Tina Bara, Alba D’Urbano Covergirl: Wespen-Akte, 2008–2009
Biographies
In 2007, Tina Bara discovered a long-forgotten photo of herself on the cover of an exhibition catalogue that she’d never seen before.1 It showed her sitting naked in a meadow, in 1983. It is impossible to ignore the black bar stamped over the eyes, which makes her unrecognizable. A line of official text under the photo reveals that this image was in the GDR’s State Security archive. This surprising and shocking find led the artist (together with Alba D’Urbano) to pursue a far-reaching confrontation with an important event in her own biography; this confrontation then leads to reflection on the impact of photography on the structure of remembrance.
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