| | | | | | | | Michael Ruetz
from Timescape 162
162.0, February 4 1991, 17:30 h
162.16, August 28 2023, 10:33 h
Pariser Platz, Berlin-Mitte
© Michael Ruetz | | | | | | Poesie der Zeit | | | | Timescapes 1966–2023 | | | | 9 May – 4 Aug 2024 | | | | Opening: Wednesday, 8 May, 7 pm | | | | | | | | | | | | | | | | Michael Ruetz
from Timescape 139
139.0, June 26 1990, 19:33 h
139.2, June 3 1994, 14:43 h
139.6, June 11 2006, 13:07 h
Linkstraße, Potsdamer Platz, Berlin-Mitte
© Michael Ruetz | | | | | | | How to make visible the passage of time and transience, how to document the ruptures and changes that occur in societies and urban environments? These are the questions that Michael Ruetz – like few other artists – addresses in his work. Since the mid-60s he has observed the transformation of natural and urban habitats in locations in Berlin and elsewhere in Europe in a large-scale photographic study, capturing the changes in a series of photographic snapshots and inventory images. His Timescapes came about over a period of nearly sixty years and comprise more than 600 series made up of thousands of photos. The central concept of Timescapes is that the position and visual axis of the camera always remain the same, while only the time intervals of the photo series vary. | | | | | | | | | Michael Ruetz
Timescape 1077
1077.0, April 11 1966, 11:40 h
1077.1, April 11 2002, 11:40 h
Gendarmenmarkt, Berlin-Mitte
© Michael Ruetz | | | | | | At the heart of the exhibition are the Timescapes of Berlin. The photo series present a particularly powerful consolidation of the far-reaching transformation of German society in the post-war period, after reunification and up to the present day. Sites of power or historical relevance such as Potsdamer Platz or the Brandenburg Gate, the Schlossplatz, Gendarmenmarkt, Berlin’s government quarters or the Berlin Wall have undergone radical change, particularly since 1989/90. Buildings and visual axes disappear or are built anew, streets are returned to previous states or renamed, squares are radically redesigned, open spaces built upon, vacant spaces given new life.
Ruetz’ images of Berlin are an expression of how architecture can shape and redefine our environment, thus giving it a prerogative of interpretation over our perception. His photo series develop their own aesthetics beyond documentary sobriety, revealing a poetry of time in the process. At the same time, Ruetz’ photos admonish us, in these times of environmental and social crises, to rethink the principles of urban planning and development. | | | | | | | | | Michael Ruetz
from Timescape 178
178.5, June 2 1995, 12:21 h
178.6, June 9 1996, 11:24 h
178.13, November 26 2002, 14:42 h
178.18, November 9 2020, 15:28 h
Alexanderufer/Ecke Kapelle-Ufer, Berlin-Mitte
© Michael Ruetz | | | | | | | Michael Ruetz (b. 1940) is one of Germany’s best-known photographic artists. He began his career in Hamburg on the editorial team at Stern magazine. His photographs of the APO extra-parliamentary opposition (1966–69) have now entered the collective visual memory. From 1975 on, Ruetz worked as a freelance photographer and was primarily involved in book projects. He was a professor at the HBK Braunschweig, won various awards, including the Otto-Steinert-Preis and a Villa Massimo fellowship, and was made a Commandeur l’Ordre des Arts et des Lettres in France. Ruetz is a member of the Akademie der Künste, Berlin. | | | | | | | | | Michael Ruetz
aus Timescape 312
312.10, October 26 2002, 14:48 h
312.14, December 10 2005, 12:52 h
312.26, December 17 2015, 10:06 h
Schloßplatz, Berlin-Mitte
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