heroic scenes. The black and white photographs by Marc Erwin Babej are not by chance reminiscent of the aesthetics of the Third Reich. The photographer, born in Germany to a Jewish family, intentionally refers to the imagery and subjects of Nazi propaganda and stages German citizens according to pictures and movies shot by Leni Riefenstahl.

The series Mischlinge (Mongrels) provokes.
Are you allowed to embrace an aesthetic program whose history is closely linked to a particularly inhumane political system?
Who are we actually speaking of when we speak of „the Germans“? Is the disclosure of his models’ DNA crossing the line to voyeurism?

Amongst the portrayed people are descendants of victims, of mass murderers, of sympathizers, of opponents – and of people whose ancestors probably never would have expected their families to be called German. Babej’s photographs portray a sharp contrast between totalitarian aesthetics and the highest degree of individuality. His intention is to evoke a positive image of Germany, which perceives different origins as enrichment, not a threat.
He demonstrates that the allegedly foreign is sometimes closely related to one’s own existence.

The photographer Marc Erwin Babej (*1970 in Frankfurt/ Main) lives in New York City. His works are presented in exhibitions in America, Europe and Africa. The opening in Dresden marks the premiere of the series Mischlinge, before it will be shown internationally in museums and galleries.