/35 (image)

"Loha" Prof. Dr. Stefan Schaltegger
Portraits 15/35 (image)

Author Thor Kunkel and director Oskar Roehler
Portraits 16/35 (image)

Berlin Philharmonic Knut Weber
Portraits 17/35 (image)

Gerhard Scharrer from environmental protection at Audi
Portraits 18/35 (image)

Actress Alexandra Maria Lara
Portraits 19/35 (image)

Author Dr. Phil. Michail Gigolaschwili
Portraits 20/35 (image)

The Moss siblings
Portraits 21/35 (image)

Student Carolin Weber
Portraits 22/35 (image)

Mayor of Halle Dagmar Szabados
Portraits 23/35 (image)

Berlin Philharmonic Martin Loehr
Portraits 24/35 (image)

Photographer Maurice Weiss
Portraits 25/35 (image)

Author Dr. Alexei Makushinsky
Portraits 26/35 (image)

Flat-sharing community
Portraits 27/35 (image)

"Bufdi" Tibor Belch
Portraits 28/35 (image)

Chess grandmaster Magnus Carlsen
Portraits 29/35 (image)

Producer Bernd Eichinger
Portraits 30/35 (image)

Music manager Thomas M. Stein
Portraits 31/35 (image)

Orlando Bloom collector Jasmin Mattausch
Portraits 32/35 (image)

Star chef René Redzepi
Portraits 33/35 (image)

Author Ingo Schulze
Portraits 34/35 (image)

Actor Daniel Bruehl
Portraits 35/35 (image)

Dr. Sigrid von Moisy
Hi-ReS! 1/24 (image)

The new Berlin office of the agency Hi-ReS! (Design by Henri Fischer, Studio A/S)
Hi-ReS! 2/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 3/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 4/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 5/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 6/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 7/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 8/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 9/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 10/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 11/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 12/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 13/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 14/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 15/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 16/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 17/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 18/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 19/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 20/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 21/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 22/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 23/24 (image)

The new Berlin office of the agency Hi-ReS!
Hi-ReS! 24/24 (image)

The new Berlin office of the agency Hi-ReS! (Design by Henri Fischer, Studio A/S)
The Resort 1/13 (image)

Dubai Marina
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I went to Dubai without any specific intentions. I saw the plans, all the buildings, but potentially the only achievement to be found at this place is the fact it was built at all. I could not discern any vision, idea, or human concept of how the inhabitants want to live. It was all pure commerce. That was interesting to me because in most places in the world things work differently. When I did see people, then they stood there lost in the scenery that they had built, and they themselves became part of the stage set. The whole time, I had the feeling as if the downfall were already inherent in the rise, as if the unfinished buildings could also be ruins, as if becoming and decaying were merged into one.
"The Resort" is part of the OSTKREUZ project "Die Stadt. Vom Werden und Vergehen"

The Resort 2/13 (image)

Downtown Dubai
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I went to Dubai without any specific intentions. I saw the plans, all the buildings, but potentially the only achievement to be found at this place is the fact it was built at all. I could not discern any vision, idea, or human concept of how the inhabitants want to live. It was all pure commerce. That was interesting to me because in most places in the world things work differently. When I did see people, then they stood there lost in the scenery that they had built, and they themselves became part of the stage set. The whole time, I had the feeling as if the downfall were already inherent in the rise, as if the unfinished buildings could also be ruins, as if becoming and decaying were merged into one.
"The Resort" is part of the OSTKREUZ project "Die Stadt. Vom Werden und Vergehen"

The Resort 3/13 (image)

Downtown Dubai, Burj Khalifa
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I went to Dubai without any specific intentions. I saw the plans, all the buildings, but potentially the only achievement to be found at this place is the fact it was built at all. I could not discern any vision, idea, or human concept of how the inhabitants want to live. It was all pure commerce. That was interesting to me because in most places in the world things work differently. When I did see people, then they stood there lost in the scenery that they had built, and they themselves became part of the stage set. The whole time, I had the feeling as if the downfall were already inherent in the rise, as if the unfinished buildings could also be ruins, as if becoming and decaying were merged into one.
"The Resort" is part of the OSTKREUZ project "Die Stadt. Vom Werden und Vergehen"

The Resort 4/13 (image)

Ibn Battuta Mall
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I went to Dubai without any specific intentions. I saw the plans, all the buildings, but potentially the only achievement to be found at this place is the fact it was built at all. I could not discern any vision, idea, or human concept of how the inhabitants want to live. It was all pure commerce. That was interesting to me because in most places in the world things work differently. When I did see people, then they stood there lost in the scenery that they had built, and they themselves became part of the stage set. The whole time, I had the feeling as if the downfall were already inherent in the rise, as if the unfinished buildings could also be ruins, as if becoming and decaying were merged into one.
"The Resort" is part of the OSTKREUZ project "Die Stadt. Vom Werden und Vergehen"

The Resort 5/13 (image)

Dubai Marina
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I went to Dubai without any specific intentions. I saw the plans, all the buildings, but potentially the only achievement to be found at this place is the fact it was built at all. I could not discern any vision, idea, or human concept of how the inhabitants want to live. It was all pure commerce. That was interesting to me because in most places in the world things work differently. When I did see people, then they stood there lost in the scenery that they had built, and they themselves became part of the stage set. The whole time, I had the feeling as if the downfall were already inherent in the rise, as if the unfinished buildings could also be ruins, as if becoming and decaying were merged into one.
"The Resort" is part of the OSTKREUZ project "Die Stadt. Vom Werden und Vergehen"

The Resort 6/13 (image)

Dubai Marina
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I went to Dubai without any specific intentions. I saw the plans, all the buildings, but potentially the only achievement to be found at this place is the fact it was built at all. I could not discern any vision, idea, or human concept of how the inhabitants want to live. It was all pure commerce. That was interesting to me because in most places in the world things work differently. When I did see people, then they stood there lost in the scenery that they had built, and they themselves became part of the stage set. The whole time, I had the feeling as if the downfall were already inherent in the rise, as if the unfinished buildings could also be ruins, as if becoming and decaying were merged into one.
"The Resort" is part of the OSTKREUZ project "Die Stadt. Vom Werden und Vergehen"

The Resort 7/13 (image)

