Abstract
ABSTRACTThis article examines the significance of contact zones and heterotopias in the artwork of the German-born photographer Grete Stern, who was forced to flee Germany during National Socialism and went into exile to Argentina. After leaving Germany Grete Stern not only played an essential role in the modernization of photography in Argentina but also became a central figure in the migrant community in Buenos Aires. I will argue that Stern’s portraits and photomontages themselves can be understood as contact zones that practiced a form of visual multilingualism and operated as cultural translations but also hold a heterotopic potential inside them.
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