Kim Bouvy

Niemandsland 2002-2009


NIEMANDSLAND

NIEMANDSLAND - Berlijn zonder de Muur / No Man’s Land - Berlin without the wall - 160 p., full color, ed. 1250. Design: Claudia van Rouendal / Kim Bouvy.
Published dec. 2002, De Verbeelding Publishers.

Order ‘Niemandsland’ HERE at my webstore for �18.- (NL) / � 23.- (world) via PayPal.

In �No man�s land� I looked at the evolution of the landscape after the Berlin wall and its dominating ideology had disappeared. What had happened with the landscape where the wall once stood, 13 years after the fall of the Wall? How was this phenomenon and its physical remnants given a new meaning and what was on the one hand the point of view of the tourist and on the other that of the citizen ?
With this project I wanted to investigate how the stereotypical imagery founded during the Cold War could still hold out in the heads of the people (Die Mauer im Kopf) even when the Cold War was over and the remnants out of (physical) sight. Could it be that people, and therefore photography, are blind for the somewhat dull and far less uncanny present?…

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NIEMANDSLAND - TENT., Rotterdam nov-dec 2004

Group show �Foreign Affairs: Berlin� at TENT., Rotterdam nov/dec 2004

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NIEMANDSLAND - Nederlands Fotomuseum dec 2002 / jan 2003

On the occasion of the publication of ‘Niemandsland - Berlin without the wall’ I made an installation for the small gallery of the Dutch Photo museum. The installation consisted of 3 projections, 2 maps (before and after) and archive material.

The images from the book were projected in a loop as a series of 60 medium format slides that show the metamorphosis of the post-wall landscape when following the former border strip between East and West, going from North to South Berlin.

The other 2 adjacent projections depicted the infamous Checkpoint Charlie, but from different times.
On the left side, black and white reproductions of historical images were projected, showing the changing appearance of the Checkpoint from 1948 to the present; on the right side, black and white portraits of tourists at Checkpoint Charlie that I photographed in 2002.

The dual projection shows the intricate layering of history, it’s (in)visibility and how a mediated image is influencing the personal perception of reality.

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