East Berlin, late 1960s. In a Germany divided between tension and uncertainty, photographer Helga Paris turned her lens to the rhythms of everyday life in the German Democratic Republic.
Until January 25, Fotografiska Berlin will present Helga Paris: für uns, the first major exhibition of Paris’ work since her passing in February 2024. Spanning five decades, the show expands beyond mere documentation, revealing stories that paint a subtle, nuanced portrait of Berlin’s social and cultural fabric.
In a historical moment when questions of history, identity and unity feel fragile — and as Germany marks Unity Day on October 3 — Paris’ intimate and raw images remind us that history is written not only by leaders, but by ordinary lives. für uns — “for us” — serves as a quiet, powerful reminder that the past is never truly lost, and that the essence of our common humanity still connects us.
To reflect on her timeless legacy, we spoke with Marina Paulenka, Director of Exhibitions at Fotografiska Berlin.
GP: For someone who is not familiar with Helga Paris and her body of photographs: who was she, and why is her quote “I have always only been interested in people” so essential?
MP: Helga Paris was an outstanding East German photographer, one of Germany’s best portraitists, who was born in the late 1930s and passed away last year. She devoted her life to observing and photographing people with special attentiveness and precision. Her works capture that poetry of everyday life in East Berlin and abroad. She was always trying to show dignity, resilience and emotion in ordinary people and ordinary gestures. The quote sums up her humanistic approach: she was guided by curiosity, not ideology.
GP: How do you think she built the trust that allowed people to open up to her and be photographed?
MP: According to her daughter Jenny, Helga Paris was naturally shy, but had a remarkable eye for the right moment. She built trust by spending time with her subjects — friends or women at work — being patient, consistent and genuinely interested, observing without judgement. People felt seen and respected, allowing authentic expressions to emerge.
GP: One of the series is Treff-Modelle, portraying women in an East Berlin fashion garment factory — not only their work but their inner worlds. How do you interpret Paris’ fascination with the subjects of these portraits? Please, walk us through the exhibition.
MP: Sure! We arrange the exhibition so that it isn’t arranged chronologically, but curated like a conversation across time, combining well-known series, newly compiled works, and previously unseen photos.
Treff-Modelle focuses on women in a fashion garment factory, highlighting both their labour and individuality. Paris was drawn to the working class, especially women, capturing their fatigue, resilience, dignity and sense of community. Her portraits reveal inner lives often overlooked, showing the human dimension behind work in the socialist system.
These portraits weren’t meant as direct political commentary, but they offer an unbiased perspective on life and society at the time. Her talent lay in creating multi-layered images that reveal the complexity of everyday life in the GDR.
GP: Berliner Jugendliche is striking for its non-judgmental look at 1980s teenagers. What can we learn from Paris’ way of seeing youth?
MP: In Berliner Jugendliche, Paris photographed teenagers alongside elderly subjects, highlighting life’s full spectrum. She captured her own children and their friends with closeness and respect, portraying their curiosity, complexity and self-discovery without moralising. Her approach shows that adolescence can be documented with sensitivity, while revealing the universal experience of growing up.
GP: Are there any specific pictures that you recall that are particularly striking or are particularly representative for Berliner Jugendliche?
MP: Everyone is putting fingers on Sven Marquardt! He was a friend of her son. Some other subjects, like Pauer, appear in a triptych — photographed at different ages — allowing viewers to see the development of a single personality over time.
GP: In Hellersdorf, Paris turned her lens to a Plattenbau district after reunification. What does this series tell us about transformation and continuity?
MP: Hellersdorf was shot after the reunification and it reflects both change and persistence. The social and architectural environment shifted dramatically and Paris shows this everyday routine, social interactions, human resilience that continues. But here, people appear lighter and dressed differently, signalling a fresh chapter with new families. It’s a kind of interplay of transformation in ordinary life.
GP: The exhibition includes more personal or experimental series like Masks and Affections. How did Paris explore new ways of seeing and representing people in these works?
Udo Kittelmann and I spent almost a year researching her archive, going through negatives and prints and making new discoveries. Masks and Affections are two series that were curated by us. Masks is a witty, playful exploration of self-expression: she photographed family members at home wearing theatrical masks, creating engaging relational dynamics. Affections focuses on actual expressions of affection — how people connect with each other, with objects, and with nature. Together, these series expand her documentary approach, revealing poetic, emotional, and performative dimensions of human life.
GP: Considering the celebration of German Unity Day on October 3, why are Paris’ photographs resonant nowadays?
Her photographs remind us that social and political transformations are lived intimately — through gestures, routines and relationships. They remain relevant for reflecting on identity, community and unity in everyday life. For example, we include a portrait by Sybille Bergmann, taken on the night the Berlin Wall fell — Helga was there, witnessing it alongside ordinary people.
GP: In what ways can Paris’ approach – her curiosity, her empathy – inspire how we document society today?
MP: Helga Paris’ photographs are subtle, never meant to shock or make headlines, yet they demonstrate the power of ethical engagement. They remind us that human connection, empathy and attention to detail are essential when documenting society. Capturing authentic moments requires patience and sensitivity — people must feel comfortable enough to forget the camera is there. Her work also includes remarkable self-portraits, revealing her own emotions and identity as a woman and mother. These images show that documentation can be both empathetic and deeply personal.
GP: If there’s one thing you want visitors to take away from this exhibition, what would it be?
MP: I hope visitors take away a full sense of Helga Paris’ life and career. She was not only focused on Germany — she also travelled to New York, Russia and other places. I also hope audiences are inspired by striking works like the New York panels, featuring her words and observations.
GP: What responsibility do you feel, as a curator, when presenting the work of an artist who passed away so recently?
MP: Presenting Helga Paris’ work carries great responsibility, as this is one of her largest exhibitions. It’s special because we collaborated closely with her archive and her daughter, helping us honour her vision. Together with Udo Kittelmann, we combined different generational and cultural perspectives to present the work thoughtfully and respectfully. We also made an accompanying book with extensive material, including unpublished texts Helga wrote that explain her vision and influence, giving audiences a chance to hear her voice directly and carry it forward.
Discover Helga Paris: für uns until January 25 2026 at Fotografiska Berlin.