Hotel Atlantis
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I went to Dubai without any specific intentions. I saw the plans, all the buildings, but potentially the only achievement to be found at this place is the fact it was built at all. I could not discern any vision, idea, or human concept of how the inhabitants want to live. It was all pure commerce. That was interesting to me because in most places in the world things work differently. When I did see people, then they stood there lost in the scenery that they had built, and they themselves became part of the stage set. The whole time, I had the feeling as if the downfall were already inherent in the rise, as if the unfinished buildings could also be ruins, as if becoming and decaying were merged into one.
"The Resort" is part of the OSTKREUZ project "Die Stadt. Vom Werden und Vergehen"

The Resort 8/13 (image)

Bedouin tent
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I went to Dubai without any specific intentions. I saw the plans, all the buildings, but potentially the only achievement to be found at this place is the fact it was built at all. I could not discern any vision, idea, or human concept of how the inhabitants want to live. It was all pure commerce. That was interesting to me because in most places in the world things work differently. When I did see people, then they stood there lost in the scenery that they had built, and they themselves became part of the stage set. The whole time, I had the feeling as if the downfall were already inherent in the rise, as if the unfinished buildings could also be ruins, as if becoming and decaying were merged into one.
"The Resort" is part of the OSTKREUZ project "Die Stadt. Vom Werden und Vergehen"

The Resort 9/13 (image)

Sheikh Zayed Road
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I went to Dubai without any specific intentions. I saw the plans, all the buildings, but potentially the only achievement to be found at this place is the fact it was built at all. I could not discern any vision, idea, or human concept of how the inhabitants want to live. It was all pure commerce. That was interesting to me because in most places in the world things work differently. When I did see people, then they stood there lost in the scenery that they had built, and they themselves became part of the stage set. The whole time, I had the feeling as if the downfall were already inherent in the rise, as if the unfinished buildings could also be ruins, as if becoming and decaying were merged into one.
"The Resort" is part of the OSTKREUZ project "Die Stadt. Vom Werden und Vergehen"

The Resort 10/13 (image)

Dubai Marina
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I went to Dubai without any specific intentions. I saw the plans, all the buildings, but potentially the only achievement to be found at this place is the fact it was built at all. I could not discern any vision, idea, or human concept of how the inhabitants want to live. It was all pure commerce. That was interesting to me because in most places in the world things work differently. When I did see people, then they stood there lost in the scenery that they had built, and they themselves became part of the stage set. The whole time, I had the feeling as if the downfall were already inherent in the rise, as if the unfinished buildings could also be ruins, as if becoming and decaying were merged into one.
"The Resort" is part of the OSTKREUZ project "Die Stadt. Vom Werden und Vergehen"

The Resort 11/13 (image)

Al Quoz
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I went to Dubai without any specific intentions. I saw the plans, all the buildings, but potentially the only achievement to be found at this place is the fact it was built at all. I could not discern any vision, idea, or human concept of how the inhabitants want to live. It was all pure commerce. That was interesting to me because in most places in the world things work differently. When I did see people, then they stood there lost in the scenery that they had built, and they themselves became part of the stage set. The whole time, I had the feeling as if the downfall were already inherent in the rise, as if the unfinished buildings could also be ruins, as if becoming and decaying were merged into one.
"The Resort" is part of the OSTKREUZ project "Die Stadt. Vom Werden und Vergehen"

The Resort 12/13 (image)

Container settlement
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I went to Dubai without any specific intentions. I saw the plans, all the buildings, but potentially the only achievement to be found at this place is the fact it was built at all. I could not discern any vision, idea, or human concept of how the inhabitants want to live. It was all pure commerce. That was interesting to me because in most places in the world things work differently. When I did see people, then they stood there lost in the scenery that they had built, and they themselves became part of the stage set. The whole time, I had the feeling as if the downfall were already inherent in the rise, as if the unfinished buildings could also be ruins, as if becoming and decaying were merged into one.
"The Resort" is part of the OSTKREUZ project "Die Stadt. Vom Werden und Vergehen"

The Resort 13/13 (image)

Red Dunes
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I went to Dubai without any specific intentions. I saw the plans, all the buildings, but potentially the only achievement to be found at this place is the fact it was built at all. I could not discern any vision, idea, or human concept of how the inhabitants want to live. It was all pure commerce. That was interesting to me because in most places in the world things work differently. When I did see people, then they stood there lost in the scenery that they had built, and they themselves became part of the stage set. The whole time, I had the feeling as if the downfall were already inherent in the rise, as if the unfinished buildings could also be ruins, as if becoming and decaying were merged into one.
"The Resort" is part of the OSTKREUZ project "Die Stadt. Vom Werden und Vergehen"

Repository Asse II 1/22 (image)

Water catch bassin with worker
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The Asse II pit (Schacht Asse II) is a former salt mine used as a deep geological repository for radioactive waste in the mountain range of Asse in district Wolfenbüttel in Lower Saxony, Germany.
Today, the very large total volume of open drifts and chambers and the closeness of the chambers to the adjoining rock cause the major problem in the Asse mine. Clefts have formed through which groundwater flows into the mine.

Repository Asse II 2/22 (image)

Miners patron at the entrance of the galleries
Repository Asse II 3/22 (image)

Drilling vehicle repairing the galleries
Repository Asse II 4/22 (image)

Old AEG machine
Repository Asse II 5/22 (image)

Monitoring and power station
Repository Asse II 6/22 (image)

Stock with defects
Repository Asse II 7/22 (image)

Radioactive water
Repository Asse II 8/22 (image)

Elevator 700m deep
Repository Asse II 9/22 (image)

Drilling vehicle
Repository Asse II 10/22 (image)

Sealed stock
Repository Asse II 11/22 (image)

Dismantling and clearance place in 490m depth
Repository Asse II 12/22 (image)

Car in the dust
Repository Asse II 13/22 (image)

Water-collecting bucket
Repository Asse II 14/22 (image)

Controling the water-collecting buckets
Repository Asse II 15/22 (image)

Water catch bassins
Repository Asse II 16/22 (image)

Overflow water catch bassins
Repository Asse II 17/22 (image)

Stock with defects
Repository Asse II 18/22 (image)

Stalactite formation
Repository Asse II 19/22 (image)

Test drilling
Repository Asse II 20/22 (image)

Concrete reinforcement
Repository Asse II 21/22 (image)

Elevator 700m deep
Repository Asse II 22/22 (image)

Headframe of the shaft Asse II
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The Asse II pit (Schacht Asse II) is a former salt mine used as a deep geological repository for radioactive waste in the mountain range of Asse in district Wolfenbüttel in Lower Saxony, Germany.
Today, the very large total volume of open drifts and chambers and the closeness of the chambers to the adjoining rock cause the major problem in the Asse mine. Clefts have formed through which groundwater flows into the mine.

