© Arne Piepke from "Anecdotes from an unfamiliar Land"

What was your everyday life like before you identified as an artist or a photographer? Did your initial environment influence your perspective? Was there a distinct catalyst or experience that pushed you towards an artistic path?

Arne Piepke (AP): I grew up in the countryside, in a small village. Back then, I was mainly interested in music and played in bands. I come from a working-class family and thought for a long time that I would follow a similar path. In addition to music, photography came into my life, but I never saw it as a professional career.
It was only after traveling for a long time with a good friend and distancing myself from my parents' home that the desire and courage to follow a more artistic path grew.

Tell us something about your educational path and if it has informed your journey at all? Anyone has been instrumental in guiding your visual consciousness and practical evolution?

AP: I started my photography studies in 2014 in Dortmund, Germany. Along the way, I had several teachers who strongly influenced me. Wolfgang Zurborn taught me editing, how photography works in sequences, and the language of photography. Through Dirk Gebhardt and Christoph Bangert, I learned photojournalism and documentary photography.
I am very grateful to Dirk Gebhardt, who organized many trips abroad, portfolio reviews and workshops for us. This had a very significant impact on me.
Apart from my studies, it was mainly workshops and portfolio reviews outside of the university that had the greatest influence on me. Workshops with Rob Hornstra, Sarker Protick, and NOOR photographers like Jury Kozyrev left a significant mark on me. Here, I learned to refine my approach towards photography and the topics I choose. This helped me to find my authorship.

What are the themes that interest you, what generally attracts your observation and why?

AP: In my photographic work, I am still influenced by my youth in the countryside. Rural life, traditions, and community, as well as working-class and conservative life, shape me and my work to this day. These influences are reflected in my artistic exploration of themes such as tradition, identity, and history. Motivated by my own search for belonging, I continually engage with these fundamental questions.
I am interested in people when they are not in their everyday lives, but rather when they take roles or stage themselves due to community, tradition, and history. These are often characteristics that serve as identification and form communities. I also seek something to base my identity on, but these traditions often come with certain values and worldviews that I view critically.I
am drawn to topics where I feel both a sense of closeness and distance and where I find myself questioning things. For me, photography is a great medium to visualize these unclear, complex, and difficult-to-grasp questions.

© Arne Piepke from "Anecdotes from an unfamiliar Land"

© Arne Piepke from "Anecdotes from an unfamiliar Land"

What is your approach to the medium? Do you privilege any camera or process in particular? How do you envision or conceptualize the projects?

AP: I see myself as a documentary photographer, although this term is difficult to define. My work is always based on a reality and largely follows journalistic standards. However, my work allows for a lot of freedom. Documentary photography seems to have an immediate impact, yet it is actually very vague and unclear in its message – as vague and unclear reality often is. Journalism tries to compensate for this with simple storytelling and textual contextualization, but it always fails at the medium's limitations.
In photography, more remains open to interpretation than can be shown. But that is what I find exciting—the space for questions and speculation. I want to use this rather than trying to avoid or eliminate it. I believe thats how viewers can be encouraged to engage more deeply with the project and the resulting questions.
I find the most important thing in dealing with the medium, when it comes to documentary photography, is honesty. One should not hide their attitude and approach to the medium but make it transparent and understandable.
For my last two projects, I photographed exclusively with analog medium format. This process is very rewarding for me. I enjoy being on the road for days and not being able to see the resulting images immediately. I believe that this makes me more focused to my surroundings.

© Arne Piepke from "Based on True Events"

Your work "Based on True Events" documents war reenactments in Europe to question our understanding of historical wars and to confront the viewer with the paradoxical aesthetics of war. It raises questions about how history is created and accessed, and what aspects of it may be forgotten or repressed. How did you plan your research with this regard? Do you usually dialogue with experts on your works and how do you get prepared?

AP: This work required a lot of research. I was familiar with a few reenactments, which are not difficult to photograph. These are mainly reenactments of the Napoleonic Wars. Because these seem so far away in time, they are viewed less critically. Reenactments of World War II were more difficult to find and to get in contact with. I was able to participate in one reenactment on the condition that I dressed like a civilian or journalist from that time.
This work taught me a lot and showed me that we quickly draw conclusions about something and form an opinion, but the reality is often much more complex.
In this story, the protagonists were experts. Their motivations for participating in these reenactments vary greatly. Some have enormous detailed knowledge, while others are simply interested in weapons.
It became clear to me that these reenactments represent a kind of "perfect" warfare. There is no death shown, no trauma, no suffering of civilians. It is about the aesthetics of war. I wanted to emphasize this over-aestheticization with my approach. In their aim to be as perfectly authentic as possible, the reenactors fail. Bevause of their perfection, it appears inauthentic.

