It was important to Frederic Brenner to maintain an artistically detached overview. Nevertheless, Brenner – himself a Jew – as an international photographer with changing residences in Moscow, New York, Israel and currently in Berlin does acknowledge his own artistic subjectivity in conversation. His works reflect with almost archaeological precision the places and soul landscapes of this country and its people.
No contradiction: technology and tourist resorts
Germany is represented in the exhibition by photographer Thomas Struth. During his travels to Israel, the rmember of the internationally renowned "Dusseldorf School" dealt with religiously and socially-charged places such as the Annunciation Basilica in Nazareth. In his large-format photographic work, the famous monument takes on the appearance of a military bunker as a result of the massive concrete construction on the ceiling.
Struth is also interested in technologically advanced high-tech sites. From Struth's perspective, a futuristic experimental laboratory in the "Plasma Lab" of the Weizmann Institute in Rehovot, where groundbreaking medical research is carried out to worldwide acclaim, takes on sculptural traits. "My interest or intent is to address something that has a greater scale, a greater value than the specific detail," he said.
The photographer travelled to Israel six times. His image of the abstract-modern architecture of Tel Aviv's City Hall reveals more than just the bold facade – much resonates between the lines. On 4 November 1995, the then Israeli Prime Minister Yitzhak Rabin was murdered at this historic site. The light of dawn surrounds the building with an uncanny aura, its edges overly sharp.
Biblical motifs in the Negev Desert
U.S.-American photographer Jeff Wall is also known for his extremely large-format photo tableaus. For four decades, he has contributed to the art world's recognition of photography as a major contemporary art form. For the project "This Place" he travelled to Israel in October 2010. On a round trip through the Israeli Negev desert, he discovered the sleeping place of a group of Bedouins working as olive pickers on a farm. Bedouins have lived in this area for centuries, many have been resettled by the Israeli government and few have been able to save their traditions.
A year later, in the autumn of 2011, Wall returned and chose a position for his camera. For two weeks every morning before sunrise, he took a picture of the sleeping Bedouins, in the background the nearby prison next to the Israeli olive farm. A serial work that only changed in tiny, almost painterly nuances. Every day he developed this photo in a temporary darkroom in his hotel room. Only later did he make the final selection.
His large-format photographic work "Daybreak" hangs centrally at the top end of a room in the Berlin exhibition – like a biblical landscape painting from the 17th or 18th century and yet of the highest digital image quality. In large format, Wall captures the delicate colours just before the day breaks. Everything is softened by the lighting conditions. Yet between the lines are socio-critical implications.
Artist project with political ambitions
The photographer Frederic Brenner, who has his own Jewish family background and therefore rather an intimate view of the subject of "Israel" was not interested in "This Place" producing photographic effects, cliched images or newsy angles. That's why no photo journalists were invited.
The twelve professional photographers, each with their own aesthetic concepts, devoted themselves very specifically to the stories behind the facades – the buildings, the people, the religiosity, the official politics, the Israeli-Palestinian conflict. A concept that fits well into the previous exhibition philosophy of the Berlin Jewish Museum.
These artworks that, following stops in Tel Aviv, Prague and New York, are now being shown as a visiting exhibition at the Jewish Museum in Berlin, paint a multi-faceted picture of different aspects of life in this country. "Israel is a place of radical otherness and radical dissonance," Brenner remarked in interview. "This project is also about a kind of polyphony that characterises the country today. We need to understand that we have to get involved in this polyphony – even that which is inside us."
© Deutsche Welle 2019