Spex 1/9 (image)

Blixa Bargeld from Einstuerzende Neubauten
Spex 2/9 (image)

Blixa Bargeld from Einstuerzende Neubauten
Spex 3/9 (image)

Blixa Bargeld from Einstuerzende Neubauten
Spex 4/9 (image)

Blixa Bargeld from Einstuerzende Neubauten
Spex 5/9 (image)

Actress
Spex 6/9 (image)

Actress
Spex 7/9 (image)

Actress
Spex 8/9 (image)

Hito Steyerl vs. Kassem Mosse
Spex 9/9 (image)

Hito Steyerl vs. Kassem Mosse
Berlin Manufactories 1/10 (image)

Infarm
Berlin Manufactories 2/10 (image)

Malin Elmlid, The Bread Exchange
Berlin Manufactories 3/10 (image)

Standert
Berlin Manufactories 4/10 (image)

Our Berlin Vodka
Berlin Manufactories 5/10 (image)

Glut und Späne
Berlin Manufactories 6/10 (image)

Frau Tonis Parfum
Berlin Manufactories 7/10 (image)

Purwin & Radczun
Berlin Manufactories 8/10 (image)

Fiona Bennett
Berlin Manufactories 9/10 (image)

Heisser Hobel
Berlin Manufactories 10/10 (image)

Five Elephant
Exile in Calcutta 1/24 (image)

Sudarshan Chakrabarty, choreographer: "My grandfather was killed in the riots that followed the partition. Our family had no choice but to flee. I do not consider myself a refugee but partition has played a role in making me what I am today"
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 2/24 (image)

Gauranga Chandra Rudra Paul, sculptor: "I came to Calcutta in 1947, when I was twelve years old. Our economic situation quickly improved after we arrived. We have the city to thank for our prosperity."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 3/24 (image)

Alokananda Ray, dancer: "Sometimes I imagine what it might be like in Bangladesh. I only know the country from my parents’ stories, and I’d like to see it myself, someday. I was born in Calcutta. I couldn’t imagine living in another city."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile. "Exile in Calcutta" is part of the OSTKREUZ project "Über Grenzen".

Exile in Calcutta 4/24 (image)

IT-area in Kolkata
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 5/24 (image)

Sujit Ranjan Sarker, pensioner: "I always felt home in Calcutta. My family came to this city before the division of Bengal. After the founding of Bangladesh our house was confiscated and turned into a museum. I haven’t been back there since."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 6/24 (image)

Kalyani, prostitute: "When I was fifteen my father sold me to a girl trafficker. I couldn’t run away or resist. My mother always told me about the houses, the gardens and temples in our village. It all seems like a distant dream to me."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 7/24 (image)

Jogen Chowdhury, artist: "We went to Calcutta shortly after the separation. I am the only one in my family who has ever been back to our village — nothing was the same as it had been. Only a flower tree reminded me of my childhood."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 8/24 (image)

Slum in Kolkata
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 9/24 (image)

Dr. Chatterjee, surgeon: "The partition was a human tragedy. When a political and economic situation changes so drastically, it’s understandable that people will flee. I have never seen our village, but I would like to show it to my children someday."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 10/24 (image)

Dilip Kumar Chowdhuri, pensioner: ”l never regretted migrating to Kolkata. Both of my sons are well established here in Kolkata now. I visited my village only once in 1949 but I do not want to go there anymore."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile. "Exile in Calcutta" is part of the OSTKREUZ project "Über Grenzen".

Exile in Calcutta 11/24 (image)

Sri Uddhav Mandal, security man: "I haven’t been back to Bangladesh since I fled. I saw a lot of violence there. The memories are too painful for me to go back. Even though I feel independent and secure here, I don’t feel anything for Calcutta."
Exile in Calcutta 12/24 (image)

Upper middle class residential area in Kolkata
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 13/24 (image)

Sandipan Chakrabarty, manager: "My father and my uncle were fighting against the British occupation in east Bengal. My grandfather took the family to Calcutta, because it was safer here. Ten of them lived in a two-room apartment."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 14/24 (image)

Bablu Molla, poultry butcher: "I love calcutta because the city gave me a chance to earn money and to live without fear."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 15/24 (image)

Kalpana Mondal, home help: ”With the help of an agent we crossed the border on a bicycle. I didn't like Calcutta at the beginning, having left my family back in Bangladesh. My dream is to build a house like we used to have in Bangladesh."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 16/24 (image)

Slum in Kolkata
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 17/24 (image)

Sunil Gangopadhyay, writer: ”I was 13 years old when the tragedy of partition took place and my father was struggling to support a family with so many members. His decision to come to Calcutta was very wise. I am proud to be a 'Banga|'."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile. "Exile in Calcutta" is part of the OSTKREUZ project "Über Grenzen".

Exile in Calcutta 18/24 (image)

Eleena Banik, artist: "My parents came to Calcutta just before the unrest that preceded the division of Bengal. I don’t feel a need to see their homeland."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 19/24 (image)

Shyamal Chakrabarty, politician: "I immigrated to Calcutta in 1949, when I was just five years old. Nevertheless, it was a very important experience for me. The fact that my family and I were refugees politicized me strongly."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 20/24 (image)

Shopping mall in Kolkata
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile. "Exile in Calcutta" is part of the OSTKREUZ project "Über Grenzen".

Exile in Calcutta 21/24 (image)

Debarghya Bairagi, fashion designer: "My family was liberal and provided us a good upbringing. From my childhood I was romantic about my parent's early life at Jessore because of all the stories that we heard from our parents."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile. "Exile in Calcutta" is part of the OSTKREUZ project "Über Grenzen".

Exile in Calcutta 22/24 (image)

Dipu Ray, rickshaw-puller: "My family had a house and some property in Khulna but Hindus and Muslims were not tolerant towards each other, which often led to violence. My father now works as a carpenter and I help him to run the fami|y."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile. "Exile in Calcutta" is part of the OSTKREUZ project "Über Grenzen".

Exile in Calcutta 23/24 (image)

Subimal Sarkar, pensioner: "I often think of Chittagong, the town where I was born. I would like to go back and spend my last days in Bangladesh. Calcutta today is a cosmopolitan city. There is not much left of the old Bengali flavor."
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile.

