In this series the subject of photographs is located in the Werra valley – a landscape in central Germany. The valley forms a natural border between the Rhön Mountains and the Thuringian Forest. The landscape is pretty and driving through the area one comes across a number of small towns with charming timbered houses and long stretches of history.
In the spring of 2015, I was on my way back to Berlin from a photo project in the Saar region. About an hour after driving past Frankfurt, I chanced upon something rather spectacular – a huge white mountain standing in the plain field. I knew instantly that I had to explore this further.
If you have some love for classic Americana and the colours that go with it, then I have a tip for your next trip to Berlin:
Reserve some time for a little shop of wonders: Gerry Mizera’s Jukeland.
Mizera bought his first jukebox some 30 years ago and not long after that the hobby turned into a passion and then into a business.
One saturday I met him in his shop while he was restoring a Wurlitzer and asked him wether I can bring my camera for a few shots. He agreed and later that afternoon I dropped by with an equally classic Nikon lens.
The Völklingen ironworks, which closed on July 4th, 1986, was the first location from the heyday of heavy industrialization to become a UNESCO world cultural heritage site in 1994. They are now the most significant surviving ironworks from the 19th and 20th centuries in the world and attract more than 200.000 visitors per year.
I captured this series in a few sand pits and gravel mines in and around Berlin.
Technically I experimented with time and light. I used long exposures and shots at noon under a bright sun.
I was interested in finding out what the light and the colours do to the locations.
The Ruhr area used to be the heart of Germany’s heavy industry. With the decline of coal mining and steel production in the last decades of the 20th century it suffered a fate similar to the American rust belt. Hence the title.
This series is about the airport Tempelhof, the former central airport of Berlin.
Sir Norman Foster once called it “the mother of all modern airports” and if you are around there you certainly get that feeling.
“Night, the beloved. Night, when words fade and things come alive. When the destructive analysis of day is done, and all that is truly important becomes whole and sound again. When man reassembles his fragmentary self and grows with the calm of a tree.”
Providing a different aesthetic to the over-coded, over-designed spaces of the city, ruins evoke an aesthetics of disorder, surprise and sensuality, offering ghostly glimpses into the past and a tactile encounter with space and materiality…
If one were to plot the locations of where Markus’ photographs would be on the modern map of Berlin, it would constitute a haphazard, if not meandering, visual constellation that might represent the first-ever open-air museum of Berlin’s technical accomplishments and its least known historic sites. The varied locations on this map would denote places of minor and major historic occurrences, technical and industrial achievements, and possibly failures and sites where men conduct work and commerce daily.