Abstract
Seelow, AM. Review of: Magnus Brechtken, Albert Speer. Eine deutsche Karriere, Munich: Siedler Verlag, 2017. Andersen, A. Review of: ΣEΠΤEΜΒΡΙΑΝA/September 55, Keller Gallery, Cambridge, MA, 2016; !f Istanbul Independent Film Festival, Istanbul, 2017. Van Gerrewey, C. Review of: Stedelijk Base, Stedelijk Museum Amsterdam, Amsterdam, 2017. Popescu, C. Review of: Shrinking Cities in Romania, National Museum of Contemporary Art, Bucharest, 2016.
Highlights
Even the authors of the two posthumous biographies of Speer, Gitta Sereny and Joachim Fest, could not detach themselves from Speer’s point of view on all issues; the biographies are based on conversations with him and (Figure 1) to a great extent ignore archival documents and historical research (Sereny 1995; Fest 1999)
Eine deutsche Karriere, is by Magnus Brechtken, the deputy director of the Munich Institut für Zeitgeschichte and a professor at Ludwig-MaximiliansUniversität. Brechtken says this biography originates from his interest in the questioning of political memoirs
It is the result of many years of meticulous archival research — the endnotes and bibliography alone comprise 324 pages — unlike the earlier biographies by Sereny and Fest, which rely primarily on interviews with Speer, and the more recent one published by Martin Kitchen (2015), which is mainly based on existing literature
Summary
The creators researched media accounts and oral histories covering the events of 1955, but the show took much of its inspiration from four photographic archives that connect highly personal images with the larger story of persecution: the Fahri Çoker Archive of the pogrom’s ruins; the Dimitrios Kalumenos Archive of the Greek Patriarchate’s official photographs of the aftermath of that night; the archive of Armenian studio portrait photographer Maryam Şahinyan, who emigrated to Istanbul as a child when her family escaped anti-Armenian violence in central Turkey decades earlier; and images from Osep Minasoğlu’s Studio Osep, which closed when Osep escaped Istanbul to work in Paris following the pogrom. One would wish that their route to safety was as simple as removing a set of goggles
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