Exile in Calcutta 24/24 (image)

Middle class residential area in Kolkata
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Exile in Calcutta

Bengal was once a kingdom of its own, but then the occupying force of Great Britain partitioned the territory. In 1947 the Border Commission drew a random line across the landscape; even villages were cut in two. The Hindu-majority west remained a part of India. The Muslim populated east became part of Pakistan and later Bangladesh. Millions of people fled from wars, unrest, and poverty to the other half of Bengal. Calcutta, which lies west of the border, was shaped like no other city by this stream of migration, which has lasted to this day. Almost thirty percent of its inhabitants come from Bangladesh. Portraits of people in exile. "Exile in Calcutta" is part of the OSTKREUZ project "Über Grenzen".

Feintechnik 1/16 (image)

German razor blades producer Feintechnik Eisfeld
Feintechnik 2/16 (image)

German razor blades producer Feintechnik Eisfeld
Feintechnik 3/16 (image)

German razor blades producer Feintechnik Eisfeld
Feintechnik 4/16 (image)

German razor blades producer Feintechnik Eisfeld
Feintechnik 5/16 (image)

German razor blades producer Feintechnik Eisfeld
Feintechnik 6/16 (image)

German razor blades producer Feintechnik Eisfeld
Feintechnik 7/16 (image)

German razor blades producer Feintechnik Eisfeld
Feintechnik 8/16 (image)

German razor blades producer Feintechnik Eisfeld
Feintechnik 9/16 (image)

German razor blades producer Feintechnik Eisfeld
Feintechnik 10/16 (image)

German razor blades producer Feintechnik Eisfeld
Feintechnik 11/16 (image)

German razor blades producer Feintechnik Eisfeld
Feintechnik 12/16 (image)

German razor blades producer Feintechnik Eisfeld
Feintechnik 13/16 (image)

German razor blades producer Feintechnik Eisfeld
Feintechnik 14/16 (image)

German razor blades producer Feintechnik Eisfeld
Feintechnik 15/16 (image)

German razor blades producer Feintechnik Eisfeld
Feintechnik 16/16 (image)

German razor blades producer Feintechnik Eisfeld
Cicero 1/16 (image)

Oskar Roehler
Cicero 2/16 (image)

Jonathan Meese
Cicero 3/16 (image)

Jonas Burgert
Cicero 4/16 (image)

Stefan Haupt
Cicero 5/16 (image)

Ben Kaufmann
Cicero 6/16 (image)

Christian Boros
Cicero 7/16 (image)

Thomas Ostermeier and Hartmut Lange
Cicero 8/16 (image)

Thor Kunckel and Oskar Roehler
Cicero 9/16 (image)

Gayle Tufts
Cicero 10/16 (image)

Anton Hofreiter
Cicero 11/16 (image)

Timothy Snyder
Cicero 12/16 (image)

Barbara Schnitzler
Cicero 13/16 (image)

Wolfgang Klein
Cicero 14/16 (image)

Demographic change and european immigration
Cicero 15/16 (image)

Demographic change and european immigration
Cicero 16/16 (image)

Demographic change and european immigration
Provisorium 1/16 (image)

Hairpin Pencil
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Provisorium 2/16 (image)

Volvic Vase
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Provisorium 3/16 (image)

iPhone Cover
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Provisorium 4/16 (image)

Hand Side Mirror
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Provisorium 5/16 (image)

Hoover Adapter Bottle
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Provisorium 6/16 (image)

Bookmarklet Bottle
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Provisorium 7/16 (image)

Toilet Paper Roller
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Provisorium 8/16 (image)

Hotwater Bottle Plaster
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Provisorium 9/16 (image)

Door Splint Match
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Provisorium 10/16 (image)

Coat Hanger Spoon
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Provisorium 11/16 (image)

Coat Hook Bar
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Provisorium 12/16 (image)

Office Chair Prothesis
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Provisorium 13/16 (image)

Sunglasses Plaster
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Provisorium 14/16 (image)

Cardboard Club
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Provisorium 15/16 (image)

Doorstop Fin
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Provisorium 16/16 (image)

Iron Wire Flower Stabilizer
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Nothing lasts longer than a temporary…

Provisorium is a project photographed and produced by Thomas Meyer, which originally started in cooperation with the two designers Christoph Held (Heldstudio) and Ingo Strobel (motorberlin.com) for having the original idea and for helping to find most of the objects until 2006.

Berlin Art Scene 1/24 (image)

The artist Jonas Burgert in his studio
Berlin Art Scene 2/24 (image)

The artist Björn Dahlem in his studio
Berlin Art Scene 3/24 (image)

The artist Björn Dahlem in his studio
Berlin Art Scene 4/24 (image)

The artist Björn Dahlem in his studio
Berlin Art Scene 5/24 (image)

Gallery owner Max Hetzler
Berlin Art Scene 6/24 (image)

The artist Thomas Scheibitz in his studio
Berlin Art Scene 7/24 (image)

The artist Thomas Scheibitz in his studio
Berlin Art Scene 8/24 (image)

The artist Thomas Scheibitz in his studio
Berlin Art Scene 9/24 (image)

Gallery owner Hendrik A. Berinson
Berlin Art Scene 10/24 (image)

The artist Robin Rhode in his studio
Berlin Art Scene 11/24 (image)

The artist Robin Rhode in his studio
Berlin Art Scene 12/24 (image)

The artist Jeppe Hein in his studio
Berlin Art Scene 13/24 (image)

Gallery owner Judy Lybke in his gallery under construction
Berlin Art Scene 14/24 (image)

The artist Andro Wekua in his flat
Berlin Art Scene 15/24 (image)

The artist Angela Bulloch in her Studio
Berlin Art Scene 16/24 (image)

abc director Maike Cruse
Berlin Art Scene 17/24 (image)

The artist Carsten Nicolai in his studio
Berlin Art Scene 18/24 (image)

The artist Carsten Nicolai
Berlin Art Scene 19/24 (image)

The artist Susan Philipsz in her studio
Berlin Art Scene 20/24 (image)

The gallery owner Alexander Ochs in his gallery
Berlin Art Scene 21/24 (image)

Studio space of the artists Elmgreen and Dragset
Berlin Art Scene 22/24 (image)

The artists Elmgreen and Dragset in their studio
Berlin Art Scene 23/24 (image)

Art collectors Christian Boros und Karen Lohmann
Berlin Art Scene 24/24 (image)

The artist Jonathan Meese in front of the Nofretete
Museums 1/27 (image)

Neues Museum in Berlin
Museums 2/27 (image)

Neues Museum in Berlin
Museums 3/27 (image)

Neues Museum in Berlin
Museums 4/27 (image)

