Summarize this content to 2000 words in 6 paragraphs in Arabic In 1931, August Sander explained his book Face of Our Time as \u201cbasically a declaration of faith in photography as a universal language\u201d. Yet the grammar he invented to connect his images shaped a specifically German photography for a century. Acutely and brilliantly, portrait by portrait, class by class, profession by profession \u2014 baker, beggar, bailiff, banker \u2014 Sander classified and categorised his subjects to portray\u00a0Germany\u2019s first democratic society, the Weimar Republic, as it was about to disappear.Typologien: Photography in 20th-century Germany, a stunning, insightful exhibition at Milan\u2019s Prada Foundation, traces the complex connections between camera and country, image-making and history. It explores typology as an organising concept in photography from the 1920s to today, and one that connects to German ideals of order only to upend them: typology here is photography\u2019s weapon for disruption and critique, surreal associations and overlooked beauty, starting with Sander himself.When the Nazis destroyed the plates of \u201cFace of Our Time\u201d in 1936, Sander continued photographing, adding categories: \u201cSS captain\u201d, \u201cthe persecuted\u201d, depicted like all the others straightforwardly, full-frontal, steady gaze. The ordinariness of aggressor and victim alike terrifies. Within the neutrality of his ordered portrait sequences, Sander recorded Germany\u2019s descent into violent chaos.\u00a0Weimar culture, its high seriousness and bewitching anarchy, is wonderfully conjured as soon as you enter the Prada\u2019s lofty, darkened galleries. Karl Blossfeldt, a Berlin professor of design, is using a homemade camera and magnifying glass to inspire his students with the graphic elegance of plant life: his sequence of curled-up fern fronds, each decoratively different, resemble lyrical art nouveau patterns.\u00a0Nearby, photojournalist Umbo\u2019s vertiginous \u201cMystery of the Street\u201d (1928) images hang upside down, so the tall shadows of labourers and passers-by loom upright over actual bodies. Converging expressionism with Bauhaus-inspired spatial disorientation, this restless, haunting sequence is rare; Umbo would lose an eye as a war photographer, and most of his archive in a bombing raid.\u00a0But his influence extends to the 21st century \u2014 the show is not strictly chronological \u2014 in Ursula Schulz-Dornburg\u2019s stark, uncanny \u201cTransit Sites\u201d (1997-2011). They feature Armenia\u2019s Soviet-era bus stops, each a miniature constructivist marvel, now decaying on wasteland roads where the bus never arrives. Impoverished village women, \u201cdressed as if they were going to the opera\u201d, waited endlessly, Schulz-Dornburg remembers.\u00a0Like Waiting for Godot, \u201cTransit Sites\u201d expresses stoical grace in an unpredictable world.We think of German art as heavy, but Milan hands the stage to many jesters. Sigmar Polke transforms domestic palm plants, 1960s German consumer emblem, into threatening or comic forms \u2014 mushroom cloud, phallus, whip, a mocking nude self-portrait adorned with palm leaves as angel wings, \u201cPolke as Palm Tree\u201d (1968). Ursula Bohmer\u2019s \u201cAll Ladies \u2014 Cows in Europe\u201d (1998-2011), gigantic portraits of single, proudly horned female cattle, varying in size, colour, skin texture and, apparently, character \u2014 aloof, grumpy, inquisitive, docile \u2014 almost steals the show. Her cows confront similarly huge human portraits such as Thomas Ruff\u2019s affectless passport-style depictions, every wrinkle grotesquely enlarged, questioning realism.Hans-Peter Feldmann\u2019s extreme cataloguing is a joke in \u201cAll the Clothes of a Woman\u201d (1974) \u2014 an item-by-item inventory, knickers, stockings, coat, shoes \u2014 but provocatively grave in \u201cThe Dead\u201d (1967-1993),\u00a090 found images of those killed or missing in German terrorist incidents. Alongside industrialist Hans Martin Schleyer, murdered by the Red Army Faction, is terrorist Andreas Baader in a pool of his own blood and housewife Edith Kletzh\u00e4ndler, accidentally shot in an Red Army Faction bank raid. All are equal in death, but levels of guilt are questioned \u2014 detailing Schleyer\u2019s SS past, his killer Rolf Wagner boasted in 2007, \u201cwe didn\u2019t choose him by chance\u2009.\u2009.\u2009. many of our decisions seem correct.\u201dThe Prada\u2019s show compares fascinatingly with another outsider\u2019s view of a nation\u2019s photographic history, the Rijksmuseum\u2019s excellent American Photography. That pivots around the American dream; this around the German nightmare of 1933-45. Yet both celebrate individualism: Typologien\u2019s glory is how differences within a category shine bright.