(in matters of) Karl
My essay ‘Searching for Shadows’ was written at the request of Annette Behrens, and included in the book (in matters of) Karl. It deals with Behrens’s search for nazi official Karl Höcker, and the way shatters of the troubled past lie around us. The book, designed by Hans Gremmen and published by Fw:Books, was shortlisted for the Paris Photo-Aperture Foundation PhotoBook Awards 2015, and chosen as one of that year’s best photobooks by TIME Magazine, de Volkskrant, and Photo District News. At the 2016 Arles photo festival the book was shortlisted for the Photo-Text Award, a new award to reward the best book combining images and texts, and eventually won the Historic Book Award.
Annette Behrens, Solahütte, 2011
SEARCHING FOR SHADOWS
To them, it was just an ordinary job. Barely anyone remembers their names, anyhow. They had driven to the hillside lodge overlooking the river Soła, and unloaded their lorry. Up until recently, the holiday resort near Międzybrodzie Bialskie in southern Poland had been vibrating with sounds of leisure: music, laughter, conversation, glasses, and cutlery on plates. However, in August 2011, the place had been cleared out. Armed with crowbars and hammers, the contractors took down the roof and steadily worked their way down to the ground, leaving nothing but driftwood, surrounded by silent trees.
Seventy years before, inmates from the newly erected camp at Auschwitz had climbed the same steep road. Hauling heavy wooden beams, sacks of cement and other construction materials uphill, the weakened men had to build the large cabin that became known as the Solahütte, or SS-Hütte Solatal. From 1941 onwards, it served as a recreational facility for Nazi personnel from the nearby Auschwitz and Birkenau camps. It was here that 31 pictures from the Höcker Album were taken, showing Karl Höcker and other prominent Nazis enjoying themselves. After the war, ownership of the resort changed a few times, but everything else remained the same, even the 1940s furnace, and the dark, cramped rooms equipped with hard beds. During the communist period, it was utilized by Zaklady Chemicze Oświęcim, a reincarnation of the infamous I.G. Farbenindustrie chemical factory in Auschwitz. After the fall of communism in Poland, the lodge became private property.
At the turn of the century, few remembered the troubling origins of the Solahütte. But when the Höcker Album was made public in 2007, attention to the historical and symbolical value of the site grew. Its owner, however, intended to redevelop the out-dated resort. When the local historical society requested that a special status be assigned to the site to protect it, he feared that this would limit his plans. As the lodge was built on private land, without any neighbours to complain, the proprietor ordered swift demolition of the building. It took local government by surprise, the Gazeta Wyborcza wrote; some residents described the act as ‘barbaric’.
The bleak remains of the ruined Solahütte—piles of timber and clutter—hold many meanings, some out in the open, others buried deep inside. Just one of them: here is how history begins, as a disorienting stream of debris, that grows as it meanders away from us. What has occurred only some moments ago, is already losing its shape; every attempt to reconstruct inevitably leads to alterations. Here, history presents itself not as continuous and linear, but rather as spatial. ‘Such is the dark backward and abysm of time,’ W.G. Sebald wrote. ‘Everything lies all jumbled up in it, and when you look down you feel dizzy and afraid.’
(in matters of) Karl, photography: Annette Behrens; design and editing: Hans Gremmen; texts: Annette Behrens, Christophe Busch, Raymond Frenken; publisher: Fw:Books; 2015; distribution: Idea Books; ISBN 978-94-90119-34-8; SOLD OUT
Annette Behrens, Solahütte, 2008
The discovery of the so-called Höcker Album in September 2007 made front pages all over the world. From the start, visual artist Annette Behrens was intrigued by the unique photo album: it is the first album ever to show the living conditions and leisure activities of the Nazis who were posted to Auschwitz concentration camp during WW II. Owner of the album was SS officer Karl-Friedrich Höcker (1911–2000), who worked in Auschwitz as the commandant’s aide-de-camp in 1944. The album contains 116 photos from this period showing, among other things, outings by Höcker together with fellow camp personnel and top people of the Nazi regime.
Photos made near the Solahütte constituted the starting-point of Behrens’s study. During WW II, this cottage was used by Nazis for recreational purposes. The photos show cheerful men and women making music together, having a meal or sunbathing. The cottage was at a mere 30 km distance from Auschwitz and highlights the paradox of the images: the atrocities that took place a bit further down and the crimes committed by the people in the pictures remain unseen. When it turned out that the cottage still existed, Behrens decided to set off for the place in the hope that she might be better able to interpret the photos.