Neues Museum in Berlin
Museums 5/27 (image)

Neues Museum in Berlin
Museums 6/27 (image)

Neues Museum in Berlin
Museums 7/27 (image)

Neues Museum in Berlin
Museums 8/27 (image)

Neues Museum in Berlin
Museums 9/27 (image)

Neues Museum in Berlin
Museums 10/27 (image)

Neues Museum in Berlin
Museums 11/27 (image)

Albertinum in Dresden
Museums 12/27 (image)

Albertinum in Dresden
Museums 13/27 (image)

Albertinum in Dresden
Museums 14/27 (image)

Albertinum in Dresden
Museums 15/27 (image)

Albertinum in Dresden
Museums 16/27 (image)

Albertinum in Dresden
Museums 17/27 (image)

Albertinum in Dresden
Museums 18/27 (image)

Albertinum in Dresden
Museums 19/27 (image)

Albertinum in Dresden
Museums 20/27 (image)

Neue Nationalgalerie in Berlin
Museums 21/27 (image)

Neue Nationalgalerie in Berlin
Museums 22/27 (image)

Neue Nationalgalerie in Berlin
Museums 23/27 (image)

Neue Nationalgalerie in Berlin
Museums 24/27 (image)

Neue Nationalgalerie in Berlin
Museums 25/27 (image)

Neue Nationalgalerie in Berlin
Museums 26/27 (image)

Neue Nationalgalerie in Berlin
Museums 27/27 (image)

Neue Nationalgalerie in Berlin
dbv News Service 1/11 (image)

Stuttgart City Library. Library of the Year 2013
dbv News Service 2/11 (image)

Back of server racks in a data center
dbv News Service 3/11 (image)

Oberlausitzer science library in Görlitz
dbv News Service 4/11 (image)

Grimm Center in Berlin
dbv News Service 5/11 (image)

Tablet in empty books matter
dbv News Service 6/11 (image)

Wall of books in the German National Library in Frankfurt am Main
dbv News Service 7/11 (image)

Tape robot in a data center
dbv News Service 8/11 (image)

The heart of the Stuttgart City Library. Library of the Year 2013
dbv News Service 9/11 (image)

Graphothek Stuttgart City Library. Library of the Year 2013
dbv News Service 10/11 (image)

Server racks in a data center
dbv News Service 11/11 (image)

Stuttgart City Library. Library of the Year 2013
Chrismon 1/11 (image)

Meeting: Ulrike Poppe and Julia Schoch
Chrismon 2/11 (image)

Meeting: Renate Kuenast and Matthias Gockel
Chrismon 3/11 (image)

Ulrich Lilie
Chrismon 4/11 (image)

Meeting: Juli Zeh and Philipp Riederle
Chrismon 5/11 (image)

Meeting: Katharina Saalfrank and Heinrich Bedford-Strohm
Chrismon 6/11 (image)

Meeting: Nikolaus Schneider and Martina Gedeck
Chrismon 7/11 (image)

Meeting: Rita Süssmuth and Wolfgang Gründinger
Chrismon 8/11 (image)

Meeting: Katrin Bauerfeind and Bjarne L. Mädel
Chrismon 9/11 (image)

Meeting: Rainer Glatz and Fernando Enns
Chrismon 10/11 (image)

Meeting: Judith Alwin and Jürgen Hessw
Chrismon 11/11 (image)

Meeting: Nathalie Todenhöfer and Sasha Waltz
Iron Foundry Torgelow 1/12 (image)

Casting process
Iron Foundry Torgelow 2/12 (image)

Workers and engineers
Iron Foundry Torgelow 3/12 (image)

Melting the metal
Iron Foundry Torgelow 4/12 (image)

Pouring the molten iron into a casting ladle
Iron Foundry Torgelow 5/12 (image)

Pouring the molten iron into another casting ladle
Iron Foundry Torgelow 6/12 (image)

Skim off the slag
Iron Foundry Torgelow 7/12 (image)

Skim off the slag
Iron Foundry Torgelow 8/12 (image)

Head of casting Mr. Milstrey
Iron Foundry Torgelow 9/12 (image)

Molds in the main hall
Iron Foundry Torgelow 10/12 (image)

Grinding of the blank
Iron Foundry Torgelow 11/12 (image)

Grinded blanks
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Iron Foundry Torgelow 12/12 (image)

CEO Mr. Taterra in front of blanks
Art 1/10 (image)

Cover with Jonathan Meese
Art 2/10 (image)

The artist Thomas Scheibitz in his studio
Art 3/10 (image)

The artist Björn Dahlem in his studio
Art 4/10 (image)

Art collectors Christian Boros und Karen Lohmann
Art 5/10 (image)

The Boros-Bunker
Art 6/10 (image)

The Boros-Bunker
Art 7/10 (image)

The Boros-Bunker
Art 8/10 (image)

Bode Museum in Berlin
Art 9/10 (image)

Bode Museum in Berlin
Art 10/10 (image)

Bode Museum in Berlin
Inside Stasi 1/29 (image)

Interrogation room, Gedenkstaette Berlin-Hohenschoenhausen
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 2/29 (image)

Prisoner transporter, Gedenkstaette Berlin-Hohenschoenhausen
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 3/29 (image)

Photographic room, Gedenkstaette Berlin-Hohenschoenhausen
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 4/29 (image)

Cell, Gedenkstaette Berlin-Hohenschoenhausen
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 5/29 (image)

Prison yard, Gedenkstaette Berlin-Hohenschoenhausen
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 6/29 (image)

Vera Lengsfeld, politian and former political prisoner
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 7/29 (image)

Prison courtroom, Gedenkstaette Berlin-Hohenschoenhausen
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 8/29 (image)

Ministry of state security buildings, Berlin Normannenstrasse
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 9/29 (image)

File card archive, BStU Berlin Normannenstrasse
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 10/29 (image)

File card archive, BStU Berlin Normannenstrasse
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 11/29 (image)

Audio tape, BStU Berlin Normannenstrasse
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 12/29 (image)

Microfilm archive, BStU Berlin Normannenstrasse
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 13/29 (image)

Hans Bauer, former GDR procecuting attorney
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 14/29 (image)

Stasi files archive, BStU Berlin Normannenstrasse
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 15/29 (image)

Office with portrait of Erich Mielke, BStU Berlin Normannenstrasse
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 16/29 (image)

Erich Mielke´s office, minister of state security
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 17/29 (image)

Uniform, Stasi Museum Normannenstrasse
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 18/29 (image)

