Press

Kreuzberg – Amerika . Werkstatt für Photographie 1976–1986 © Benjamin Ochse

Kreuzberg – Amerika . Photography Workshop 1976–1986 | © Benjamin Ochse, 2016

View through bars
The enclosures, with their expressive forms ranging from playful Oriental-style copy to angular concrete brutalism, are so dominant that the animals become almost secondary. […] For all their bitterness, however, these photos have a great sensuality. Admittedly, only for the visitors, but not for the animals behind the bars.
Frederik Hanssen | Tagesspiegel | 17/05/2020

»WILD & OCHSE« Zoological views
Hildegard Ochse’s photographs show nothing embellished, trivialised or humanised. Her work was about making a political and at the same time philo- sophic statement, not about decora- tively trivialising animal photos for tourism advertising.
Benjamin Ochse | Brennpunkt | 03/2020


Encounter with reality
The summery motifs evoke a holiday mood. […] The views, taken in Normandy or Brittany, reveal a good observer …
Heide Seele | Rhein-Neckar-Zeitung | 10/05/2018


Street Photography
Street photographers document their present in this way: the Frenchman Henri Cartier-Bresson, co-founder of the Magnum agency, created a panopticon of the 1940s with his Leica, Hildegard Ochse’s photographic gaze examined the 1970s milieu in Schöneberg’s Café Mitropa, Bruce Davidson dived into the biotope of the New York Subway in the early 1980s.
Anne Lena Mösken | Berliner Zeitung | 9/12/2017


A Different Kind of Protest
How did Michael Schmidt’s independent workshop change postwar German photography? This new generation of photographers made images of landscapes and cityscapes, neighborhood studies, interiors, and portraits. Hildegard Ochse’s photographs of Berlin courtyards and street views, for example, focus on the tamed or uncontrollable appearances of nature, …
Sabrina Mandanici | aperture | 18/10/2017


First and Last – Anfang und Ende
… the early and late works of Hildegard Ochse, however, have yet to be discovered with an alert eye for the history of photographic art …
Benjamin Ochse | Brennpunkt | 2/2017


Working on the myth
The women’s positions are a discovery throughout. […] And the subtle city shots by Hildegard Ochse breathe the spirit of the New Topographics. Always the students’ shots are set at eye level with the US stars …
Christop Schaden | Photonews | 2/2017


»Kreuzberg – Amerika« or the revival of photography
L’exposition »Kreuzberg-Amerika« reveals the story of a young generation in search of new forms of expression.
Sandra Luzina | ARTE TV Journal | 10/01/2017


And suddenly this vastness – Photography Workshop 1976-1986
The Photography Workshop reached the highest international level with intensive mediation work through exhibitions, workshops, lectures, picture reviews, discussions and specialised courses.
Anno | ProPhoto | 10/01/2017


Kreuzberg as a Mecca of Photography
The workshop develops into a platform for international contacts and becomes a forum for discussions about the location of the medium of photography.
Angela Hohmann | Berliner Morgenpost | 09/01/2017


Workshop photography
… the Photography Workshop and its key players. You all know the American photographers Robert Adams, Diane Arbus, William Eggleston and Stephen Shore, but probably haven’t heard so much about the German photographers Thomas Florschuetz, Hildegard Ochse, Gundula Schulze Eldowy and Michael Schmidt. […] The Werkstatt für Photographie reached an international recognition …
Anika Meier | artefact | 06/01/2017


Hildegard Ochse »Kreuzberg – Amerika«
Her visual language developed quickly after an initial search; profound, multi-layered and philosophical, dense, highly concentrated, conceptual and documentary. … Hildegard Ochse quickly developed an independent, artistic authorship with a personal perspective.
Benjamin Ochse | Brennpunkt | 01/2017


You have to get closer
The »subjective photography« of the post-war period, in which form had always been more important than content, […] they also had little to do with the more academic approach of the Düsseldorf photo school. […] It must have been exciting times in West Berlin.
Christian Schröder | Tagesspiegel | 06/01/2017


The casual view of the people of West Berlin
He [Michael Schmidt] photographed street scenes, portraits and only in black and white, like almost everyone whose work is shown in the exhibition. A black and white that produces so many different shades of grey that one would not have thought possible, mostly they are nevertheless hard and sharp.
Berliner-Zeitung | Susanne Lenz | 03/01/2017


