scholarly journals From Private Photography to Mass Circulation: The Queering of East German Visual Culture, 1968–1989

2015 ◽  
Vol 48 (3) ◽  
pp. 405-423 ◽  
Author(s):  
Josie McLellan

AbstractThis article describes how a particular kind of queer figure moved from private photography into the mainstream of East German visual culture. It begins with a set of private photographs from the late 1960s from the collection of Heino Hilger, a regular, with his friends, at the East Berlin bar Burgfrieden. The photographs show how dressing in drag and the act of photography were important ways of constituting a gay male subculture. After the decriminalization of sex between men in 1968, the gay scene became bolder and more political in East Germany. The subversion of gender norms was central to the activism of groups such as the Homosexual Interest Group Berlin (HIB) and Gays in the Church. The visibility of the queer figure culminated in the late 1980s, when parts of the film Coming Out were filmed in Burgfrieden and when the popular monthly Das Magazin published a three-part feature on male homosexuality. What all these cultural artifacts and events had in common was not just a critique of the heterosexual norm, but also a queering of the boundaries between masculinity and femininity.

Author(s):  
April A. Eisman

This article focuses on the East German artistic response to the 1973 putsch in Chile, an event now recognized as foundational in the development of neoliberalism. Outraged and saddened, artists in East Germany responded to the putsch with thousands of works of art. These works disrupt Western expectations for East German art, which was far more modern and complex than the term “socialist realism” might suggest. They also offer insight into the horrors of the putsch and remind us that there have been—and can once again be—alternatives to neoliberal capitalism. In addition to creating prints, paintings, and sculptures, East German artists organized solidarity events to raise money for Chile and spearheaded a book project with artists from sixteen communist and capitalist countries to document the event and losses suffered. This article ultimately shows that communist visual culture can serve as a model for art as an activist practice.


Nasledje ◽  
2020 ◽  
pp. 191-207
Author(s):  
Marko Katić

Among but few icons brought back home by hajjis from their pilgrimage to Jerusalem (hence the name jerusalems) preserved in Belgrade, the one that stands out for its peculiarity and relatively early origin is the 1819 icon kept in Ružica Church in Kalemegdan. The most important element of the icon is the depiction of the Church of the Holy Sepulchre in Jerusalem. This paper presents and analyses numerous peculiarities of this depiction, before all by comparing its iconography and style with the usual kind of the Jerusalem pilgrimage icons of the same age. Th icon painter's method is additionally analysed through the theoretical prism of palimpsest and gloss, recently developed in art-historical studies. It has been concluded that the depiction is basically similar to that on other icons dating from after the 1808 fire in the Church of the Holy Sepulchre, but bearing an array of specificities that could be ascribed to the reinterpretation of architectural elements of the Jerusalem Church which the icon painter depicts to underline its holiness. The analysis points to a local Palestinian master as the author of the icon.


1993 ◽  
Vol 23 (91) ◽  
pp. 251-268 ◽  
Author(s):  
Birgit Müller

In a situation when high demands were made on the skills and work performances of East German workers and when they could expect little reward for it in the form of job security and high wages, they startcd to define themselves increasingly in contrast to the image they produced of West Germans in general. More and more East Germans characterize the West Germans as socially isolated, obsessed by their work, unable to share and indifferent towards the development of the GDR. The interpretations and views collected while doing fieldword in three enterprises in East Berlin since May 1990 are the basis for analysing how the image of the market as a truely honest and objective system changed since the fall of the wall and how the East Germans reacted to the Western stereotype of the lazy Ossy (East German).


2013 ◽  
Vol 10 (1) ◽  
pp. 129-131
Author(s):  
Roman Kuhar

Gay Bosnians are struggling with the (US-based) concept of ‘coming out’. Homosexuality here is shameful and is only possible when it is secret, hidden, anonymous. My problem with queer theory and activism is not the theory itself. Indeed queer theory’s most important contribution is to disclose how the gay movement of the 1970s and 1980s only dealt with white gay male experience, thus centralising some identities and marginalising others. However my problem (or, to be more exact, my concern or maybe my own ignorance) is how to translate queer theory into the practice of everyday politics, especially in thepostwar areas of the former Yugoslavia. As yet, it seems that the (radical) US queer model does not translate well into those societies on the doorstep of the European Union (EU). Even so, as someone at the Queer Zagreb conference mentioned, New York and San Francisco are not the USA, which means that ‘queering’ in some other parts of the country would provoke similar hostile reactions, or, to put it differently, one can find Bosnia in many parts of the USA. The million-dollar question, therefore, is how to translate the queer sensibility of identities into policy papers and government resolutions.


