IN UKRAINIAN RAILROAD LADIES, photographer Sasha Maslov documents the female workers of Ukraine’s national railway system in photographs that are both exquisitely arranged and highly personal. While brightly-colored uniforms serve as the initial focus, offering a vivid palette of Soviet-era contrasting pastels, the women themselves shine through as the true subjects, standing proudly against an equally-colorful array of backdrops.
FOR ACCLAIMED FASHION photographer Kristian Schuller, his recent return to Berlin is a homecoming in the truest sense. Born in Halchiu, Romania, Schuller emigrated to Berlin with his parents as a child, where his university years at UdK saw him studying fashion design with Vivienne Westwood and photography with F.C. Gundlach. From there an international trajectory of increasing recognition took him from London to Paris to New York, where he became one of the fashion world’s most sought-after photographers, shooting international celebrities for some of the world’s biggest style magazines.
IN THE MONTHS and years following the collapse of the Soviet Union, countless Communist-era monuments and statues have been toppled, dynamited, or otherwise destroyed. The process continues today, and is particularly accelerated in former Soviet states such as Ukraine, where clashes between pro-Russian activists and Ukranian nationalists often center around (literal) concrete representations of the country’s former occupier.
THE POZNAŃ-BASED publisher Zupagrafika documents Brutalist, prefab, and other concrete structures throughout Europe, focusing on their minimalist patterns and colorful flourishes. Their newest volume, Concrete Siberia, is a companion to last year’s Eastern Blocks (see our review here), focusing on Russia’s vast far north.
FRIEDENSREICH HUNDERTWASSER (1928-2000) WAS an artist, architect, and activist known for his holistic, all-encompassing embrace of nature and ecology in both his life and work. While on the surface his artistic and personal style would seem to place him squarely in the freewheeling hippie milieu of the late 60s, he also possessed a rigorousness and discipline that made him more monk than hedonist.
IMMEDIATELY UPON ITS completion in 1970, Berlin’s Haus der Statistik (which stood north of Alexanderplatz in the shadow of the just-built Fernsehturm) took its place as one of the central organs of the GDR state apparatus. With the collection of data and statistics for all of East Germany as its goal, the eleven-story complex housed numerous bureaucratic units, including several floors of Stasi offices. Its street-level businesses were the ultimate in urbane GDR style, hosting two lounges (Jagdklause and the fabulously named Mocca-Eck), a hunting/fishing shop, and Natascha, a boutique offering the latest Soviet imports.
