Berlinische Galerie unveils major retrospective of Avant-Garde photographer Marta Astfalck-Vietz
The First Art Newspaper on the Net    Established in 1996 Tuesday, July 22, 2025


Berlinische Galerie unveils major retrospective of Avant-Garde photographer Marta Astfalck-Vietz
Installation view „Staging the Self. Marta Astfalck-Vietz“, Berlinische Galerie. Photo: © Harry Schnitger.



BERLIN.- In a single decade known as the Golden Twenties artist Marta Astfalck-Vietz (1901 - 1994) authored an iridescent opus of self-enactments, nude and dance photography and experimental images. She worked behind the camera and in front of it – photographer, director and model all in one. Astfalck-Vietz observed gender roles in the Weimar Republic with humour, wielding her camera with confidence to depict the versatile potential for female identity. Incorporating masks, theatrical poses and grotesque elements she forged a style which combined private introspection with social and political issues.

In its 50th anniversary year, the Berlinische Galerie is dedicating an extensive solo exhibition with more than 140 works to Marta Astfalck-Vietz. Drawing on recent research into her publication practice and on feminist perspectives, the exhibition and catalogue present her largely overlooked œuvre and consider its place within art history. Six chapters address her works theme by theme, turning a spotlight on her avant-garde photography and, for the first time, her watercolours of plants. These were increasingly important to Astfalck-Vietz from the mid-1930s and remained a focus for the rest of her life.

Selected photographs by her contemporaries, among them Marianne Breslauer (1909–2001), Lotte Jacobi (1896–1990), Cami Stone (1892–1975) and Sasha Stone (1895–1940), illustrate the aesthetic and thematic context within which Astfalck-Vietz operated. Artists Andreas Langfeld (*1984) and Sophie Thun (*1985) have created a single-channel video commenting on the impact of this remarkable personality from today’s perspective.

Fabric, lace, cosplay

There are many facets to the work of Astfalck-Vietz. In a conversation with her camera she repeatedly poses for self-enactments of her own conception, deploying fabrics as costumes or as design features in the composition. She creates scenes full of enigma with floral lace, shiny brocade and dramatic illumination. Carefully arranged photographs explore tensions between hiding and revealing, masquerade and identity. Playfully she morphs between different variations of womanhood and styles herself dancing the Charleston, in a bob, in a wig or in a glamorous gown.

Setting the Stage

Alongside her introspective photographs, the artist co-opts friends for scenic narratives. We find her engrossed in an emancipatory book, holding out in a waiting room or preparing for an evening party.

With a pinch of humour and self-irony Astfalck-Vietz exposes traditional female roles and contemporary stereotypes. Series and stand-alones grant insights into social phenomena but also into the popular culture of the 1920s. She published these pictures in the widely read magazines of the day, in specialist journals like “Die Aufklärung” and in annual reviews such as “Das Deutsche Lichtbild”.

The artist’s almost lifelong friendship with Heinz Hajek-Halke (1898–1983) was a defining influence. They met in 1922 at the college run by the Museum of Decorative Arts in Berlin. They both worked for the Berlin agency Presse-Photo but also created their own innovative photographs as independent artists. They conceived, designed and implemented these as equals, sometimes stamping the picture “Combi- Phot.”. The motifs reflect social phenomena such as loneliness, alcoholism and a fashionable fad for spookiness.

Bodies in motion and pose

As a professional photographer Marta Astfalck-Vietz accepted commissions for dance photography. She rarely took pictures of stage performances, specialising instead in shots of the body in motion. This was the time when Berliners flocked to see avant garde performances of free modern dance. Mary Wigman (1886–1973) was one of the dancers who developed and taught the genre. International acts, not least with singer-dancer Josephine Baker (1906–1975), also provided material. Photographs were needed for media coverage, but also for advertisements, invitations, business cards and the documentation of performances.

Astfalck-Vietz captured not only dancers in expressive poses but also hands, sometimes dressed up in fur or jewellery. This motif gave rise to a body of work in its own right.

Botanical watercolours

Just she portrayed hands in a variety of poses and in motion, so too Astfalck-Vietz used plants as “living models” for her many watercolours from the mid- 1930s onwards. Her botanical paintings are naturalist depictions of flora but she was equally captivated by their almost dance-like grace. Over time these arrangements become airier, even ornamental or sketch-like. They include dahlias, lilies, roses, orchids and poppies. In 1936 Astfalck-Vietz began numbering her works and by the end of her life she had produced more than 6.000 watercolours. Her interest in botany led to contacts with well-known gardeners such as Karl Foerster (1874–1970). Some species have even been named after the artist.

Born in 1901 in Neudamm (now Dębno in Poland), Marta Astfalck-Vietz moved to Berlin with her family in 1912. She developed an early interest in painting plants and in fabrics of all kinds. At 17 she began training at a vocational school set up by the textile and garments industry. Then from 1920 to 1924 she studied fashion, book illustration and commercial graphics at the college affiliated to Berlin’s Museum of Decorative Arts.

Astfalck-Vietz acquired her photographic skills between 1925 and 1926 at the studio of photographer Lutz Kloss (dates unknown). At the age of 26, on 1 October 1927, she opened her first studio at Markgraf-Albrecht-Strasse 10 in what was then the Berlin borough of Wilmersdorf.

In 1928, now a freelance photographer, she met the architect Hellmuth Astfalck and married him in 1929. Together they founded their studio for “Photography, Propaganda and Decorative Art”.

Self-employment was tough in the 1930s due to inflation and economic crisis. In 1933, when the Nazis came to power, the shift was radical. To evade state influence and the regulation of professional pho- tography, the couple turned to advertising and commercial graphics and to interior decoration. During these years Astfalck-Vietz gave drawing lessons and private tuition to Jewish children and teenagers, who were prevented by Nazi policies from attending state- funded schools.










Today's News

July 22, 2025

The Jules Breton Foundation releases Jules Breton, Catalogue Raisonné des Peintures

Mysterious triangular tower discovered near Sofia

Jean Dufy, Calder tapestries and early Tiffany vase at Roland Auctions NY July 26th Multi-Estates Auction

New exhibition of the Indigenous Seven at The Whyte Museum in Banff Canada

Save Venice celebrates two transformative restorations in Malamocco

Ancient funeral rites uncovered in Sinaloa: New insights into pre-Hispanic Guasave life

Figure + Ground: Hauser & Wirth London exhibits selected film and video works

Berlinische Galerie unveils major retrospective of Avant-Garde photographer Marta Astfalck-Vietz

The Metropolitan Museum of Art welcomed over 5.7 million visitors in fiscal year 2025

Stedelijk Museum Schiedam will bring together oeuvres of the Klein family in 2026 exhibition

CLAMP opens an exhibition of photographs by James Bidgood

Sonya Chung to step down as Director of Film Forum

In memoriam: Raymond Saunders

$10.3 million Heritage Summer FUN U.S. Coins Auction

MUSE - Museo delle Scienze presents FRAGILE: A Selection of Glasstress at Castel Belasi

Focus on 10 women artists not to be missed at the 10th edition of AKAA

Smithsonian announces 2025 Artist Research Fellowship awardees

Exhibition at La Monnaie de Paris presents Georges Mathieu and his international influence

Museum of Vancouver announces $2.5 million grant to document climate stories globally

Anna Weyant debuts solo museum exhibition at Thyssen-Bornemisza

With Eight Indigenous consulting curators, Penn Museum unveils new Native North America Gallery on November 22

PCAI Polygreen Culture & Art Initiative presents Konstantinos Vita: Space and Memory at Delphi




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
(52 8110667640)

Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful