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Volker Dohne.

One can always recognize a student of Bernd and Hilla Becher. Volker Dohne is a first-generation Becher student, but less well-known than his colleagues. His photographs are portraitlike, black and white, but not always frontal views. In this exhibition entitled "Orientierung" (Orientation) his themes are views of houses and emblems. Krefeld is a small city, not far from Dusseldorf, but the rebuilding of the city is still not complete. One of Dohne's series is entitled "Krefeld, Rheinstrasse," 1990, and shows one street house by house. The cool, distanced attitude allows them to be read as a history of the post-World War II period. Speculators haven't yet bought property, the houses are one- and two-storey dwellings, and war damage is still apparent. In the second series, "Wideraufbau," 1990-91, Dohne focuses on the stores and bars that form Krefeld's shopping center. The names of the shops and their logos allow the viewer to look back on their original incarnation. Here among the little shops of the '50s, there is an Italian pizzeria and a "lunch room"--reconstruction permitted internalization.

Dohne photographs his city views systematically--house by house or, in the case of the logos, from all directions. When one studies these photographs, one's interest immediately turns toward a sociological classification, examining, for example, the curtains in relation to the architecture or the merchandise in relation to the signs, while calculating the legacy of the postwar years and the relative wealth of the shops. These small buildings are typical for the inner city of Krefeld. As a result, one can question property values or population density and structure. Naturally, a city is constantly in flux, and Dohne's photographs are based on the minute details of permanent change.

There is no evaluation--the small jewels of the city stand next to its flaws. In this juxtaposition the habits of the populace are reflected even though they are not the subject of the photographs. Dohne portrays indirect living spaces. His basic attitude is his connection to this region, which does not beautify or unmask it, but, rather creates relationships and connections. And through these various orientations mankind becomes a central theme despite the lack of human presence in the photographs themselves.
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Title Annotation:Review; exhibit at the Kaiser Wilhelm Musem, Krefeld, Germany
Author:Miller, Charles V.
Publication:Artforum International
Date:Mar 1, 1993
Words:365
Previous Article:Luc Tuymans.
Next Article:"It Is It." (exhibit at the Galerie Anselm Dreher, Berlin, Germany) (Review)
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