Devotional objects and presents, Stasi Museum Normannenstrasse
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 19/29 (image)

Spy technic and a uniform, Museum Runde Ecke Leipzig
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 20/29 (image)

Interception system, Museum Runde Ecke Leipzig
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 21/29 (image)

Stasi office, Museum Runde Ecke Leipzig
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 22/29 (image)

Dieter Stiebert, former Stasi officer
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 23/29 (image)

Cortyard, Stasi prison Potsdam
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 24/29 (image)

Photographic room, Stasi prison Potsdam
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 25/29 (image)

Cell, Stasi prison Potsdam
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 26/29 (image)

Museum inside the Stasi-Bunker, Machern near Leipzig
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 27/29 (image)

Bedroom and office at the Museum inside the Stasi-Bunker, Machern near Leipzig
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 28/29 (image)

Communication technic, Museum inside the Stasi-Bunker, Machern near Leipzig
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Inside Stasi 29/29 (image)

Desktop at the Museum inside the Stasi-Bunker, Machern near Leipzig
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OSTKREUZ photographer Thomas Meyer went to search for the traces of the Secret Police of the GDR. He found places where the executors of the socialistic law – the Staatssicherheit – operated. The different sections of the "Stasi" were spread throughout the GDR. The prison in Berlin Hohenschoenhausen is preserved as a museum and the former “ministry for the safety of the state” is still an authority with millions of files to manage and research.
Thomas Meyer found filing cabinets, magnetic tapes, smell examples and devotional objects as well as the current administrative machinery and the working employees.
Observing tools and prison cells represent the inhuman methods of the Secret Police of the GDR still today and get oppressively vivid with the reserved view of Thomas Meyer.

Dismantling Greifswald NPP 1/17 (image)

Control room
Dismantling Greifswald NPP 2/17 (image)

Circuit diagram
Dismantling Greifswald NPP 3/17 (image)

Hermetic lock
Dismantling Greifswald NPP 4/17 (image)

Former steam generator box
Dismantling Greifswald NPP 5/17 (image)

Transducer room
Dismantling Greifswald NPP 6/17 (image)

Control room
Dismantling Greifswald NPP 7/17 (image)

General view
Dismantling Greifswald NPP 8/17 (image)

Thermal cutting of the steam generator
Dismantling Greifswald NPP 9/17 (image)

Pieces of the steam generator
Dismantling Greifswald NPP 10/17 (image)

Dismantling with the bandsaw
Dismantling Greifswald NPP 11/17 (image)

Cleaning with high pressure
Dismantling Greifswald NPP 12/17 (image)

Liquid decontamination
Dismantling Greifswald NPP 13/17 (image)

Interim storage facility north
Dismantling Greifswald NPP 14/17 (image)

Casks for radioactive material at the interim storage facility north
Dismantling Greifswald NPP 15/17 (image)

Casks for radioactive material at the interim storage facility north
Dismantling Greifswald NPP 16/17 (image)

Casks for radioactive material at the interim storage facility north
Dismantling Greifswald NPP 17/17 (image)

Casks for radioactive material at the interim storage facility north
FAZ campaign 1/9 (image)

Michael Schumacher, racing driver
FAZ campaign 2/9 (image)

Maybrit Illner, journalist
FAZ campaign 3/9 (image)

Vitali Klitschko, World Boxing Champion
FAZ campaign 4/9 (image)

Berlin Philharmonics with Sir Simon Rattle
FAZ campaign 5/9 (image)

Till Brönner, trumpeter
FAZ campaign 6/9 (image)

Wendelin Wiedeking, CEO
FAZ campaign 7/9 (image)

Georg Baselitz, artist
FAZ campaign 8/9 (image)

Harald Wohlfahrt, chef
FAZ campaign 9/9 (image)

Jochen Zeitz, Puma CEO
Geo 1/14 (image)

The Talent Search: Line Hoven
Geo 2/14 (image)

The Talent Search: Rene Pretre
Geo 3/14 (image)

The Talent Search: Julia Fischer
Geo 4/14 (image)

The Talent Search: David Harland
Geo 5/14 (image)

The Talent Search: Meike Grewing
Geo 6/14 (image)

The Talent Search: Johannes King
Geo 7/14 (image)

The Talent Search: Franziska Weber
Geo 8/14 (image)

Smart Consumption: Boris Palmer
Geo 9/14 (image)

Smart Consumption: The Moss siblings
Geo 10/14 (image)

Smart Consumption: The Wolf family
Geo 11/14 (image)

Smart Consumption: Thilo Bode
Geo 12/14 (image)

Smart Consumption: Stefan Schaltegger
Geo 13/14 (image)

Smart Consumption: Passive house community
Geo 14/14 (image)

Smart Consumption: Martin Unfried
24h Berlin (OSTKREUZ book) 1/6 (image)

Weekend Club at the Alexanderplatz
24h Berlin (OSTKREUZ book) 2/6 (image)

Alexanderplatz
24h Berlin (OSTKREUZ book) 3/6 (image)

Underground at the Alexanderplatz
24h Berlin (OSTKREUZ book) 4/6 (image)

Alexanderplatz
24h Berlin (OSTKREUZ book) 5/6 (image)

Construction site at the Alexanderplatz
24h Berlin (OSTKREUZ book) 6/6 (image)

Weekend Club at the Alexanderplatz
Fair Trade Cashmere 1/34 (image)

Goatherd in Yulin county, China
Fair Trade Cashmere 2/34 (image)

Cashmere goat herd in Yulin county, China
Fair Trade Cashmere 3/34 (image)

Cashmere goat farm in Qinghe county, China
Fair Trade Cashmere 4/34 (image)

Cashmere goat farm leader in Qinghe county, China
Fair Trade Cashmere 5/34 (image)

Assembly at the carding fty in Qinghe county, China
Fair Trade Cashmere 6/34 (image)

Carding fty in Qinghe county, China
Fair Trade Cashmere 7/34 (image)

Carding fty in Qinghe county, China
Fair Trade Cashmere 8/34 (image)

Dyeing fty in Qinghe county, China
Fair Trade Cashmere 9/34 (image)

Dyed cashmere, dyeing fty in Qinghe county, China
Fair Trade Cashmere 10/34 (image)

Staff accommodation, carding fty in Qinghe county, China
Fair Trade Cashmere 11/34 (image)

Baotou, China
Fair Trade Cashmere 12/34 (image)

Cashmere spinning fty in Baotou, China
Fair Trade Cashmere 13/34 (image)