In following years the artist tried to come closer and closer to Höcker. She visited the town where he was living, studied records, spoke with former colleagues and approached his children for a talk. Paradoxically enough, Behrens found that as her search wore on the answers tended to become more and more unattainable. One of Höcker’s colleagues, for example, refused to be filmed, his family reacted guardedly and documents were scattered in archives far and wide.
The demolition of the Solahütte in 2011 was the turning point in the project: Behrens had been looking for new information until this point in time, but gradually the importance of the object came to prevail, as well as its conservation and preservation. What information was disappearing, what documents and data were preserved? How to properly interpret images from this album 70 years later and what kind of research did this require? Armed with these facts and questions, Behrens visited the United States Holocaust Memorial Museum in Washington D.C. in 2014, the place where the Höcker Album has been kept since 2007. Very exceptionally, Behrens was given permission to examine the original album and photograph parts of it.
From 30 May to 23 August 2015, the Nederlands Fotomuseum (Rotterdam) visualizes Behrens’s intensive search for more information about Höcker’s identity. In the exhibition Behrens gives the historical visual material with regard to this man a prominent place. Also, the confrontation with her own German background comes to the surface during her research. The exhibition enables the visitor to follow Behrens’s difficult search and confronts him with the paradoxes ensuing from historical research, particularly in this extraordinary case. ‘Looking for Karl’ comprises photos, videos, documentation, maps and other material such as filmed reports of journeys to Poland, Germany and the US.
Click thumbnails for larger images
Reviews and media appearances
Camera Austria (AT)
Krzysztof Pijarski, ‘On Playfulness, Ordinariness, and Bestiality’, Camera Austria #133, March 2016
“What is this all about!? Of course it is ‘perfectly normal men’ who kill: ‘banal’; German men.
Who else; naturally those who are available!”1
«“In 2007 I saw the photographs for the first time.” The opening sentence of (in matters of) Karl also marks the moment in which Annette Behrens took up her topic—the discovery of the so-called “Höcker album”. This photographic album contains 116 pictures recording the employees, bureaucrats, and commanders of the Auschwitz concentration camp—the very center of the “concentrationary universe”—off duty: laughing, playful, at ease. The album belonged to Karl Höcker, the adjutant of Richard Baer, the last commandant of Auschwitz and a former adjutant to the commander of the death camp Treblinka. After the war, hiding his true involvement in World War II, he managed to return to his hometown of Lübeck and lead a normal life. Until the Auschwitz trials of 1963–65, during which one of the prosecutors pleaded for a record 400,000 life sentences for his atrocities.
A shock to thought: sunbathing, singing, and eating blueberries after work, the work of killing more than six thousand people a day. “Unimaginable” is usually the first reaction. And yet, as Georges Didi-Huberman claims in his Écorces, it is our obligation “to imagine in spite of all”.2 Annette Behrens seems to have taken up on that obligation. Her book, an inquiry into the life and work of Karl Höcker, taking his album of photographs as a point of departure, is a response to the received trauma of her father’s generation—recognising, in the 1960s, the involvement of their parents’ generation in the barbarities of the Third Reich, and thus seeing the culture they were taught to revere compromised. But it is also her own way of confronting this legacy and acknowledging the impact that this experience of guilt and shame had on her formation.
On the one hand, Behrens’s book is propelled by a diaristic, personal impulse, its chronological narrative order serving to precisely recount her itinerary, the course of her research—the moments of doubt, the dead ends, the choices she made. On the other hand, it produces a strongly forensic effect—she (re)photographs objects and documents with a colour chart and ruler, the photographs are expressionless and essentially factual, and the album itself is introduced through reproductions done in the conservation department of the United States Holocaust Memorial Museum in Washington, DC. For the most part, it is the book’s design that keeps these two layers apart, yet in constant tension: in each spread there is another spread embedded, signalled by an overprint in a warm, lacquered tint. These inner spreads are the forensic core of the book—they provide the hard matter of Behrens’s account. The remaining margin of white paper, the outer book, so to say, opens up a space for commentary, context, and the personal.