When Volkshochschule was image avant-garde
Until the 1970s, there was virtually no institution dealing with photography as an artistic medium. Until 1979, when Janos Frecot at the Berlinischen Galerie begins to build up a photography collection, there is no place to go in Berlin for the photography scene.
Roland Berg | Zitty Berlin | 03/01/2017


Artistic airlift
The exhibition »Kreuzberg – America« shows, on the one hand, series by well-known American photographers who were exhibited in Kreuzberg at the time and, on the other, works by members of the workshop – photographers, lecturers and guests. […] Nowadays they are nobly framed, well lit and highly insured […] Images of a youth striving for freedom run through the exhibition.
Inga Dreyer | Märkische Oderzeitung | 29/12/2016


My lifeblood flows for photography
Thomas Weski Authorship, in the style of the auteur film, became the central concept for these photographers. […] In Essen, perhaps, one studied. In Hanover, one met colleagues and visited the exhibitions at the Kestnergesellschaft […]. And in Berlin, one went to the Photography Workshop. […] Today it is even more urgent to formulate a personal view of the world that is not exhausted in these tried and tested aesthetics.
Interview: Daniel A. Schacht | HAZ – Hannoversche Allgemeine | 28/12/2016


Presseclips bei C|O Berlin zur Ausstellung >Kreuzberg - Amerika< Werkstatt für Photografie 1976 - 1986

Presseclips bei C|O Berlin zur Ausstellung >Kreuzberg – Amerika<, 2016 | © Benjamin Ochse

A high degree of cold symbolism
The three exhibitions at the Sprengel Museum, the Museum Folkwang and C|O Berlin impressively show the history, production and reception of this rather unknown chapter in recent photographic history. […] And although some of the works are more than thirty years old, they are no less relevant. They are rebellious images that can exist beyond the monumental fetishes of spectacular large-format photography and that still disturb us today.
Maike Schlüter | taz. die tageszeitung | 27/12/2016


When the images rehearsed the uprising
It is hardly known how much German auteur photography owes to the legendary Kreuzberg »Workshop for Photography«. […] It is an important, worthwhile and long overdue completion of the history of photography. […] Before 1989, anyone who spoke of Germany in American photographic circles usually meant Berlin.
Kolja Reichert | Frankfurter Allgemeine Zeitung | 12/12/2016


The beautiful grey
At first glance, some of the photographs may still seem unremarkable. But it is precisely the grey images from Berlin before the fall of the Berlin Wall that today, after a few years and decades of dormancy, exert a new, special attraction. You have to look at all the wastelands, all the unvarnished faces again and again.
Tobias Timm | Die Zeit | 22/12/2016


The Kreuzberg Photo School in Essen, Hanover and Berlin
For a long time, artistic photography in the Federal Republic was hardly conceivable without a reference to the Becher couple. Counter-movements existed only in niches, of which the »Photography Workshop« at the Volkshochschule Berlin-Kreuzberg was the most effective.
Anno | KunstNews | 21/12/2016


Not pure art
In Berlin, too, the American photographers hang next to the German ones, i.e. William Eggleston, Larry Clark, Stephen Shore or Diane Arbus next to Michael Schmidt, Ulrich Görlich or Hildegard Ochse. Not that their names are unknown – they are all familiar to connoisseurs.
Thierry Chervel | Perlentaucher Kulturmagazin | 17/12/2016


I am objective, you are subjective
However, while German museums and exhibition houses only began to deal with the medium and especially with German photographers after the auction records of the Becher class on the art market, New York was already further along. As early as 1984, Lewis Baltz and John Gossage had invited the workshop to Leo Castelli’s gallery, one of the most important of all.
Catrin Lorch | Süddeutsche Zeitung | 15/12/2016


The legendary »Workshop for Photography«
The exhibition now interweaves the pioneering works from Kreuzberg and America. In the process, thematically surprising parallelisms emerge.
Simone Reber | SWR Kulturthema | 09/12/2016


Kreuzberg – Amerika
In the 1970s, photography was hardly known as an art form, the medium was used in the press or in advertising, but did not end up on museum walls. But then came the awakening in Germany, one of the most important initiatives was the Werkstatt für Fotografie […] Felix Hoffmann: […] the founding of the workshop was 40 years ago and today it all seems so familiar to us, but back then it was partly a palace revolution, it was actually something quite problematic.
Anno | rbb Kulturradio | 09/12/2016


