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TOLERANCE, A DREAM FOR EUROPE?

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About

Digital and analog portrait-, cultural-, economics-, social-, politics- and jazz-photography, from my archives or as an assignment. Digital portfolio and archives under www.detschilke.de and www.fotofinder.net
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1983 – first competition “Kulturbund der DDR” price: Sektion FDGB-Kollektion Arbeiterfestspiele “Photos of the Year 1983”

1985 – first publications in “Jazz Forum – The European Jazz Magazine” Warsaw

1988 – first price “International Jazz Photo Competition Warsaw”

1989 – first price “ZDF JazzClub” photo competition

1990 – first publications and assignments as Freelance-Photographer in Berlin, work many years amongst others for “Tagesspiegel”, “Handelsblatt”, “VDI-Nachrichten”, “Frankfurter Rundschau”, “taz – Die Tageszeitung”,…

1991 – first book “Jazz in der DDR – eine Retrospektive” Author: Bernfried Höhne, Frankfurt/Main: Eisenbletter & Naumann, 11 Photographs

1991 – first assignments and publications of Jazz-Photographs for magazines, amongst others “Jazzthetik” (for 10 years), and “Jazz Forum”, “Motiv”, “Jazzthing”, “DownBeat”, “JazzTimes”, “Neue Zeitschrift für Musik”,…

1995 – “Der Marsalis-Faktor” Author: Christian Broecking. OREOS-Verlag, 23 Photographs

2004 – “40th Anniversary Berlin Jazz Festival 1964–2004 – The festival’s chronicle including (German) text and photographs”, 16 Photographs

2007 – Jazz Calendiary 2007, JazzPrezzo Verlag, 53 Jazz-Photographs

2007 – 24. Rückblende, Landesvertretung Rheinland-Pfalz, exhibition and catalogue, photograph: Head full of ideas and no job?

2008 – 25. Rückblende, Landesvertretung Rheinland-Pfalz, exhibition and catalogue, photograph: Closing of airport Berlin-Tempelhof, 30. October 2008

2008 – Book: LET MY PEOPLE LIVE ! TOLERANCE – A DREAM FOR EUROPE ? Brussels, 09.-10. Nov. 2008 WORLD HOLOCAUST FORUM, European Jewish Congress, European Council on Tolerance and Reconciliation, 46 Photographs

2010 – “Displaying Power – Art as a Strategy of Rule” – An exhibition of the German Historical Museum, Berlin

2010 – Photograph: Franz Müntefering in front of Rainer Fetting´s Willy-Brandt-Statue, exhibition and catalogue

2010 – Monthly WDR-3-Jazz-Poster in 2010, 12 Jazz-Photographs

2011 – Neuhardenberg – in concert open air – Jazz-Photo-Exhibition, Vernissage 15.05.2011 Schloss Neuhardenberg

2012 – 28. Rückblende, Landesvertretung Rheinland-Pfalz, exhibition and catalogue, photograph: Three senior citizens waiting in a day care institution, 09. May 2011