The tension—or the interplay between proof and testimony—is developed further in Behrens’s use of images. For instance, the multiple blank pages in the inner book not only point to the obscurity of many aspects of history, and thus a crisis of justice, but also provide a screen for the projection of the reader’s own attempts at imagining and/or making sense. Another instance is the artist’s decision to focus on the Solahütte, a cottage built by the Auschwitz inmates to serve as a holiday resort for the camp’s staff. (Only recently has it ceased to be used as a vacation spot.) The artist documents both the cottage and its erasure, but there is something excessive about the documentation: the pictures seem rather like casual snapshots, and there are too many, to the point of redundancy. As if she believed that the multiplicity of perspectives would finally reveal the “secret” of the site. At the same time, she declares that her main goal is to make the viewers of her works understand that “we should not accept the image as ‘truth’, but always scrutinise and analyse it”.3 I read this redundancy as an invitation to do exactly that. More so, it renders impossible any monumental transfiguration: the Solahütte remains a mundane place, and even seeing it in ruins does not render it allegorical. This recognition finds its pendant in the surprise at Höcker’s hidden history expressed by his fellow townsmen, who would claim what a normal, friendly, and civilised man he was. A standard reaction, strongly countered by the album itself, where the pictures obscure the dividing line between ordinariness and bestiality. According to Behrens, they “remind us that, under certain conditions, ordinary men and women, ourselves included, can be capable of committing such unimaginable crimes”.4 Klaus Theweleit, also from the disillusioned generation of Behrens’s father, formulated this thought in a much more pointed manner:
“It is always perfectly normal men who take on the killing. The dividing wall that has been erected between ‘perfectly normal men’ and ‘wild mass murderers’ simply has to be torn down. It is merely a wall for self-protection. Killing and mass-killing is part of the ‘perfectly normal man’ type—wherever and once the floodgates have been opened.”5
By withdrawing visuality, and making use of redundancy and lack, rather than by proposing an explanatory account, Annette Behrens puts pressure on the viewer to make sense of this afterimage of history, withholding the satisfaction of closure or certainty. It is not without reason that the Karl on the book’s cover (and in all other post-war pictures) hides his face.»
1 Klaus Theweleit, Das Lachen der Täter: Breivik u.A., St. Pölten et al., Residenz Verlag, 2015, p. 225 (trans. by the author)
2 Georges Didi-Huberman, Écorces, Paris: Les Éditions de Minuit, 2011, p. 37 (trans. by the author)
3 Annette Behrens, (in matters of) Karl, Fw:Books: Amsterdam, 2015, p. 39
4 Ibid., p. 18
5 Klaus Theweleit, Das Lachen der Täter, p. 225 (trans. by the author)
Photo District News (US)
‘Notable Photo Books of 2015’, Photo District News (PDN), December 11, 2015
PDN’s editors—and a pair of guest reviewers—selected 15 book that caught our attention this year, from a troubling photo album to a new look at America’s heartland; from books of historic photos that add new perspectives to key social issues of our time, to books that explore how photographs and image fragments combine to tell a story.
Selected by Stanley Wolukau-Wanambwa: «How must we reckon with grievous epochs in our history? Does erasure and forgetting lay the groundwork for rebuilding, or does silence whitewash the bloody record of our ignominious past? Is there room for compromise between such extremes, or must we adopt fixed and antagonistic positions?
These are some of the foundational questions at work in Annette Behrens’ remarkable book (in matters of) Karl. In it, Behrens contends with photography’s capacity to reveal and to seal away in wordlessness the many facets of Germany’s Nazi history. The subject of the book is Karl Höcker, owner of an album of photographs made by high-ranking Nazi officers and auxiliary personnel while running the concentration camps of Auschwitz and Auschwitz-Birkenau, both camps at which Höcker served as deputy commander during the Second World War. The photographs are part of the archive of the United States Holocaust Memorial Museum, and are the only candid record of the daily life of the Nazis who administered the genocide undertaken in both camps.
This is a nuanced, complex and extraordinarily forthright book that contains rigorous, insightful and evocative research. It is thoroughly and conscientiously contextualized, and it is narrated in Behrens’s small diaristic entries, which detail her immersion into this history, and her ambivalence about the results of her diligent intervention. Behrens’s investigation of Höcker’s photographs opens up old wounds in some who knew him, and in her repeated trips to the Nazi retreat at Solahütte, Behrens reminds us of how hard some have worked to forget or to disavow this complex history.