Adult education institution
The Americans are all world-famous today, Stephen Shore, Larry Clark and William Eggleston were among them, but hardly anyone knows their German counterparts: Eva Maria Ocherbauers, Hildegard Ochse and Christa Mayer …
N/A | Perlentaucher Kulturmagazin | 12/12/2016


Naumannstr in Berlin-Schöneberg / 132-36-81 / Foto Hildegard Ochse

o.T. | [Berlin grüßt seine Gäste], 1981 © Hildegard Ochse

Gone is gone
Pictured are today’s big American names such as John Gossage, Diane Arbus, Lee Friedlander, Robert Frank, Larry Fink, etc.. […] the »Who Is Who« of American photography of the last decades. Just like the German photographers with whom they also held symposia at the time or who emerged from it: Ursula Kelm, Thomas Florschuetz, Christa Mayer, Hildegard Ochse, Gundula Schulze Eldowy, Ulrich Wüst etc. And of course Michael Schmidt and broken Berlin. … You won’t see so much photography and famous names in one place again so soon.
Oliver S. Scholten | Monday Morning/ Cazale.net | 12/12/2016


The Berlin (Volkshoch) School of Photography
Discovers German photographers who, unfortunately, one cannot boast of knowing and who, like Hildegard Ochse, amaze one with their very matter-of-fact and yet quietly romantic-toned style, with which she discovered the natural jungle of Berlin’s backyards …
Brigitte Werneburg | taz. die tageszeitung | 12/12/2016


A different view of the world
Among the workshop lecturers who flew in from America were such renowned photographers as Robert Adams, Diane Arbus, Larry Clark, Larry Fink and John Gossage, many of whom were able to show their work in Germany for the first time at the photography workshop. Some of their works can also be seen in the current exhibition. They are complemented by photos by photographers, lecturers and guests of the workshop such as Friedhelm Denkeler, Wolfgang Eilmes, Thomas Florschuetz, Ulrich Görlich, Wilmar Koenig, Hildegard Ochse and Gundula Schulze Eldowy.
Anno | Berliner Morgenpost | 10/12/2016


On the 40th birthday of the Kreuzberg institution
On display are photos by workshop photographers such as Michael Schmidt, Ursula Kelm, Thomas Leuner, Hildegard Ochse and many others. They hang next to pictures by renowned American photographers such as William Eggleston, Diane Arbus, Stephen Shore and Larry Fink to make the mutual influence clear.
Gudrun Reuschel | rbb Kultur | 09/12/2016


Transatlantic awakening
Photography history was written in the Kreuzberg Workshop for Photography. […] Michael Schmidt, who died in 2014, is one of the greats among German photographers. But people like Gosbert Adler, Ulrich Görlich, Uschi Blume, Hildegard Ochse, Friedhelm Denkeler and Ursula Kelm are to be discovered. […] whose conceptual approach, radical concept of the author, whose world view of subjective objectivity open up a completely independent visual cosmos.
Stefanie Dörre | tip Berlin | 09/12/2016


From snapping to art form
For a long time, photography was perceived in post-war German society mainly as an illustrative accessory in newspapers, beyond private snapshots. … One of the three exhibitions, »Kreuzberg – Amerika« in C|O Berlin, shows how the »Photography Workshop« became a place of exchange between Kreuzberg, Germany and America.
Daniel A. Schacht | HAZ – Hannoversche Allgemeine | 08/12/2016


My world, not yours
It was a rebellion of subjectivity, against the idea of objective representation of reality. […] Who am I, what kind of society do I live in, what is important to me? Subjective evidence instead of the great unifying superstructure – this constellation is evident in the photography of this period.
Ralf Schlüter | art magazin | 09/12/2016



Wanderung durch Brandenburg © Hildegard Ochse 1990

Wanderung durch Brandenburg, 1990 © Hildegard Ochse

Statements: Gallery pays tribute to the work of Hildegard Ochse
A watchful eye is needed to turn scrub by the wayside into art.
Thomas Schubert | Berliner Wochenblatt | 30/12/2015


Between Her Own Viewpoint and Authentic Reality
My thoughts and definitions of author photographer apply to the work of photographer Hildegard Ochse more than to the works of so called Kunstfotografie (artistic photography), which has embraced my concept completely.
Klaus Honnef (wrote to the curator) | photography-in.berlin | 30/10/2015


