Tag Archives: Cars

Stars of Albania

Albania during the communist times. The country is totally sealed off from the outside world. Landowners have been expropriated by a radical collectivisation drive. “Exorbitant” capital goods have been confiscated. A kind of generalized paranoia is reigning all over the country. It is whispered that you can even receive the death penalty for having one chicken running around the house. When the smell of a fresh leaf of bread, baked for private consumption, reaches the nostrils the secret police (Sigurimi), the courageous baker will vanish into a labour camp.

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© Matthias Aschauer

Freedom of movement is something very abstract for Albanians. It is forbidden to move out of their home town without formal permission. Anyway, Albanians are not even allowed to have their own bike. In the 1980’ies there are only 300 cars driving through the streets of the Tirana.

The Albanians are the last of the Europeans to wake up in the so-called free world. Eventually, Enver Hoxha’s statue is toppled in december 1990.  Consumer goods and western values start flooding the country. In the years thereafter, the new economic is still very frail and there is social unrest but the spirit of the nation quickly shifts from “everything is ours” to “everything is mine”!

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© Matthias Aschauer

In times of uncertainty and chaos, it is natural for  human beings to look up for a star that will show the way to move on.  And here we have Sterne Albaniens (Stars of Albania), a very original photobook by Austrian photographer Matthias Aschauer. The title is beautifully explained in the introduction (David Staretz). The book is about stars that are guiding Albanians through the cultural shifts their country is undergoing.

To be more precise, it’s about one very specific star: the emblematic star of Mercedes-Benz. This is because – since the collapse of its stone age communism – Albania famously has attained the highest concentration of Mercedes-Benz automobiles in the world. It is estimated that 60 percent of the cars and trucks in the country are Mercedes-Benz! Sure enough, there is no room for discussion in Albanian families about about what should be number one on their priority lists. A Mercedes-Benz will always come before the washing mashine!

And the funny thing is that  Matthias’ book contains dozens of pictures made in the streets of Albania in 2010 and 2011 that (how did he do that?) depict ONLY Mercedes cars. Most of them are private cars but there are also taxis, learner cars, hearses, busses, vans…..

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© Matthias Aschauer

 

With their long noses, spacious trunks, solid doors, typical radiator grilles, chrome lines and big steering wheels they present themselves in everyone’s subconsciousness or dreams as archetypes of what a car should be. They are not only symbols of success and prestige but they also stand for total reliability, safety, durability and – most importantly- also sovereignity. All what is needed during the chaotic aftermath of the communist era, full of hardship and terror.

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© Matthias Aschauer

 

What I like about Sterne Albaniens is that it seems to be conceived as a book of typologies. The annotations with the pictures don’t mention the time and place where Matthias made the shots. Each picture is only provided with the official factory references and the period of construction of the  vehicles (e.g. Mercedes-Benz E-Klasse (W211) 2002-2009). The main focus is on the wide variety of Mercedes-Benz types that he found in the streets.

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© Matthias Aschauer

As it goes in a book of typologies, there is no story line in this book. The sequence of Sterne Albanniens seems to be (at first sight) a purely random one. In a way this book brings to  mind the famous books of typologies from the German culture, like the ones from August Sander or the Bechers.

The concept of the graphic designers (Knis Steizinger and Simon Walterer) is maintained till the very end. In the back of the book all the references are grouped in an index. In a way, with its sober and neat outlook, they made the book also look like a prospectus for professionals. You may even say that the book design is reflecting the sober -German- design of the cars themselves. (BTW, the type that shows up most is the Mercedes-Benz W123 series (1975-1985), this oxymoronic ubiquitous luxury car of which you may have some good memories.)

At the same time, Matthias Aschauer offers us much more than a automobilographic overview of the different lines of executive cars, sedans or limousines that once have left the factory in Stuttgart. The book is also ethnographic. We get intriguing glimpses of the Albanians and how they behave in the public space. Time still seems to be on their side! We see many persons who are enjoying a friendly chat and the state of strolling idleness. In spite of the turmoil from which they are coming, in spite of the barrenness of their country, they seem to consider the public space as a very pleasant social space.

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© Matthias Aschauer

That there is time, also might have to something with the absence of economical drivers that allow the country to move on. But, as Matthias is showing, Albanians always keep up the good spirit and they have found their own stylish ways to move on. So, if the country is doomed to be some economic wasteland, I would say “Oh Lord, why don’t you buy them ……”

Thank you very much, Mr. Aschauer!

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Tractor Boys by Martin Bogren

Our previous post ended with some speculation about photographs made in Sweden. As if in that country there was no interplay possible between artist and subject nor between the subjects themselves. Individuals in Sweden – and the West – were doomed to be left alone. Shame on us, our speculations were plain and vain!

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© Martin Bogren

Look, what else did we discover in Sweden: an intimate portrayal of a gang of youths, yes in full (inter)action with the photographer! For this project, which resulted in a rather soberly designed small book,  photographer Martin Bogren returned to the rural village of his childhood and youth (Skane province). A place he had despised and escaped from many years earlier “because there was nothing really happening”.

Back in town, he has approached “a kind of kids” that had been there also when he was a teenager himself but to whom he did not belong at the time. Boys and girls who are “sweet sixteen” and who withdrow themselves from society not in themselves but in a gang with its bizarre rituals and barriers that make it impenetrable  for outsiders.

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© Martin Bogren

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© Martin Bogren

Central element in the gang is the love of its members for tuned cars (tractors), which these “kids” seem to cherish as much as they loathe the world which is awaiting them. Bogren shows how the “tractor boys“, more bravely than conformistic teenagers, expose themselves to the dangers of both high speed and of first love. We see hand in hand the codes of machoism, showing off and tenderness intertwining in a very complex language only understood by themselves and by the photographer.

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© Martin Bogren

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© Martin Bogren

Maybe Bogren, deeply aware of his never used talent for the language of the “tractor boys”, finally returned to  his fellow villagers because he regretted his initial rejection of them? It confirms the old Korean poverb that you may try as many escape routes as you want, finally you find yourself on the road of your destiny and it seems with his book, that this is something convincingly settled now! Also it confirms one of the quotes of the famous Belgian art curator Jan Hoet that “great art per definition is rooted in everything local”.

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© Martin Bogren

Also an eye-opener for starting (or even established) photographers is an interview with Bogren on the website of Lens Culture. He talks about how he became a photographer (“because there was this energy, all these things experiencing in my self“) and about how he continues (“it’s not about showing to others but about developing yourself“). And when he talks about “those days when nothing happens and you are not making any good pictures“, he interestingy states: “you need them, to dig in your subject and in your self.”

Thank you Mr. Bogren!

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© Martin Bogren

David Nollet