2017 ◽  
Vol 4 (1-2) ◽  
Author(s):  
Umberto Bongianino

AbstractThe creation of the Norman kingdom of Sicily was complemented by the development of a unique court milieu encompassing elements from the Latin West, Byzantium, and the Islamic world. The churches of Palermo, in particular, became the focus of a sophisticated project of experimentation and combination of different artistic traditions, to convey an artificial image of equilibrium among élites and communities of three different denominations: Latin, Greek-Byzantine, and Arabo-Christian. Through the creation and subversion of architectural boundaries, the promotion of certain forms of visual hybridity, the transgression of artistic media, and the articulation of new liminal spaces, the Norman rulers transformed their churches and cathedrals into an ideal stage for performing their liturgy of kingship, and conveying the message of a multi-faceted religious system unified and harmonized only through the king, as supreme head of the Church and vicar of Christ.


Author(s):  
Josh Armstrong

In general, the German Democratic Republic (GDR) did not treat its gay and lesbian citizens very favorably. Although the legal situation was more liberal than in the Federal Republic (West Germany) and other Western European countries, most homosexual East Germans lived in a state of invisibility at best, or suffered direct homophobia at worst, often at the hands of the government. In the mid-1980s, the public and government stance toward homosexuality liberalized slightly, leading to small improvements in the lives of gay East Germans. However, gay East Germans never experienced many of the same freedoms or opportunities that their West German, other Western European, or American counterparts enjoyed. Gay East Germans occupied a difficult position within the socialist ideology of the GDR. In theory, each East German was equal, enjoying universal rights and opportunities, and living free from discrimination. At the same time, however, the smallest building block of the society was the heterosexual, reproductive, married couple: a model into which same-sex desiring people could not fit. This doctrine of supposed equality probably contributed to the fact that homosexuality was decriminalized earlier in the GDR than in the Federal Republic, but it was also used by the SED (Sozialistische Einheitspartei Deutschlands: the ruling, dictatorial party) as an excuse not to engage further with the specific needs of gay citizens until the mid-1980s. The GDR saw some limited gay activism in the 1970s in the form of the Homosexuelle Interessengemeinschaft Berlin (HIB); however, the group’s activities never really extended outside of East Berlin and did not lead to significant political or social change. More impactful activism occurred in the 1980s under the aegis of the Protestant Church as the only organization in the GDR that operated largely outside of state control. The SED eventually yielded to some of the demands of gay activists—by sanctioning publications and meeting spaces, for example—but did so primarily to draw gay activists out of the protection of Church structures and in order to be able to monitor and control them more easily. There are few East German literary or artistic works that engage with homosexuality, although a number of relevant literary works were published in the 1980s. These contributed to a fledgling discourse around homosexuality, shifting the issue from a taboo topic to one more acceptable for discussion in the public sphere. However, when East German audiences viewed Heiner Carow’s Coming Out in 1989—the first and only East German feature film to depict homosexual relationships—many claimed that it was their first exposure to homosexuality. And, since the GDR ceased to exist as a state fairly abruptly in 1990, one will never know how the trajectory of gay rights activism may have continued.


1977 ◽  
Vol 6 (3) ◽  
pp. 34-36
Author(s):  
Jürgen Fuchs

The text passages below are from an unpublished book by the East Berlin writer Jürgen Fuchs. Fuchs, born in 1950, belongs to the circle of Wolf Biermann and Robert Havemann. He left school in 1969 and was trained as a skilled worker on the East German Railways. After his service with the National People's Army he studied social psychology in Jena. His writings first appeared in collections and periodicals in 1973. In April 1975, after a public reading of some of his works, he was expelled from the Party, expelled from the University a few days before the conclusion of his course, and branded a ‘counter-revolutionary’ and ‘slanderer of the State’. On 19 November 1976, having signed a letter of protest against Biermann's expatriation, he was arrested. The passages below, from Fuchs' book Aide-Memoire, were published in Frankfurter Allgemeine Zeitung in November 1976.


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