Cashmere spinning fty in Baotou, China
Fair Trade Cashmere 14/34 (image)

Cashmere spinning fty in Baotou, China
Fair Trade Cashmere 15/34 (image)

Cashmere spinning fty in Baotou, China
Fair Trade Cashmere 16/34 (image)

Xiao Cui, cashmere spinning fty in Baotou, China
Fair Trade Cashmere 17/34 (image)

Xian, China
Fair Trade Cashmere 18/34 (image)

Cashmere yarn storage, cashmere fty, Dongguan City, China
Fair Trade Cashmere 19/34 (image)

Cashmere fty in Dongguan City, China
Fair Trade Cashmere 20/34 (image)

Cashmere fty in Dongguan City, China
Fair Trade Cashmere 21/34 (image)

Cashmere fty in Dongguan City, China
Fair Trade Cashmere 22/34 (image)

Cashmere fty in Dongguan City, China
Fair Trade Cashmere 23/34 (image)

Cashmere fty in Dongguan City, China
Fair Trade Cashmere 24/34 (image)

Cashmere yarn storage, Cashmere fty, Dongguan City, China
Fair Trade Cashmere 25/34 (image)

Lunch at the cashmere fty in Dongguan City, China
Fair Trade Cashmere 26/34 (image)

Staff accommodation, Cashmere fty in Dongguan City, China
Fair Trade Cashmere 27/34 (image)

Staff accommodation, Cashmere fty in Dongguan City, China
Fair Trade Cashmere 28/34 (image)

Yulin county, China
Fair Trade Cashmere 29/34 (image)

Hope School, sponsored by FTC in Yulin county, China
Fair Trade Cashmere 30/34 (image)

Donation handover, Hope School, Yulin county, China
Fair Trade Cashmere 31/34 (image)

Class at Hope School in Yulin county, China
Fair Trade Cashmere 32/34 (image)

Class at Hope School in Yulin county, China
Fair Trade Cashmere 33/34 (image)

Director Hope School in Yulin county, China
Fair Trade Cashmere 34/34 (image)

Map of China at Hope School in Yulin county, China
RFX Padua 1/12 (image)

Experiment for controlled thermonuclear fusion in Padua
RFX Padua 2/12 (image)

Experiment for controlled thermonuclear fusion in Padua
RFX Padua 3/12 (image)

Experiment for controlled thermonuclear fusion in Padua
RFX Padua 4/12 (image)

Experiment for controlled thermonuclear fusion in Padua
RFX Padua 5/12 (image)

Experiment for controlled thermonuclear fusion in Padua
RFX Padua 6/12 (image)

Experiment for controlled thermonuclear fusion in Padua
RFX Padua 7/12 (image)

Experiment for controlled thermonuclear fusion in Padua
RFX Padua 8/12 (image)

Experiment for controlled thermonuclear fusion in Padua
RFX Padua 9/12 (image)

Experiment for controlled thermonuclear fusion in Padua
RFX Padua 10/12 (image)

Experiment for controlled thermonuclear fusion in Padua
RFX Padua 11/12 (image)

Experiment for controlled thermonuclear fusion in Padua
RFX Padua 12/12 (image)

Experiment for controlled thermonuclear fusion in Padua
An der Nordsee 1/16 (image)

Island of Spiekeroog
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„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

An der Nordsee 2/16 (image)

Island of Spiekeroog
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„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

An der Nordsee 3/16 (image)

Island of Spiekeroog
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← close text

„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

An der Nordsee 4/16 (image)

Island of Spiekeroog
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← close text

„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

An der Nordsee 5/16 (image)

Island of Spiekeroog
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← close text

„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

An der Nordsee 6/16 (image)

Island of Spiekeroog
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← close text

„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

An der Nordsee 7/16 (image)

Island of Spiekeroog
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„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

An der Nordsee 8/16 (image)

Island of Spiekeroog
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„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

An der Nordsee 9/16 (image)

Island of Spiekeroog
→ read text
← close text

„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

An der Nordsee 10/16 (image)

Island of Spiekeroog
→ read text
← close text

„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

An der Nordsee 11/16 (image)

Island of Spiekeroog
→ read text
← close text

„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

An der Nordsee 12/16 (image)

Island of Spiekeroog
→ read text
← close text

„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

An der Nordsee 13/16 (image)

Island of Spiekeroog
→ read text
← close text

„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

An der Nordsee 14/16 (image)

Island of Spiekeroog
→ read text
← close text

„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

An der Nordsee 15/16 (image)

Island of Spiekeroog
→ read text
← close text

„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

An der Nordsee 16/16 (image)

Island of Spiekeroog
→ read text
← close text

„An der Nordsee“ (At the North Sea) portrays a reserved but romantic declaration of love to the German North Sea coast, in particular to the islands that stretch out like a string of pearls along the East Frisian coastline. The Island Spiekeroog lies between Langeoog in the West and Wangerooge in the East. It looks like a smal and idyllic place: there is no traffic, no noice and no pollution. This Island is a place where you can satisfy the yearning for nature, wind, wideness and sea.
Thomas Meyers pictures are precise and unsentimental. The prosaic view on the sea, the beach or the vacation houses is concret and always keeps the distance.
„An der Nordsee“ is part of the OSTKREUZ project „Deutschlandbilder – Neueinstellung“

Kaufland 1/10 (image)

Shopping centers in East Germany
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In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

Kaufland 2/10 (image)

Shopping centers in East Germany
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In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

Kaufland 3/10 (image)

Shopping centers in East Germany
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In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

Kaufland 4/10 (image)

Shopping centers in East Germany
→ read text
← close text

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

Kaufland 5/10 (image)

Shopping centers in East Germany
→ read text
← close text

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

Kaufland 6/10 (image)

Shopping centers in East Germany
→ read text
← close text

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

Kaufland 7/10 (image)

Shopping centers in East Germany
→ read text
← close text

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

Kaufland 8/10 (image)

Shopping centers in East Germany
→ read text
← close text

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

Kaufland 9/10 (image)

Shopping centers in East Germany
→ read text
← close text

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

Kaufland 10/10 (image)

Shopping centers in East Germany
→ read text
← close text

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

Dummy 1/4 (image)

Provisorium
Dummy 2/4 (image)

Provisorium
Dummy 3/4 (image)

Provisorium
Dummy 4/4 (image)

Provisorium
Warsaw 1/20 (image)

Old town market place
Warsaw 2/20 (image)

Ghettos Heroe`s Memorial
Warsaw 3/20 (image)

