Happy days are here again. Remembrance of Stalinstadt

Ruth May

Universität Hannover

At a distance of fifty years, the photographs and texts by the photo journalist Hilmar Pabel, writing for the West German magazine Quick about Stalinstadt in the early days of the German Democratic Republic in 1955, and the photo compositions on Stalinstadt / Eisenhüttenstadt by the young artist Thomas Neumann, made in 2005, span a range from dystopia to utopia, from fear and terror in the cold war to loss and daydream after the reunification. The contribution focuses on this tension about the foundations of the planned city, its preconditions and the process of its formation and draws attention to the persistent void at the city's central square, which could not have been filled up to the present day.


OHJELMA ILMOITTAUTUMINEN JÄRJESTÖT ARKISTO		Happy days are here again. Remembrance of Stalinstadt Ruth May Universität Hannover At a distance of fifty years, the photographs and texts by the photo journalist Hilmar Pabel, writing for the West German magazine Quick about Stalinstadt in the early days of the German Democratic Republic in 1955, and the photo compositions on Stalinstadt / Eisenhüttenstadt by the young artist Thomas Neumann, made in 2005, span a range from dystopia to utopia, from fear and terror in the cold war to loss and daydream after the reunification. The contribution focuses on this tension about the foundations of the planned city, its preconditions and the process of its formation and draws attention to the persistent void at the city's central square, which could not have been filled up to the present day.

		YHTEYDENOTTO COPYRIGHT