© Arne Piepke from "Based on True Events"

© Arne Piepke from "Based on True Events"

© Arne Piepke from "Based on True Events"

© Arne Piepke from "Based on True Events"

© Arne Piepke from "Based on True Events"

© Arne Piepke from "Based on True Events"

For "Anecdotes from an unfamiliar Land", over the course of three years, you travelled through rural areas of Germany chasing unusual, alternative and tragicomic views on your home country. What are your takeways from this journey and what does it mean to be “German“ for you then?

AP: This work is based on my own search for belonging. I asked myself whether there is a greater whole that holds us together as a society. Can we ectract something collective from the combination of different identities?
From the beginning, I knew that this was doomed to fail—I would not find clear answers. But that was not the point. I wanted to question whether this country even has an identity. Personally, I do not define myself by a country and its borders or by my passport.
But the question of what "German" is has always been asked and is often used by conservatives or right-wing individuals.
The goal was to surprise the viewer, to show a Germany that I have seen or imagined, making the concept of German identity something that can only be questioned. This should appear humorous and tragicomic.
The two great books "The Shortest History of Germany" by James Hawes and "Germany, Oh Germany" by Simon Winder served as inspiration and research. I highly recommend both.

© Arne Piepke from "Anecdotes from an unfamiliar Land"

© Arne Piepke from "Anecdotes from an unfamiliar Land"

"Glaube, Sitte, Heimat" is another series that questions identity and tradition. From 2015 on, you visited 31 festivals in order to question the contemporary exercise of the tradition and to examine the theatre-like procedure of the fest.

What are the practical difficulties you faced in its development? Tell us a bit about the behind the scenes of this project?

AP: "Glaube, Sitte, Heimat" can be translated as "Faith, Custom, Home". It is the motto of the rifle clubs (Schützenbruderschaften) in Germany. I have known this tradition and community since childhood because I grew up with it. Like many others in my hometown, I never really questioned the origins of this tradition. Only after I moved away was I able to view it from a distance and begun to question it.
It is a tradition heavily influenced by military aspects, supposedly originating in the Middle Ages.
My biggest challenge back then was finding a fitting visual language. Making fun of these festivals photographically would have been the easiest—and also wrong. I tried to find a visual language that comments, sharpens, and is clearly subjective—humorous, but not making fun of people.
I wanted the visual language to reflect my mix of distance and closeness to the subject. For me, the side, harsh flash has something theatrical about it, which I found very fitting.
There are positive and critical aspects to this tradition for me. I hope this comes across in the work.

© Arne Piepke from "Glaube, Sitte, Heimat"

© Arne Piepke from "Glaube, Sitte, Heimat"

© Arne Piepke from "Glaube, Sitte, Heimat"

Related more in general to your work, how you related to people and subjects. How inclusive you are in your practice or return if any to them?

AP: After I finished the work „Glaube, Sitte Heimat“ (Faith, Custom, Home), I gave a presentation in my old hometown and invited the shooting clubs I had photographed. I wanted to show them what I had done and give them the chance to respond – to have a discussion.
That was a great experience for me. I didn't encounter any rejection from the members with my work - on the contrary, I believe some could understand the questions I had posed. And even if they have a different opinion, that war completely fine.
I try to send the photos to the protagonists as best as I can. Honest communication and interest in the people are the most important aspects. The people should know why you are there and why your are interested in photographing them.

© Arne Piepke from "Glaube, Sitte, Heimat"

© Arne Piepke from "Glaube, Sitte, Heimat" 

You are a founding member of DOCKS Collective. Tell us about and what this collective experience means to you or translated into so far.

AP: We founded DOCKS as five documentary photographers in 2018 in Dortmund, where we studied together. Alongside our studies, we wanted to create a space for collaboration and honest critique, but also one where you could talkd about failures, difficulties, and motivational problems. All of this is based on a close friendship.
Additionally, DOCKS serves as an independent publication platform. We realize projects through collective authorship, create books and exhibitions. This year, for the first time, we are offering a multi-day, free workshop on a country estate in nature in Germany, in collaboration with NIKON. I am very excited about this next step as a Collective.
The collective is constantly evolving. For me personally, it serves as a safety net in an industry which is often characterized by competition and an egocentric perspective.

