With a text by Manfred Wiemer: Mai 1984. Ein Heimatbilderbogen.
With Seiichi Furuya and Manfred Wiemer.
Seiichi Furuya’s Dresden photographs from the years 1984/85 are a document against all odds. A Japanese man,
who has been an important protagonist in the Austrian photography scene since the end of the 1970s, recorded the
late GDR in his photographs. Furuya came to Dresden as an interpreter for a Japanese construction company. His photographs are private – a young family in its intimacy, their deep fears and happy moments. In the pictures, the societal, the socialistic everyday world seems rather incidental. Furuya’s external perspective, the gaze of a foreigner, did not have an analog in the artistic photography of the GDR.
Seiichi Furuya returned to Dresden for an exhibition project in 2015. The new photographs emerge: photographs of familiar places where the capitalistic everyday world had taken hold, shots of right-wing populist demonstrations, which strongly changed the image of the city on the River Elbe. May 1984. Picture post from home is an excerpt from a previously unpublished literary manuscript in which Manfred Wiemer comes to terms with the societal agony and the threatening of locations and milieus in Dresden’s independent
culture scene during the first wave of emigration in May, 1984.