The book compels us to deal with the dangers of forgetting our past, and asks us to consider the moral challenges involved in any effort to retrieve what has been suppressed. Behrens confronts photography’s tendency to seem like a grossly insufficient gesture in the face of unforgivable acts, and it simultaneously examines photography’s capacity to give us a means to dismantle repression, and come face to face with the iniquities of our past.»
de Volkskrant (NL)
‘De 15 mooiste fotoboeken van 2015’, de Volkskrant, December 7, 2015
«Huiveringwekkend fotografisch onderzoek naar de geschiedenis van de Solahütte in Polen, een door Auschwitzgevangenen gebouwd vakantieverblijf voor hooggeplaatste SS’ers. Karl Höcker, plaatsvervangend commandant van het concentratiekamp, liet een privéfotoalbum na waarin de gemoedelijke sfeer is vastgelegd waarin de geüniformeerde kampleiding van haar vrije tijd genoot met zonnebaden en accordeonspel. Behrens verbindt die quasi-onschuldige kiekjes met beelden van documenten (waaronder een bestelling voor Zyklon-B van Höckers hand) en het heden. Je ziet het bankgebouw waar Höcker werkte tot hij in de jaren 60 werd opgepakt en veroordeeld tot vijf jaar, en van de Solahütte zelf, die tot de sloop, enkele jaren geleden, in gebruik was gebleven als vakantieverblijf.»
TIME Magazine (US)
‘TIME Picks the Best Photobooks of 2015’, TIME Magazine, November 25, 2015
Selected by Stanley Wolukau-Wanambwa: «This is a nuanced, complex and extraordinarily forthright book that contains rigorous, insightful and evocative research. Behrens’s book compels us to deal with the dangers of a forgetful relationship to our past, as well as to consider the moral challenges involved in any effort to retrieve what has been neglected or suppressed. (in matters of) Karl confronts photography’s tendency to seem grossly insufficient in the face of the unforgivable, and its capacity to give us a means to come face to face with the iniquities of our past.»
Paris Photo (FR)
Paris Photo – Aperture Foundation Photobook Awards, November 12, 2015
«This photobook draws inspiration from the private photo album of former SS First Lieutenant Karl Höcker, known as the Höcker Album, which provides insight into the recreational activities of Nazis working at Auschwitz during World War II. Photographs taken at the retreat Solahütte, which is still intact today and used for tourist vacation rentals, spurred photographer Annette Behrens to retrace these evidentiary images. The book is organized by the chronology of Behrens’s reconstruction of the album and her search to find out more about Höcker.
“The photographer successfully extends the usual exploration of a found archive of photographs, returning to the scenes of the original images and rephotographing them,” says [jury member] Julien Frydman. “The design uses the borders of each of Behrens’s images to incorporate thumbnails of the older work, commenting on the photographer’s process in an innovative, strong way.”»
Innocent Curiosity (PL)
Marcin Grabowiecki, ‘Annette Behrens: (in matters of) Karl (review)’, Innocent Curiosity – Photobook Reviews, October 29, 2015
Rating: Very Good (5/6)«Despite the Holocaust took place more than half a century ago, it’s still a vibrant, recurring topic. We try to understand those horrifying events and reveal the motifs of war criminals. Moreover, we want to answer ourselves a question: what would we do in a similar situation? Nazis are often equated with monsters, because only a monster could perpetrate such atrocities. It was Nein Onkel, published by the Archive of Modern Conflict and awarded at Rencontres d’Arles in 2008, that tried to get rid with those stereotypes. This smart publication consists of archival photographs of Nazi soldiers, portrayed as usual people, playing, resting and having fun. One could ask if it’s even possible for someone to distance himself from the murders he committed. The editors, Ed Jones and Timothy Prus, appear to suggest that Nazis were everyday people, just as we are. And this is probably the most terrifying thought.
Such contemplations are also the leading motifs of Annette Behrens’s (in matters of) Karl. The starting point for its creation was the Höcker Album, a private, amateur photo album of SS lieutenant Karl Höcker. To this day it’s the only album portraying Auschwitz Birkenau concentration camp employees during their free time, that has been found. In 1944 Karl Höcker became an aide of the last Auschwitz Chief Commendant, Richard Baer. However, not even one of the 116 photographs shows the camp buildings. They were taken in the Solahütte holiday resort, placed around 30 km away from Oświęcim. They show camp employees during their free time, joyful and relaxed, just as if their crimes never existed. After the war Höcker came back to his usual job as a bank clerk. He was judged for his crimes only in 1963. But it’s just a glimpse of a vivid story of a man who persistently claimed that he only took orders and cannot answer for the death of thousands.
