The photographer Christian Borchert was a collector. And Folder. And he would probably have had no objection to the archivist called. Because maybe more time to shoot, he used to sort his Work, at the end of a good two hundred thousand Negative, the contact he deductions in accordance with a meticulously created System is stored, is always re-considered, and sometimes new has tagged, and it seemed to be a lot less to do with the retrieval of old recordings as the diehards find work with them.
Freddy Long
editor in the features section, responsible for the “trip sheet”.
F. A. Z.
deductions Viewing these images, and about twenty thousand Work and more than four thousand in exhibition quality, it was. for him via the detour of self-reflection to his type of training, also the judgment of education Again and again he took pictures out of the, what he would have referred to as a work of stock, and added others, – he, the ideal number of inputs and aimed at fifty pictures.
Hardly more than a buzz
this work plunged him into Chaos. Meticulously sorted by room card-index boxes, photo boxes and albums on the tables and in the wall-length shelf on a photograph of his work. As a Christian Borchert came in the summer of 2000, a surprisingly while bathing in a lake lost his life, was his estate administrator did most of the work already.
The work was spread over a half-dozen institutions, including the berlinische Galerie, as well as in Dresden, the Deutsche Fotothek and the copper engraving Cabinet, which has acquired nine hundred prints, after it had bought from the photographer in his own lifetime extensive collections. Nevertheless, it took almost twenty years until all of the Material in a comprehensive, many aspects of the meet was the end of the exhibition, accompanied by a-pound catalog with nearly five hundred pages, as it has given him perhaps never before for a photographer. After the Premiere in Dresden, the Exhibition is now on display in Hannover. You would have to like a cannon blow, but used little more than a buzz.
Documented Gray
It is a silent exhibition. With silent pictures. A good hundred in total, nine different topics. Of artist portraits, and Family portraits, architecture and street photography up to almost surreal night shots of the early nineties, which, it is believed that here is someone desperate to in the world. A strange Moment of melancholy over almost all. And only it is not motives, not to obtrude, to burn in the memory, and the a still alone.
Many photographed from a double distance: spatially and emotionally. Against Robert Capa’s Aperçu, that you have to go for a good picture close enough to the subject, would have Christian Borchert protested, probably violently. “Distance allows for clarity,” he noted on occasion. And as to this idea of the walls strongly, and is decorated with a line of the poet Elke Erb, with the Borchert for two years, formed a Pair, one of the walls in the Sprengel-Museum: “Obvious the track is as a character, because she is so small and at such a distance that the idea receives in the imagination of a Wide.” to become
images
As for the comment of the own seal part is, as Borchert puts questions into the picture, and instead of giving answers. The first photo is one of the oldest in the exhibition, provoked thoughts about the Medium and its possibility or impossibility, to document the Horror and unbelievable. At the same time, it is representative of Borchert, claim, take pictures, in which historical reality and individual experience come to cover. In a daring composition, it shows behind a wide, empty street, the Neumarkt in Dresden with the remains of the Frauenkirche, over huge mountains of debris, all eingestäubt of snow, and just so distant and blurry that you can look at the ruins without having to feel pain. Borchert was thirteen, when he took the picture.
