“Day and Night” (1880) are a pair of statues by sculptor Ludwig Brunow which decorated the upper portion of the main portal at Berlin’s Anhalter train station (Anhalter Bahnhof). These originals reside in Berlin’s German Museum of Technology (Deutsches Technikmuseum): the woman at left represents night, and the man at right represents day. The two sculptures presently at the facade remnant at Anhalter Bahnhof are replicas.
I made the image above on 23 May 2025 with a Fujifilm X70 fixed-lens prime and these settings: 1/30-sec, f/8, ISO3200, and 18.5/28mm focal length. This post appears on Fotoeins Fotografie at fotoeins DOT com as https://wp.me/p1BIdT-vG4.
Vienna’s Schottentor station serves the city’s U-Bahn U2 line, located close to the University of Vienna’s main building and the Votive Church. Next to the escalators from the University side of the station down to the train platforms are two “eyes” staring and blinking at each other.
Austrian artist Hofstetter Kurt installed “Einen Augenblick Zeit” (Just A Moment) in Vienna’s old Südbahnhof from 1994 to 2009. Towards the end of 2024, the sculpture got its new home in Schottentor station.
It’s a little unnerving to see a couple of metal eyes to and from the U2, but I’ve come to anticipate seeing at least 1 eye at Schottentor.
11-seconds on the up: 1258pm, 15 Jul 2025.
11-seconds on the down: 131pm, 15 Jul 2025.
I made the stationary image on 7 July 2025 and videos on 15 July 2025. This post composed within Jetpack for iOS appears on Fotoeins Fotografie at fotoeins DOT com.
At a traffic circle in Berlin stands a concrete sculpture whose meaning is a criticism of excessive consumer culture and the glorification of cars. In 1987, this might not have been out of place in staunchly anti-capitalist East Berlin. Instead, German artist Wolf Vostell (1932-1998) approved the sculpture’s installation in West Berlin at Rathenauplatz, near the border between “Ortsteil” Halensee and Grunewald. The occasion was Berlin’s 750th founding anniversary as a city, as part of an extended street with sculptures for the grand anniversary.
Vostell took two full-sized Cadillacs and encased them in concrete. The title is “Two Concrete Cadillacs in the Form of the Naked Maja”, an allusion to Goya’s painting “The Naked Maja”. Vostell explained the placement of the sculpture in the traffic circle as “a dance of car drivers around the golden calf.” At the time, the artwork proved to some controversial at best and objectionable at worst, but the sculpture has stuck around to 2025, while the objections slowly aged out and died. Some folks who loved their cars apparently didn’t like to be criticized or excoriated.
Welp, I’m now a fan, and I’ll look for his 1970 cement sculpture in Cologne when I’m back there in a few weeks.
Facing northwest. The sprayed-on sentiment is recent, but absolutely agreeable.
Facing southwest.
Facing northeast.
Facing southeast. The sentiment is repeated on the other side, which makes it doubly agreeable.
I made all images above with an iPhone15 on 7 June 2025. This post composed within Jetpack for iOS appears on Fotoeins Fotografie at fotoeins DOT com.
Born in East Berlin in 1947, Karl Biedermann is a German artist, best known for his sculptures. I highlight here two of his works as memorials, both located in Berlin Mitte. The two locations are separated by a short 1-km walk.
A bronze kneeling torso appears on the west side of Zionskirche (Zion Church). The 1997 sculpture by Karl Biedermann is a memorial to Dietrich Bonhoeffer: theologian, pastor at Zionskirche, and vocal dissident who opposed Nazi programs of forced sterilization and euthanasia. He was arrested at his parents’ house in 1943, and executed for conspiracy at Flössenburg on 9 April 1945, mere weeks before the Nazis’ unconditional surrender.
At the north end of Koppenplatz (Koppen plaza) is what appears to be an open room with a table and two chairs; one of the chairs has fallen over. It’s as if the people who once lived here had to leave quickly and are now gone. This is “Der verlassene Raum”: Denkmal für die deportierten Juden, or “The deserted room”: a memorial for the deported Jews. It’s a reference to the nearby Scheunenviertel, once a thriving hub for Berlin’s Jewish community. Biedermann and landscape architect Eva Butzmann created the sculptural piece for Koppenplatz in 1996.
It’s my 2nd time at the latter sculpture, and the empty eerie feeling has never left me.
Memorial to Dietrich Bonhoeffer, by Karl Biedermann (1997), next to the Zionskirche.
On the granite base of the sculpture is the sculpture’s title and inscription: “Für Dietrich Bonhoeffer” (For Dietrich Bonhoeffer).
“Der verlassene Raum”: Denkmal für die deportierten Juden.
“The deserted room”, memorial for the deported Jews.
I made the images with an iPhone15 on 21 May (first two) and 4 June 2025 (last two). This post composed within Jetpack for iOS appears on Fotoeins Fotografie at fotoeins DOT com.
I’m into my 5th and final week in Vienna. With the return of some summer heat and humidity, I start bright and early, but the pace is slower than usual to account for refreshment and cooling breaks. The title today reflects various dives into the city’s first three districts.
1. Innenstadt
“Bonbons”
2. Leopoldstadt
“No Sleep Till Leopoldstadt”, by Xan Padrón, 2024. Brooklyn x Leopoldstadt collaboration project
“Wollte nie dass du gehst: sorry. Hab immer an uns geglaubt.” / I never wanted you to go: sorry. I always believed in us.” (unrelated graffiti)
3. Landstrasse
“Morse Alphabet” neon sculpture by Brigitte Kowanz, for Österreichische Post, 2017.
A to Z, in Morse code from top to bottom.
I made all photos above with an iPhone15 on 9 Jul 2024. This post composed with Jetpack for iOS appears on Fotoeins Fotografie at fotoeins DOT com.
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