Annette Behrens decided to take a closer look on Karl Höcker’s story to discover who he really was. She conducted a research, accounts of which we see in the book. She tackled the topic in an analytical way, systematically gathering the evidence. In 2008 she visited the Solahütte holiday resort, in Międzybrodzie Bialskie, which was still open back then. After some time she ended up in Lübbecke, Höcker’s hometown, where she tried to meet his family and friends. She searched through the archives, collected newspaper cuts and taken dozens of photographs. Finally, she reached Washington where she was able to see the original copy of the Höcker Album , which she meticulously reproduced. It was only after some time when she found out about blank spots in Höcker’s biography. His family remains silent, old friends praise him and archivist won’t let her make a copy of the essential evidence. At some point she reached a wall she couldn’t jump over.
Many of the pages lack photographs at all. Blank spots are distinguished by a special varnish layer. A measure very subtle, yet meaningful. Firstly, it tells us that some of the footage Annette Behrens acquired was not suitable for presentation. Secondly, it embodies the process of memory loss that took place in Germany after the World War II. And Behrens’s research shows that it is still happening today. For example, the Solahütte resort, being one of the last evidence in this case, is long gone. It’s owner, terrified with the idea of transforming it into a memorial, decided to demolish it completely.
What’s worth mentioning is the fact‚ that (in matters of) Karl is perfectly designed, partly thanks to Hans Gremmen and Fw:Books publishing house. Skillfull narration is both intense and intriguing. Yet it’s not its form that is the most important, but rather the mark it leaves in our memory.»
Mirelle Thijsen, ‘The Art and Maintenance of Found Photography in the Photobook Award Shortlist 2015’, theloggingroad – photobooks research and selection, October 1, 2015
«(in matters of) Karl by Dutch photographer Annette Behrens (one of two nominated book works published by Fw:Books) deals with the progressive War of Terror during the twentieth century. Annette revealed in self-made and found photographs how collective memory and history creep into the seemingly bourgeois life of an SS officer Karl-Friedrich Höcker as depicted in his family album, which was anonymously donated to the United States Holocaust Memorial Museum in Washington D.C in 2007. Well documented.»
(in matters of) Karl also features on her Best Photobooks of 2015 list:
«It’s more than a photobook, well documented and supported by a meticulous lay-out and design by Hans Gremmen. Annette hesitated to do it, being remembered of her own German roots and the history that goes with it. The screen print on the front cover leaves some ‘blood traces on the French title page. Reproductions of Polaroids are showing the picturesque Solahütte, in the year 2007. Other self-made images show the whole setting of the Höcker Album at the research department of USHMM. The personal histories and reflection on research findings by Annette, all in Courier letter font, read like a diary note or a forensic report, or both.»
de Volkskrant (NL)
Merel Bem, ‘Kijk en huiver. Onbekommerde kiekjes uit een duister verleden’, de Volkskrant, July 3, 2015
Fotograaf Annette Behrens reconstrueerde het leven van SS’er Karl Höcker. Zijn eigen fotoalbum met onbekommerde kiekjes vormde de leidraad.
«Soms laat een foto je naar adem happen, juist door wat-ie niet toont. Zoals deze, een zwart-witkiekje uit 1944. Dit zie je: lachende meiden en een vrolijke jongeman op een terras in een bosrijke omgeving. Een accordeonist, een stukje van iemand in een klapstoel. Dit zie je niet: hoe ongeveer 30 kilometer verderop vrouwen, mannen en kinderen door de poorten van vernietigingskamp Auschwitz werden gedreven.
Het onderschrift van de foto luidt: ‘Hier gibt es Blaubeeren’. Hier groeien bosbessen? Klats – dat is de geschiedenis die je met terugwerkende kracht een knal tussen de schouderbladen verkoopt. Dat wat je niet ziet, wordt ingekleurd door dat wat je weet.
Zo heeft de tentoonstelling ‘Looking for Karl’, gemaakt door Annette Behrens en nu te zien in het Nederlands Fotomuseum in Rotterdam, er nog wel een paar. Ziedaar: weer zo’n kiekje, nu van een paar rokende nazi-kopstukken, onder wie horrorarts Josef Mengele, stuk voor stuk dagelijks werkzaam in Auschwitz.
Of hier: een foto van een vergeelde bestelbon voor zyklon B, het gas dat werd gebruikt in de gaskamers – god ja, natuurlijk moest dat spul ergens worden ingekocht. Klats.
Deze voorbeelden hebben één ding gemeen, nee: iemand. SS-officier Karl Friedrich Höcker (1911-2000). Hij is de lachende jongeman te midden van de vrouwen op het terras van de Solahütte, een houten vakantiehuis in het idyllische berglandschap van Polen, waar hij en andere SS’ers elkaar genoeglijk troffen om even uit te blazen van de drukke werkweek in het concentratiekamp.