Construction side
Warsaw 4/20 (image)

Royal Castle
Warsaw 5/20 (image)

Central square
Warsaw 6/20 (image)

Warsaw Uprising Museum
Warsaw 7/20 (image)

Kerat House
Warsaw 8/20 (image)

Shopping mall at the main station
Warsaw 9/20 (image)

Street scene
Warsaw 10/20 (image)

Unfinished sky scraper
Warsaw 11/20 (image)

St.-Annen-Church
Warsaw 12/20 (image)

View on new Warsaw
Warsaw 13/20 (image)

Bar
Warsaw 14/20 (image)

Shop
Warsaw 15/20 (image)

Park Lazienki Krolewskie
Warsaw 16/20 (image)

Wilson underground station
Warsaw 17/20 (image)

Old town
Warsaw 18/20 (image)

Street scene
Warsaw 19/20 (image)

court yard in the city center
Warsaw 20/20 (image)

Old town market place
Ethical Fashion Africa 1/18 (image)

Bag production in Nairobi, Kenya
Ethical Fashion Africa 2/18 (image)

Wall paintings in Nairobi, Kenya
Ethical Fashion Africa 3/18 (image)

Model with handbag in Nairobi, Kenya
Ethical Fashion Africa 4/18 (image)

Bag production in Nairobi, Kenya
Ethical Fashion Africa 5/18 (image)

Model with handbag in Nairobi, Kenya
Ethical Fashion Africa 6/18 (image)

Bag production in Nairobi, Kenya
Ethical Fashion Africa 7/18 (image)

Ilaria Fendi. Bag production in Nairobi, Kenya
Ethical Fashion Africa 8/18 (image)

Bag production in Nairobi, Kenya
Ethical Fashion Africa 9/18 (image)

Model with bag in Nairobi, Kenya
Ethical Fashion Africa 10/18 (image)

Bag production in Nairobi, Kenya
Ethical Fashion Africa 11/18 (image)

Bag production in Nairobi, Kenya
Ethical Fashion Africa 12/18 (image)

Model with handbag in Nairobi, Kenya
Ethical Fashion Africa 13/18 (image)

Bag production in Nairobi, Kenya
Ethical Fashion Africa 14/18 (image)

Model with bag in Nairobi, Kenya
Ethical Fashion Africa 15/18 (image)

Bag production in Nairobi, Kenya
Ethical Fashion Africa 16/18 (image)

Bag production in Nairobi, Kenya
Ethical Fashion Africa 17/18 (image)

Model with bag in Nairobi, Kenya
Ethical Fashion Africa 18/18 (image)

Wall painting in Nairobi, Kenya
Archaeologisches Zentrum 1/18 (image)

Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 2/18 (image)

Foyer Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 3/18 (image)

Archaeological library at the Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 4/18 (image)

Archaeological library at the Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 5/18 (image)

Archaeological library at the Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 6/18 (image)

Preparing the Uruk exhibition at the Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 7/18 (image)

Preparing the Uruk exhibition at the Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 8/18 (image)

Preparing the Uruk exhibition at the Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 9/18 (image)

Preparing the Uruk exhibition at the Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 10/18 (image)

Preparing the Uruk exhibition at the Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 11/18 (image)

Preparing the Uruk exhibition at the Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 12/18 (image)

Preparing the Uruk exhibition at the Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 13/18 (image)

Preparing the Uruk exhibition at the Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 14/18 (image)

Preparing the Uruk exhibition at the Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 15/18 (image)

Preparing the Uruk exhibition at the Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 16/18 (image)

Preparing the Uruk exhibition at the Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 17/18 (image)

Preparing the Uruk exhibition at the Archaeologisches Zentrum in Berlin
Archaeologisches Zentrum 18/18 (image)

Staircase at the Archaeologisches Zentrum in Berlin
Berlin Summer 1/16 (image)

Mauerpark
Berlin Summer 2/16 (image)

Mauerpark
Berlin Summer 3/16 (image)

Café Sankt Oberholz
Berlin Summer 4/16 (image)

Kauf Dich Gluecklich
Berlin Summer 5/16 (image)

Cafe Bravo at Kunst-Werke
Berlin Summer 6/16 (image)

Klaerchens Ballhaus
Berlin Summer 7/16 (image)

Kunsthaus Tacheles
Berlin Summer 8/16 (image)

Strandbar at the Museumsinsel
Berlin Summer 9/16 (image)

Jewish Museum
Berlin Summer 10/16 (image)

Jewish Museum
Berlin Summer 11/16 (image)

Marie-Elisabeth-Lueders-Haus
Berlin Summer 12/16 (image)

Bundes Presse Strand
Berlin Summer 13/16 (image)

Main Station
Berlin Summer 14/16 (image)

Main Station
Berlin Summer 15/16 (image)

Badeschiff
Berlin Summer 16/16 (image)

Weekend Club
Berliner Sparkasse Annual Report 2014 1/8 (image)

Cover
Berliner Sparkasse Annual Report 2014 2/8 (image)

Mert Özgüvenc
Berliner Sparkasse Annual Report 2014 3/8 (image)

Daniela Mahmoud
Berliner Sparkasse Annual Report 2014 4/8 (image)

Ugur Mutlu
Berliner Sparkasse Annual Report 2014 5/8 (image)

Kathrin Hennrich
Berliner Sparkasse Annual Report 2014 6/8 (image)

Benaja Mussauer
Berliner Sparkasse Annual Report 2014 7/8 (image)

Denise Kramer and Kathrin Shulte
Berliner Sparkasse Annual Report 2014 8/8 (image)

Fruit Logistica
Campus Rütli 1/16 (image)

Graffiti on the 100th anniversary of the Rütli school
Campus Rütli 2/16 (image)

The Rütli school building with playground and soccer field
Campus Rütli 3/16 (image)

The headmistress of the Rütli school Cordula Heckmann in her office
Campus Rütli 4/16 (image)

Former premises of the school management
Campus Rütli 5/16 (image)

Teaching at the Rütli school
Campus Rütli 6/16 (image)

Passage with lockers
Campus Rütli 7/16 (image)

Drum group
Campus Rütli 8/16 (image)

The former Rütli student Diala Ghannam
Campus Rütli 9/16 (image)

Door to the mediator training
Campus Rütli 10/16 (image)

Students in the computer room
Campus Rütli 11/16 (image)

Theater group at rehearsal
Campus Rütli 12/16 (image)

Fire blanket in the chemistry lab
Campus Rütli 13/16 (image)

Teaching at the Rütli school