Big Milki Boobs Pumping

André Kertész Photography Museum in Winterthur.

from NZZ am Sonntag, 27th 2. 2011

look through the window

André Kertész has created a number of icons, which contributed to the photography to establish itself as art. The photo Winterthur Museum dedicated to the native Hungary, a major retrospective, see the recordings were previously unknown place.

By Nadine Olonetzky

In artfully-dislocation of the lascivious woman lying on the sofa. The erotic crackle, desire can be just still keep in check and owes quite the ironic game of the photographers: Where we suspect the highest immediacy prevails, calculated pose. André Kertész left for the taking, "Satiric Dancer" (1926), a dancer in the studio of a sculptor to imitate a sculpture. Published countless times and sent a postcard around the world also expressed this picture in 1894, born in Budapest famous photographers.

Kertész, is recognized as one of the founders of photojournalism, but he was not a conventional news photographer. He had an eye for the poetic moments of everyday life - the view from the window, the effects of back-light and shadows, strange combinations of people, animals and architecture, graphical elements. Kertész was guided by the atmosphere of the moment reaction, forms and moods, looking for visual equivalents for his emotional state. Often taken from an unusual perspective, wore his pictures help to establish photography as an art. The photo Winterthur Museum dedicated to him, a comprehensive retrospective. In chronological order, it weighs in at around 250 original photographs, magazines and books with an arc from early works up to the surprising late Polaroids.

André Kertész's life and work were shaped by Budapest, Paris, New York. Since the five-year-old - said he was still Andor - to the memory of his parents' house in the Hungarian capital, magazines had discovered, practiced photography a great fascination for him. His first, still tiny pictures he made in 1912: "I photographed the Things around me - people, animals, my house, my shadow, farmers, life around me. I have always photographed what revealed to me the moment, "he says towards the end of his life. But he first attended the Commercial College and worked temporarily at the exchange. As in the years after World War II anti-Semitism and economic hardship increased and he increasingly suffered from his day job, he decided in 1925 to emigrate to Paris. On 17 November 1926 Andor was registered as "André Kertész" the foreign population register. The addition was: "photojournalist".

But Paris did not wait for him. Kertész lived anything but a vertical take-off. He spoke no French, was shy and hesitant, and inclined to melancholy. He had the press card of the Hungarian agency Continental photo in the pocket, but he was not a contract reporter. He lacked the interest and exuberance that one must have in order hinterherzuhetzen the day's news and to sell the photographs. Above all, he wanted to work on their own issues.

Surely that is why Kertész in Paris was betrayed to his own visual language, the influence of New Objectivity and Surrealism, but remained singular. He explored the city by day and night, photographed shadows, gazes out the window, or tracks in the freshly fallen snow - motives that he should care for a lifetime. He also began his series, "Distortion," which occupies in his work a unique place. Inspired by Zerrspiegelkabinett of the Palais de rire "at Luna Park in the Bois de Boulogne, he came in 1930 with the idea, the editor of the magazine" Vu "for which he worked as a photojournalist, grotesquely distorted to portray. As a result, he experimented with convex and concave mirrors and reflective beads used. What appears at first glance as a gimmick turns out to be as soon as the exploration of the Abnormal: Kertész reached on the deformation of bodies - and later of things - to a resolution of unity and integrity of form. He shows them as something monstrous and unstable.

Today Kertész is one of the masters of photography, the likes of Brassai and Henri Cartier-Bresson decisive influence, when he in 1936 with his wife Elizabeth - was "Erzsi» 1931 from Budapest to Paris come - emigrated to New York, reiterated, however, increased, which had made life quite difficult on the Seine. During the live Erzsi efficient, in Paris at Helena Rubinstein had worked, a cosmetics company founded, which was soon profitable, did her husband found it difficult to learn the language and make contacts. His melancholy increased to depression. Although he could publish in journals of the Group Condé Nast, but he was homeless, misunderstood and isolated: "I felt that I was buried alive." Persistently gloomy mood took it in as clear as dreamy and sometimes self-ironic images, such as the Zerrspiegelaufnahme "The melancholy Tulip" (1939). The "country of dove End" (1960) was a metaphor for his loneliness. The snowy Washington Square, to which the couple had moved in 1952, he was A photographic monument.

Success came late, unexpected and striking. In 1963, when produced in Lucerne photo journal "Camera," which at that time was available in 35 countries, a large portfolio with an introduction by Brassaï published and the Museum of Modern Art in New York the following year showed a retrospective of the melancholy poet became the center of the international attention. Kertész, who considered himself a perpetual beginner, became the meistpublizierten photographers and still remained open to technical innovations of the medium. As almost ninety-year-old shot it with a Polaroid camera, an abstract glass bust. The book "From My Window" (1981) reflects his major themes: the view from the window, back light, shadows, distortion and reflection - and the mourning for his deceased Erzsi 1977. Only this once everything is in color.

André Kertész

André Kertész (1894-1985) influenced his cityscapes, Zerrspiegelaufnahmen and still life photography to the present. The chronological exhibition at the Winterthur Museum of Photography, in cooperation with the Musée du Jeu de Paume in Paris was showing his Icons and little-known from its inception. The extensive catalog (Hatje Cantz, 360 S., Fr 70.90) for a thorough biography. Photo Museum Winterthur, to 15 5. (Olo.)