\u00a0Sander\u2019s \u201cPeople of the 20th Century\u201d declares common humanity in diversity. Showing his subjects as they wished to be shown, he frees them from sociology to touch our hearts. The circus \u201cMagician\u201d in threadbare coat presents himself as a briefcase-carrying bourgeois.\u00a0\u201cSecretary at West German Radio\u201d, cropped hair, androgynous look, cigarette, has cabaret glamour.\u00a0The elderly furrowed Jew \u201cVictim of Persecution\u201d is remarkably dignified.\u00a0\u00a0After 1945, typology\u2019s opportunities for nuance and subtext attracted photographers struggling to portray the inescapable though invisible truth about their country: Germany\u2019s postwar fractures, unresolved past, flight from remembrance.Bernd and Hilla Becher\u2019s \u201cAnonymous Sculptures\u201d, repetitive \u201cportraits\u201d of obsolescent Ruhr buildings \u2014 water towers, cooling towers, blast furnaces, coal silos \u2014 reprise Sander as industrial archaeology. Really, they evoke a ruined civilisation: the water towers\u2019 columns recall classical temples; the heroic melancholy allows no glimpse of the new factories powering Germany\u2019s economic miracle.Those influenced by the Becher mix of austere objectivity, minimalism and documentary realism include Thomas Struth, beginning his career with the blurry alienated figures \u201cPeople on the Street, D\u00fcsseldorf\u201d (1974-78), Candida H\u00f6fer, depicting sumptuous grand libraries emptied of readers \u2014 high culture had not saved Weimar \u2014 and Andreas Gursky.\u00a0His epic colour-saturated photographs of quotidian existence shaped into geometric formats stud the show: thousands of rows of chocolate bars in \u201c99 Cent\u201d; thousands of windows flickering in the housing block \u201cParis Montparnasse\u201d, high-density living abstracted into an anonymous grid.\u00a0From Gursky\u2019s banality of global capitalism it is a step to Gerhard Richter\u2019s banality of evil:\u00a0his anthology \u201cAtlas\u201d, a collection begun in 1962 of his own and newspaper photographs, seems random \u2014 romantic landscapes, toilet rolls, family snapshots\u00a0\u2014 until it isn\u2019t, and Holocaust footage suddenly interrupts this innocuous everyday parade. \u201cAtlas\u201d horribly predicts today\u2019s ceaseless, mindless image flow, inuring us to atrocity.This is an uneasy but rewarding exhibition, with revelatory names from both Germanies. From the east, Sibylle Bergemann\u2019s formal, poignant \u201cBerlin Lichtenberg\u201d series of stylish modernist living rooms, and Christian Borchert\u2019s monochrome \u201cFamily\u201d pictures, set in the subject\u2019s home, garden or farm as each chose, pay homage to Sander and are eloquent of equable domestic life under communism, and of inner exile as survival strategy.West German discovery is pharmacist-turned-photographer Heinrich Riebesehl, who smuggled his camera into the lift of Neue Hannoversche Presse\u2019s offices and photographed all those entering it on November 20 1969.\u00a0German modernity and nostalgia cram into Riebesehl\u2019s \u201cPeople in the Elevator\u201d:\u00a0wide-eyed secretaries in miniskirts and mascara; the catering lady with her trays; a squashed trolley boy; the intellectual in glasses and Homburg hat, a Weimar hangover, stargazing into the confined spotlit cube \u2014\u00a0surely a metaphor for the boxlike camera itself, forging from each fleeting individual face a picture of an epoch.To July 14, fondazioneprada.org<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic In 1931, August Sander explained his book Face of Our Time as \u201cbasically a declaration of faith in photography as a universal language\u201d. Yet the grammar he invented to connect his images shaped a specifically German photography for a century. Acutely and brilliantly, portrait<\/p>\n","protected":false},"author":1,"featured_media":287084,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-287083","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/287083","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=287083"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/287083\/revisions"}],"predecessor-version":[{"id":287085,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/287083\/revisions\/287085"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/287084"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=287083"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=287083"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=287083"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}