German clubs, especially those in Berlin, have always aroused a certain curiosity, especially for tourists. If there’s one thing you can’t do in this city, in many discos or pubs, it’s taking pictures.
The myth of Berghain, with its extreme selection at the entrance, the tyrant bouncer that everyone fears and the fateful ban on using the camera on the phone, can be defined as something that if you do not share it on some social, no one believes it. In a historical moment like this, where you have to document everything to prove that you have been there, Berlin resists.
The German capital has established a kind of unwritten law that everyone respects and, most of the clubs, has strict rules against photography. The main reasons can be summarized in two: the first is certainly to allow guests to enjoy the music without distractions. The second concerns the protection and privacy of clubbers. In fact, inside, you can do more or less what you want, they are like free zones, where everything is possible and everyone can express themselves.
We talk about an avant-garde Berlin where, after the fall of the wall in 1989, young people took control and filled empty buildings and factories with life. What has happened in the city in this period can be seen as a kind of explosion, as the beginning of the last great youth cultural movement in Europe until today. The visual effects and new artistic approaches of life have combined video, film, projection, and music. For the many aspiring artists, the connection with art has offered different possibilities of collaboration and new perspectives and spaces for communication.
German photographer Tilman Brembs made, in those years, a reportage taken in analog. All the photos are displayed in an exhibition that aims to consider the evolution of club culture. Each frame represents unique testimonies, fragments that represent one of the last great youth movements and the enormous desire for freedom. Without any sign of nostalgia, Tilman Brembs portrays a scene that no longer exists, but which was a very significant part of the period of German reunification. His collection contains more than 10,000 images from 1991 to 1997 and, on the thirtieth anniversary of the fall of the wall, they were included in the exhibition called “No Photos on the Dance Floor“.