sichtbarkeit also visibility.
concerts are the one thing, pictures the other, politics the next.
concerts in pictures make politics.
a politic of visibility.
imagine you see, you are part of it, than you go away and have an impression.
afterwards you see a picture from the same event you have been before and you are thinking, hmmm something is different.
that can be an ugly moment, when the pictures make expressions that you don't like.
it can be a beautiful moment when you start to see the world from a different perspective.

riots leads to revolution which can not exist without history.
photos are documents of the movements.

for me, taking pictures is like communication with the people on the pictures and with people who see the pictures.
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Name: Kerstin Buchwald
Taking pictures since: 2000
With focus on: gender, queer and riot
Website: http://www.she-trigger.de
Email: k@she-trigger.de

Soli support of an artist without bread, car and money is always wanted:
Mail to me, buy my pictures, arrange photo-jobs or give me a fast van as a present.
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!! FROM KERSTIN THERE WILL BE MORE FOTOS EXHIBITED [E.G. AS VISUALS] ON LADYFEST, AT THE AJZ: LADYFEST BERLIN-DOCU, QUEER PERFORMANCE, OTHER BAND-PHOTOS.
WATCH OUT!

Instead of a text a short interview [by k*] with Hanna:

\ how come you are taking pictures?
/ i have been taking pictures for quite some time, since 2000 i have been doing gig-pics. most inspired i have been by pictures in heartattack [hc-fanzine], especially by those by christine boarts. i like(d) the dynamics of the pictures, which reveale(d) the energy of the bands. pictures that not only state: "you see, i was there", but visualize the power and the energy of the music. I wanted to do such a thing. the catalogue "banned in dc" by cynthia conelly, leslie clague and sharon cheslow, which is a document of the hardcore and punk-scene in washingon d.c. from 1979-1985, strongly inspired me.

\ from when are the picture in the exhibition?
/ most pictures i took between 2001 and 2003, at places that [at least somehow and somewhat] try to oppose the cultural mainstream.

\ which were th e criteria on which you chose the bands/artists? what are/were the main emphasis?
/ for quite some time i was taking pictures of everything, the selection represented the music i liked then - but music meaning not only sound, but music in a wider sense, also meaning bands as individuals, audience, locations, calling into question dominant standards, breaking silence, do-it-yourself-context [among other things]- all this is part of the music. catching the energy that emerges and circulates there- this is what interested me most. visualizing movement[s].
one emphasis is on women- concerning both music and pictures. most scenes are male-dominated, you mainly see hard-rocking, posing or angrily screaming men [or men with broken hearts, suffering, desolated]- much more seldom you see women. i want to oppose this perspective. reflecting reality [because there ARE so many cool female musicians] but also defamiliarizing it [not producing a 1:1 copy, but an emphasis on female musicians].

\ what do you want to pass on through the pictures?
/ there are so many great women who do have something to say, who really rock, who don't stay passive when offended, who can't stand and live with being considered a stupid sexalized thing or a caring mother. using the logics of representation and making them visible. sometimes a picture tells more than thousand words: pictures of other photographers have not only inspired me but have also encouraged me. i try to pass that on.
and finally, the pictures are just an expression of how expressive and powerful music is, that it is one of the most important ways of communication.

\ other projects?
/ radio, band, dj-ing, zine

Website: http://www.yolamda.net

A documentray exhibtion on the early herstory of Soul-/Rock- and Pop-Music and especially the "Women in Rock". It focusses on the Blueswomen of the 20s and 30s of the 20th century- repsctfully these women were also called Blues Queens. In fact, it were their voices [also their texts, dances, tones and much more], which at the beginning dominated the Blues and in general some parts of the Black Community and this is why they became important for the further development of the genre and for some of the [especially African-American] [sub]cultures and styles in music that came up later.
Because much too seldomly this has been an issue worth talking about and because these subversive-superior, and sometimes also very powerful [women's]voices of the Classic Blues can only seldomly be heard, in my exhibition you will find a loadful of this.I will especially concentrate of the socio-ctrical, proto-feminist statements and selfcomprehension, which a Ma Rainey, a Bessie Smith, a Memphis Minnie and later also a Big Mama Thornton, a Janis Joplin traded through their artwork and their lives in a performative way, thereby building bridges bewteen generations and [sub]cultures."I'm gonna steal[!] me a pistol and shoot my chauffeur down" Memphis Minnie threatens in her lovesong "Me And My Chauffeur Blues" from 1941 which also is an ode to the Ford V-8 model.Memphis Minnie, a blues-guitarist, a popstar, a poet and a queen of Country Blues, decides to buy her lover this beautiful and expensive automobile...In this song, one of her greatest and later also most covered hits, she actually sings about, proves and celebrates her own...mmmh...potency. Love and Revolution!

THIS EXHIBITION WILL NOT BE SHOWN IN THE ROOM AT THE FEILENSTRASSE BUT WILL BE SHOWN FROM SEPTEMBER 15TH TO 18TH IN THE BAR DESPERADO, AT THE CORNER OF ARNDTSTRASSE AND SIECHENMARSCHSTRASSE, ARNDTSTRASSE NR. 20

PROGRAMME:
Thursday, Sept. 15th:
5 - 9 pm: Exhibtion
at 9 pm: Film screening "Tiny & Ruby -Hell Divin' Women",
Directed by: Greta Schiller, Andrea Weiss, USA 1988, 88'
from 10 pm: Opening party with DJ Annegret [curator]
Friday, Sept. 16th:
5 - 8pm: Exhibtion
Saturday, Sept. 17th:
5 - 9pm: Exhibtion
from 9 pm: "Soul-Party" with DJ Annegret [curator]
Saturday, Sept. 18th:
5 - 8 pm: Exhibtion
from 8 pm on: Films on Janis Joplin, e.g. with "Janis Joplin -The Way She Was"
Directed by: Howard Alk, USA 1974, 95'