The Life’s Work of Berlin Author Photographer Hildegard Ochse
Hildegard Ochse always saw herself as an author photographer – a term coined by Klaus Honnef in the 1970s.
Tina Sauerländer | Museumsjournal Berlin | 04/2015


Ztween one’s own view and authentic reality
Many of the works have a less dramatic, calm and unspectacular visual language.
Tina Sauerländer | Brennpunkt | 04/2015


Through Hildegards Lens
An avid reader, skilled musician, and talented athlete, she won several swimming awards and was selected for the May Queen’s court. As a member of the Bellarmine Club, which promoted intercultural understanding, she was asked to speak to other students about her homeland.
Kathlen Urbanic | Sisters of Saint Joseph of Rochester | 09/2015


Office hours
In the selection shown, the self-confident view of a photographer becomes clear, who oriented herself in the conception of her series to master photographers, but made her own handwriting clearly visible in the process.

July August | Brennpunkt | 02/2014



DDR-Grundfarbe Grau
In the GDR their world was grey but alive, afterwards colourful but dead.
Wilfried Neiß | Neues Deutschland | 15/08/2013


A world doomed to destruction
They allied themselves with the apolitical light and fixed the unadorned reality of the country in the domestic darkroom, but also the free spaces they had created themselves.
Karim Saab | Märkische Allgemeine Zeitung | 14/08/2013



Der Eid auf die Verfassung Der Eid auf die Verfassung © Hildegard Ochse 1987

Der Eid auf die Verfassung, 1987 © Hildegard Ochse

Hildegard Ochse (1935-1997) The Legacy of an Author Photographer
Hildegard Ochse was a representative of auteur photography, and that is how she saw herself, as an artistic documentary photographer with a subjective view of reality. She conveys her view of contemporary events in black-and-white series. […] Hildegard Ochse is a chronicler in her own way, the messages are often in the details, in the atmosphere that those photographs radiate. […] What all these photos have in common is that they are taken from an observed distance. Her critical view of provincial West Berlin was followed by other series that are still to be discovered..
Michaela Gericke | RBB Kultruradio | 29/05/2012


Photographer Hildegard Ochse documented West Berlin in the 1980s
Hildegard Ochse found her incorruptibly objective style not least through her time as a student in the »Workshop for Photography« of the Kreuzberg Adult Education Centre under the direction of the famous Berlin photographer Michael Schmidt.
Steffi Sandkaulen | tip Berlin | 05/06/2012


The Chronicler
Ochse captures the attitude to life in West Berlin in the 70s and 80s with her contemporary testimonies that play with sharpness and blurriness.

Annika Brockschmidt | Tagesspiegel | 28/06/2012


The Legacy of an Author Photographer
Her works, in the style of documentary photography, penetrate the surface of a situation or an object and also show what is hidden behind what is primarily visible.
Dietmar Bührer | Brennpunkt | 03/2012


Portraits of ocidential Berlin by Hildegard Ochse
With seven series and over 190 photos, the exhibition »Legacy of a Photographer« is a complete retrospective of Hildegard Ochse’s work.

Marco Sanchez | Deutsche Welle | 28/06/2012


Mitropa, second home
Ochse’s pictures are straightforward, gruffly poetic, unposed life photography in which every motif nevertheless becomes a symbol of the Wall city, much like the film scenes from Wim Wenders’ »The Sky over Berlin« and at the same time several East Berlin photographers.
Ingeborg Ruthe | Berliner Zeitung | 26/06/2012


When the Wall fell…
Hildegard Ochse’s photos have an austere visual language that often exude a peculiar poetry and melancholy. We sense the mixed emotions that led the artist to her motif.
Thomas Grossman | Brennpunkt | 04/2009


At the same time, he carries out his expressive research by analysing Berlin’s urban environment and its structures.
GV Fotografia| Fotonotes | 01/1984


He lives and works in Berlin, where, in addition to working on photography at the Pädagogische Hochschule, he studies and analyses Berlin’s urban environment.
Fotografia | Milano Weekend | 01/12/1983


He is joined by Hildegard Ochse with research conducted at the Berlin Zoo.
GV Fotografia | Gente Viaggi | 12/1983


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