Paul Moebius' Buildings (Die Bauten des Paul Moebius). 1986

The spectrum of the pictures ranges from a long shot in the context of the urban environment to a super closeup of a doorknob. Pictures defined by their content and relatively abstractly represented structures, and unfamiliar perspectives complete each other. Especially in the latter, we see the highest amount of intimacy, there is a harmony between the objectively extant structures and what is innerly formulated. This relationship makes up the actual creative process. In this case it was realized with great technical care and caution appropriate to the material.

If, however, we are already talking about the topic: This doesn't mean just Jugendstil architecture, but at the same time Leipzig. The admiration, perhaps even wistfulness that arises in the face of imaginative forms, are the flipside of today's concrete mentality and rush to fulfil plans. The brilliance of the pictures in terms of color and material should first and foremost lead to their appeal-like character: If you know Leipzig, you know what this demonstration is about. You know the crumbling, amorphous hulks of houses, the industrial trash piled up on the sidewalks and the mid-morning rumbling of the detonations in the coal mines outside the city. It is also about pointing out a threatening situation, sensuously forcing unreasonability through arguments made pictures. Surely, the opposite of original form and current reforming in individual cases may seem laughable, this laughter will, however, quickly get stuck in your throat. The irony of these pictures is not staged; the paradox of the spacial situation is consciously combined, but: Also this is history, important enough to be recorded, to be shown.

Andreas Krase
Excerpt from: Die Haeuser des Paul Moebius in: Leipziger Blaetter 13. 1988. Page 11

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