See more publications at my BLOG


Jazz Calendiary 2007 – Detlev Schilke – Foreword by Wolf Kampmann (Translation Daniela Aue):
Few photographers are gifted in teaching others the ability to listen through their pictures. Detlev Schilke´s photographs are singing. Not only because he takes pictures of music. Whenever he meets a musician with his camera he is not satisfied by just fixing his features. He is not just concerned about contrasts, contours, foreground or surrounding. Recognizability follows spontaneous arrangements. Detlev Schilke subordinates the laws of optics, he looks behind the subject matter, he triggers vibrations. His glissandi allow the eye to slip through a facade that seems to be impermeable. Details often say more than the whole. It could be a musician´s foot or a rolled up cable laying next to an instrument that captures Schilke´s attention and uncovers aspects of an artist that go far beyond a well done portrait. It is not necessary having experienced a certain musical moment. You can imagine it with the full power of all senses through Detlev Schilke.
Detlev Schilke not only taught me to trust my ear, but to talk about music without describing it analogously. His photos have let me to the insight that it is not the obvious that matters but what you discovers behind it. Penetrating the surface to catch the character of a certain sound. Not identifying of the individual expression of others, but meeting them with an equally individual attitude. Schilke´s visual magic is extremely emotional. He is intimate without denouncing, he tells stories and writes history. Each photo is the reflection of a moment, but with Detlev Schilke these moments are always to be understood as a particle of eternity.
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Wolfram Knauer – Jazzinstitut Darmstadt:
In the 50s and 60s, Joachim Ernst Berendt’s foto calendars were extremely popular. The Jazz Calendiary could become just as popular, this time not as a wall but as a desk calendar. The handy sized and easily to turn over book contains black and white photographs of the photographer Detlev Schilke on its left side, one for each week, and enough space on the right side for notes about appointments , thoughts or whatever. The pages are made of thick paper, nice to write on, yet high quality and glossy for the pictures. It starts with Junior Cook at the JazzFest Berlin in 1990 and ends with Woody Shaw at the Leipziger Jazztage 1987, and in between you’ll find many big and not so big names from the jazz scene of the late 80s up to today. Gary Lucas sits with his guitar in front of a jumble of cables and pedals, Joelle Leandre’s shadow plays into a microphone, Dietmar Diesner turns his saxophone around, Peter Kowald listens to his own bass notes (and he does it twice), Aki Takase relaxes and smokes a cigarette as does Lester Bowie (but a cigar), Joe Lovano tries out his mouthpiece, Bill Dixon does the same with his trumpets, Archie Shepp thinks, Tomasz Stanko tests his clip-on microphone, of Von Freeman we just see his instrument and his suspenders, of Markus Stockhausen just his trumpet, Regina Carter and Carla Kihlstedt play the violin, Michel Portal and Richard Galliano the accordion, and Wadada Leo Smith plays trumpet while at the same time controlling the electronics using a foot pedal named “Cry Baby”. Enough photos to get through the year, and to remember that even the gray days can be beautiful with jazz. And I am sure that in the year 2008 some of these excellent photos can be found in frames on many walls.
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Recension by Dick Dienstag “Graf von Foto” (Lexington Va USA):
A nice presentation of good work
Schilke sets high standards for his photographs and maintains those standards throughout this attractively-designed volume featuring an assortment of 52 images of jazz musicians. The format for each two-page spread is a beautifully-reproduced photograph on the left-hand page, and a weekly calendar on the right-hand page, making this a useful as well as good-looking book. Be aware that it is meant to be left opened on a flat surface: the 2+cm internal binding rings are durable, but when the book is shelved standing up, the innards – both the rings and the pages – are prone to sagging from the top, but that is a small complaint and my only one. I know my copy stays open and I bet yours will too.
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New Yorker Oktoberrevolution – 08.09.2006 – Berliner Zeitung – Feuilleton – Seite 27 by Christian Broecking :
Das Effektpedal, auf dem sein linker Fuss ruht, heisst “cry baby” – der Schuh ist ledern, die Sohle aus Gummi und nicht mehr neu. Die Hose ist gestreift, die Trompete gestopft – auf diesem Foto von Wadada Leo Smith, aufgenommen beim Total Music Meeting vor einem Jahr, sieht man kein Gesicht. Ein anderes Foto zeigt den Saxofonisten Joe Lovano in der Garderobe des Jazzclubs A-Trane beim Praeparieren des Mundstuecks, der Blick konzentriert, wach und entrueckt zugleich. Auf den 53 Schwarz-Weiss-Fotos seines gerade erschienenen Buches “Jazz Calendiary 2007” (jazzprezzo) sieht man Musiker bei der Arbeit, gestellte Posen interessieren den Berliner Fotografen Detlev Schilke nicht. Nur selten, wie bei dem Portraet des Gitarristen Arto Lindsay, ist mal ein Laecheln zu sehen, manche Musiker haben die Augen beim Spiel geschlossen, bei einigen wirkt der Gesichtsausdruck gar schmerzverzerrt – fast schon ein bisschen unheimlich. Meist ist ein Instrument im Weg, manchmal wirkt es wie ein Schutzschild, wie bei Woody Shaw (Abb.). Schilke kommt den Musikern nicht zu nahe, er konzentriert sich auf den Raum um sie herum. Ein Foto zeigt den Trompeter Bill Dixon waehrend seiner ersten Berlin-Besuchs 1994. Dreissig Jahre zuvor hatte Dixon die New Yorker Oktoberrevolution im Jazz initiiert, im Haus der Kulturen der Welt sieht man ihn wartend, der Hut verdeckt sein Gesicht, ein Instrument haelt er in den Haenden, ein anderes liegt vor seinen Fuessen auf einer Tasche. Die meisten Fotos in diesem schoenen Buch hat Schilke in Berlin gemacht, zu den Ausnahmen gehoert ein Portraet des am vergangenen Samstag verstorbenen Saxofonisten Dewey Redman, das ihn 1992 beim Ulrichsberger Kaleidophon zeigt. Beim JazzFest 1993 hat Schilke Aki Takase fotografiert, wie sie eine Zigarette raucht und Lester Bowie eine Zigarre. Das Bowie Foto wurde im Buero des Jazzclubs Quasimodo gemacht, an der Wand hinter Bowie sieht man ein Foto von Dizzy Gillespie – ebenfalls mit Zigarre. Dieses Bowie-Foto stammt aus der Zeit, als in New York der letzte grosse Jazzkrieg herrschte. Auf der einen Seite kaempften die Neotraditionalisten mit Wynton Marsalis, auf der anderen die Avantgardisten mit Bowie. Fuer Marsalis endete die Tradition mit John Coltrane und Thelonious Monk. Fuer Bowie dagegen hatte sie gerade erst begonnen. Der 1999 jaeh Verstorbene sah die Buehne als Labor, die Musik als Experiment. “Alle Amerikaner werden dazu erzogen, Dummkoepfe zu sein”, lautete seine schon damals aktuelle These ueber die kulturelle Bedingtheit seiner Mitmenschen und das Geschaeft der konservativen Kulturkritik.

Detlev Schilke 's current location:
Dresden , Germany

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