The scenario in which photography is presented and discussed has changed considerably in recent years with the spread of ICT and the digital world. How do you relate to social networks and this expanded field of photography? How do you see the future of the medium evolving? And communication of one's own work...

AP: A question that could be discussed for hours. I have great difficulties with social media. Photographic works, which sometimes take years to create, are viewed and judged in a few seconds. I notice how many of my colleagues see this as very problematic but also have to accept that Instagram became necessary as a professional tool. I try to see it that way too - I've reached clients through Instagram whootherwise would never have found me. That's why I have to use it from time to time.
However, my standards for forms of presentation are different. The positive aspect is that the majority of the industry sees it this way it seems. Photography festivals have high visitor numbers, there is still a large photo book market - photography enthusiasts value such presentations.
But I also observe that some people seem to photograph for Instagram primarily. I believe this leads to slowly changing your visual language to what seems to get more likes and attention. It strengthens a sense of competition and creates enormous pressure - it is a constant comparison of who got the "better" job, who has the "most prestigious" publication. I try to distance myself from this as much as possible.
How the future of the medium looks is impossible for me to answer. Artificial intelligence will not replace photography. People want to know that the image they see was made by a human. I want to know that a human was on-site, found this kind of situation and photographed it.
But there will be great difficulties for the credibility of photography. I believe this should be questioned and discussed more anyway. What will be more important than ever, as already mentioned, is to be honest with your approch, your protagonists and the viewers - making your approach understandable.

© Arne Piepke from "Glaube, Sitte, Heimat"

© Arne Piepke from "Glaube, Sitte, Heimat"

© Arne Piepke from "Glaube, Sitte, Heimat"

In this fast changing environment have there been periods where you felt the need to redefine or pivot your artistic direction? Or to find your grounding again? How do you handle evolution in your life/work and transformation of visual-identity?

AP: My approach has always evolved over the years. The work I photographed during my studies I would approached completely differently today. Currently, I am also trying to change something with my current project "The Shape of F. S.," in which I deal with the history of my great-grandfather as a soldier in World War One.
Being confronted with many open questions and not getting any answers, it was clear to me that I had to change my approach. This has led me to question more how photography functions and the limits of documentary photography. I am a big fan of Max Pinckers' work and his School of Speculative Documentary. This approach accepts the limitations and difficulties of documentary photography and does not try to avoid them. Instead of creating an seemingly factual document, it gives room for speculation. Documentary photography gives the impression of depicting reality, but this reality is just as unclear as photography itself.
In a certain way, I think the subject itself tells you how it should be treated. I believe that if you try to treat everything photographically the same, you are only looking for your own images within the subject, rather than images that are appropriate for the subject.
I try to stay curious and look at other photo artists. The rencontres-arles festival in France and the exchange you have with others there is always very inspiring to me. I increasingly question why I should address a certain topic, how I want to approach it and what the project's goal should be.
Therefore, I always end up with topics that have a personal connection. I hope I can continue to remain curious and open to changes in photography and visual media in the future.

Any interesting books that you recommend and that recently inspired you and why?

AP: This May, I attended a photography festival in Barcelona, where I met Ignacio Colo and saw his work "Miguel & Eduardo." The exhibition and the book fascinated me. It's a very emotional story about twins. I like the visual approach and am impressed that such a good project can be told with only two protagonists.
Two of my favorite books are "Margins of Excess" by Max Pinckers, due to its very clever narrative, which is perfectly fitting the theme.
And "Field Trip" by Martin Kollar, whose images, especially because of their openness and absurdity, stay with me for a long time.
In addition to photography, I highly recommend reading "All Quiet on the Western Front" by Erich Maria Remarque, and not just watching the latest film adaptation on netflix. The book is much more impactful, much sharper in its message, and leaves a lasting impression - making it clear what kind of responsibility our generation has.

"Margins of Excess" by Max Pinckers, self-published 2018

"Margins of Excess" by Max Pinckers, self-published 2018

"Margins of Excess" by Max Pinckers, self-published 2018

"Margins of Excess" by Max Pinckers, self-published 2018

"Margins of Excess" by Max Pinckers, self-published 2018

Which photographer would you like to read an interview about in Urbanautica Journal? Why?

AP: Daniel Chatard, especially for his project "No Man's Land," which I find very impressive. His dedication and patience with projects to tell them as complex and in-depth as possible is something I find remarkable. And I believe he has a reflective attitude towards photography.

Arne Piepke (website)