“August Sander: Persecuted / Persecutors, Men of the 20th Century”

August Sander, IV/23a/4, National-socialiste [Membre de la SS-Leibstandarte Adolf Hitler], Portfolio IV/23a — Les Catégories socio-professionnelles, le National-socialiste, c. 1940. Tirage gélatino-argentique, 1990. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; VG Bild-Kunst, Bonn; ADAGP, Paris, 2018. Courtesy of Gallery Julian Sander, Cologne and Hauser & Wirth, New York. 

Erich et August Sander, VI/44a/7, Prisonnier politique [Marcel Ancelin], Portfolio VI/44a — La Grande Ville, Prisonniers politiques, 1943. Tirage gélatino-argentique, 1990. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; VG Bild-Kunst, Bonn ; ADAGP, Paris, 2018. Courtesy of Gallery Julian Sander, Cologne and Hauser & Wirth, New York. 

Erich Sander, Prisonnier politique [Erich Sander], 1936-1940. Tirage par contact, 1990-2011. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; VG Bild-Kunst, Bonn ; ADAGP, Paris, 2018. Courtesy of Gallery Julian Sander, Cologne and Hauser & Wirth, New York. 

August Sander, VI/44/5, Persécutée, Portfolio VI/44 — La Grande Ville, Persécutés, 1938. Tirage gélatino-argentique, 1990. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; VG Bild-Kunst, Bonn; ADAGP, Paris, 2018. Courtesy of Gallery Julian Sander, Cologne and Hauser & Wirth, New York. 

August Sander, Manœuvre, 1929. Tirage gélatino-argentique, 1990. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; VG Bild-Kunst, Bonn; ADAGP, Paris, 2018. Courtesy of Gallery Julian Sander, Cologne and Hauser & Wirth, New York. 

August Sander, VI/44b/1, Travailleur étranger, Portfolio VI/44b — La Grande Ville, Travailleurs étrangers, 1941-1945. Tirage gélatino-argentique, 1990. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; VG Bild-Kunst, Bonn ; ADAGP, Paris, 2018. Courtesy of Gallery Julian Sander, Cologne and Hauser & Wirth, New York. 

August Sander, Persécutée [Mme Franken], c. 1938. Tirage par contact, 1990-2011. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; VG Bild-Kunst, Bonn; ADAGP, Paris, 2018. Courtesy of Gallery Julian Sander, Cologne and Hauser & Wirth, New York. 

Trulli
August Sander, IV/23a/4, National-socialiste [Membre de la SS-Leibstandarte Adolf Hitler], Portfolio IV/23a — Les Catégories socio-professionnelles, le National-socialiste, c. 1940. Tirage gélatino-argentique, 1990. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; VG Bild-Kunst, Bonn; ADAGP, Paris, 2018. Courtesy of Gallery Julian Sander, Cologne and Hauser & Wirth, New York. 
Trulli
Erich et August Sander, VI/44a/7, Prisonnier politique [Marcel Ancelin], Portfolio VI/44a — La Grande Ville, Prisonniers politiques, 1943. Tirage gélatino-argentique, 1990. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; VG Bild-Kunst, Bonn ; ADAGP, Paris, 2018. Courtesy of Gallery Julian Sander, Cologne and Hauser & Wirth, New York. 
Trulli
Erich Sander, Prisonnier politique [Erich Sander], 1936-1940. Tirage par contact, 1990-2011. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; VG Bild-Kunst, Bonn ; ADAGP, Paris, 2018. Courtesy of Gallery Julian Sander, Cologne and Hauser & Wirth, New York. 
Trulli
August Sander, VI/44/5, Persécutée, Portfolio VI/44 — La Grande Ville, Persécutés, 1938. Tirage gélatino-argentique, 1990. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; VG Bild-Kunst, Bonn; ADAGP, Paris, 2018. Courtesy of Gallery Julian Sander, Cologne and Hauser & Wirth, New York. 
Trulli
August Sander, Manœuvre, 1929. Tirage gélatino-argentique, 1990. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; VG Bild-Kunst, Bonn; ADAGP, Paris, 2018. Courtesy of Gallery Julian Sander, Cologne and Hauser & Wirth, New York. 
Trulli
August Sander, VI/44b/1, Travailleur étranger, Portfolio VI/44b — La Grande Ville, Travailleurs étrangers, 1941-1945. Tirage gélatino-argentique, 1990. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; VG Bild-Kunst, Bonn ; ADAGP, Paris, 2018. Courtesy of Gallery Julian Sander, Cologne and Hauser & Wirth, New York. 
Trulli
August Sander, Persécutée [Mme Franken], c. 1938. Tirage par contact, 1990-2011. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; VG Bild-Kunst, Bonn; ADAGP, Paris, 2018. Courtesy of Gallery Julian Sander, Cologne and Hauser & Wirth, New York. 

From March 8 to November 15, 2018, The Shoah Memorial presents an exhibition by German photographer August Sander, which is no longer presented. Sonder is one of the great portrait painters, precursor of a documentary photography linked to an artistic practice.

The four exhibition halls are part of Sander’s greatest personal project that he developed throughout Germany from the end of the First World War:”The Men of the 20th Century” He photographed individuals of all social and professional categories: artists, peasants, civil servants, bourgeois, great industrialists, students, workers, soldiers, foreigners, unemployed, gypsies, handicapped, and also communist militants that his son Erich (who ended his days in prison in 1943) frequented. Some correspondence and biographical information on the exposed persons are also presented in two rooms.

Of course we can see or review and admire some iconic photographs, like the famous”Manoeuvre” of 1929. But the striking character of this exhibition lies mainly in the confrontation of portraits of Nazi soldiers with portraits of political prisoners, foreign workers. The opposition of the glances is striking, it is amplified with the finesse and subtlety of Sander: human glances, of men and women, deep or empty glances, hard or soft, they are gathered there, they belong to the same society: it is disturbing.

Let’s stay in this room, in the heart of this incredible face-to-face. The softness of the room’s ovality adds a powerful, almost physical dimension to the exhibition.

To conclude, let us leave to August Sander the last words:”Through the expression of a face, we can immediately determine what work the individual does or does not do, in his features we read if he feels sorrow or joy, for life inevitably leaves its traces there. A poem says: In every man’s face, his story is written in the clearest way. One can read it, the other cannot.

 

“August Sander: Persecuted / Persecutors, Men of the 20th Century”

March 8 to November 15, 2018

Shoah Memorial

Free and free entrance

 

Dominique Vautrin

Dominique Vautrin is a French photographer. Influenced by American street photography, he develops during his various projects, a dark work that depicts a society in a phase of anonymization. The c...

View Profile and Articles

More Photo articles

MORE ARTICLES FOR YOU

2 Mins.
#PARIS Baptiste Rabichon takes us into a summer tale in the middle of the Parisian winter at the Paris-Beijing gallery. "A l’intérieur cet été" extends his series "Dame de Coeur" presented in March…
3 Mins.
#PARIS The RX gallery presents Catherine Gfeller's kaleidoscopic visions in megacities."China Drinftings" is avibrant pulse of cities with humanity in the Chinese shadow. For thirty years, Catherine Gfeller has been developing a practice…
2 Mins.
We were curious to see this second edition of A PPR OC HE, the latest of the photography fairs. It confirms a pioneer's bias. A small living room, certainly, but which conceals some…