Höcker plakte de foto’s van hun samenzijn in een album, dat in 2007 werd ontdekt. Net als het beruchte Auschwitz Album, met daarin voor zover bekend de enige overgebleven foto’s van het vernietigingsproces in het kamp, is dit een fotografisch document vanuit het perspectief van de anderen, de meedogenlozen, de mensen zoals Karl Höcker, die onbekommerd bosbessen plukten en hun paraaf op de order voor zyklon B zetten.
Annette Behrens (36), fotograaf van Duitse komaf en groot geworden in de schaduw van de afschuw over de oorlogsmisdaden van nazi-Duitsland, raakte gefascineerd door Karl Höcker. In 2008 ontdekte ze dat de Solahütte nog bestond en immer dienst deed als vakantieverblijf. Ze ging erheen om te fotograferen en keerde terug toen de blokhut in 2011 was gesloopt. Een honingkleurige vloertegel nam ze mee. In het Nederlands Fotomuseum toont Behrens foto’s, films en oude krantenknipsels en ligt die tegel in een vitrine aan de voeten van het bezoek, als een keihard stuk onbereikbare geschiedenis.
Het is echter niets vergeleken bij de ongrijpbare Karl Höcker, die na de oorlog twee keer werd veroordeeld voor medeplichtigheid aan oorlogswandaden en overleed ruim voordat zijn album wereldfaam kreeg. Tijdens Behrens’ zoektocht glibberde hij steeds uit beeld zodra ze te dichtbij kwam. Familieleden wilden haar niet ontmoeten, een oude collega wilde wel praten, maar niet herkenbaar worden gefilmd. Behrens zelf twijfelde vaak over haar eigen motieven.
Het maakt ‘Looking for Karl’ tot een intrigerende en tegelijk frustrerende tentoonstelling, vol openlijke aarzeling en dichte deuren. En hoewel zij haar publiek dapper deelgenoot maakt van haar dolende queeste, wekt het verwarring.
In het begin lijkt ze slechts geïnteresseerd in het fotografische beeld van Höcker, in dat wat ze kan zíén, een naïef uitgangspunt aangezien de geschiedenis, zeker wanneer ze zo huiveringwekkend is als in dit geval, gebaat is bij zoveel mogelijk verschillende bronnen. Verderop lijkt het project twee verschillende kanten op te buigen. Enerzijds verwerd het noodgedwongen tot een soort metaonderzoek naar het verzamelen van historisch materiaal, anderzijds bleef Behrens zoeken naar Höcker en omarmde ze de tactiek van de zwart-witkiekjes in het Höcker Album.
Zijn huis, zijn kantoor, de overblijfselen van de Solahütte – ze legde alles vast in de hoop dat de kijker zou invullen wat hij niet ziet. Dat doet-ie. Maar hij blijft stiekem ook hopen op meer.»
«Het Höcker Album wordt bewaard in het United States Holocaust Memorial Museum in Washington D.C. Het werd in 2007 aan het museum gedoneerd door een anoniem gebleven Amerikaanse officier, die het fotoboek vlak na beëindiging van de Tweede Wereldoorlog vond in een appartement in Frankfurt. Het bevat 116 zwart-witfoto’s van hoge SS-officieren tijdens korte vakanties en officiële momenten tussen de dagelijkse bezigheden door. Kamparts Josef Mengele, vóór de ontdekking van het Höcker Album nog nooit ontdekt op beelden van Auschwitz, komt op tien foto’s voor. Bij hoge uitzondering mocht Annette Behrens het album inzien en delen ervan fotograferen. Die foto’s zijn, behalve in de tentoonstelling in het Nederlands Fotomuseum, ook te zien in het boek (in matters of) Karl, dat binnenkort bij Fw:Books verschijnt.»
Radio Rijnmond (NL)
Rijnmond Staat Stil, Radio Rijnmond, June 26, 2015
Annette Behrens interviewed about the exhibition, and her German background (40 minutes); broadcast on Greater Rotterdam Area’s public radio.
Annette Behrens interviewed by Petra Possel about her search for Karl Höcker, the exhibition, and the upcoming book (52 minutes); broadcast on Dutch national public radio.
NPO Radio 1 (NL)
NTR, Radio Kunststof, NPO Radio 1, June 4, 2015
NPO Radio 1 (NL)
VPRO, Nooit meer slapen, NPO Radio 1, June 2, 2015
Annette Behrens interviewed about the exhibition on show at Nederlands Fotografiemuseum, Rotterdam (11 minutes); broadcast on Dutch national public radio.