The Arno Fischer exhibition under the curatorship of Mathias Flügge, will be on show by the cooperation of IFA and Goethe Institute, İstanbul at Milli Reasurans Art Gallery from December 8th of 2016 through January 8, 2017.
With the retrospective exhibition devoted to the work of Arno Fischer, IFA pays homage to one of the most significant German photographers. Arno Fischer, besides being a photographer, is also a highly respected photography teacher whose classes in Leipzig, Berlin and Dortmund have shaped three generations of photographers in both East and West Germany. This exhibition and its accompanying catalogue provide the opportunity to explore the work of an artist who is widely regarded as a seminal figure of East German photography. The work of East German artists was the subject of many heated debates in the years following the Fall of the Wall in 1989 and the reunification of the two German states the year after. Arno Fischer’s work is a prime example of this period. As this exhibition demonstrates, his photographs do not lend themselves to narrow ideological classification. The curator Matthias Flügge and Thomas Martin, both of whom have known the artist and his work for a long time, have contributed insightful texts to the book of the exhibition.
Flügge mentions on his art in the text of the book as follows: “At a time when photography was seen as a medium of limited artistic value, he campaigned tirelessly for the recognition of photography as an artistic genre in its own right and with its own character. Fischer, a professor at the Leipzig Academy, was far more than just an influential teacher. Then as now he was an authority, an independent mind, intellectually on the left and therefore inclined to mistrust all powers, be they political, economic or religious. A rarity these days, Fischer is the kind of artist that used to crop up time and again in the belated metropolis Berlin over the last 200 years: unpretentious, completely devoted to his cause and not easily deterred by adversity, worldly wise and full of empathy for people. His sense of humour is tinged with wisdom, and every once in a while we catch a glimpse of it in his pictures. Yet, humour and melancholy are but two sides of the same coin, and Fischer’s photographs always seem suffused with an aura of melancholy. They capture the moment, but they also evoke the transience of life.
One can read Fisher’s works, by entering into them, by joining the people, by relinquishing a bit of one’s detachment and by trying to get to the bottom of the story the photographer saw. Alternatively, we can contemplate the photographs as examples of intense pictorial concentration, as intuitive compositions searching for an order in the world and wresting it from the world in the image as the image. Thirdly, we can speak about the psychological preconditions of the work, about the author himself, whom we meet in every one of his photographs. These aspects are intrinsically linked: the open narrative, the composition and the human scale.
Born in Berlin’s working class neighbourhood of Wedding on 1927, Arno Fischer is as self-confident as he is modest. With the urbane understatement that he regards as a primary virtue he explains his complex creative process in simple terms: ‘If I take a picture of a man waiting for a bus at a bus stop, the picture must show more than a man waiting for a bus.’>> Current Exhibition >> All Exhibitions