“Deep in the West, where the sun is dusty, it’s better—much better than one might think.” This is the unvarnished image of a dusty yet livable West that Herbert Grönemeyer celebrates in his 1984 anthem “Bochum”. Even among many Germans who do not come from the Ruhr region, the song evokes a sense of attachment to home, helping it become a nationwide hit. Grönemeyer dismantles prejudices and turns the imperfections of his hometown into a positive identity: “You’re no beauty, all grey from work, love yourself without makeup—you’re an honest soul.”
Deep in the West also lies Joachim Giesel’s home: his private life and professional work are rooted in Hanover. But what image of Germany does his photographic work convey—work through which he reached the height of his career in the 1970s and 1980s, two decades marked by profound political, social, and technological change? When thinking of the Federal Republic during this period, one recalls the Bonner Republik, the concept of the social market economy, and a society of growing prosperity. Yet one also remembers economic downturns, rising unemployment, and the oil crisis with its car-free Sundays. The introduction of BAföG, West Germany’s victory in the 1974 FIFA World Cup, and cultural imports such as disco and flared trousers from the United States also shaped the era. The first Volkswagen Golf rolled off the production line; the news focused on the terror of the Red Army Faction, the NATO Double-Track Decision, and protests against it. On television, Tatort became a staple, while the three public broadcasters were joined by private channels such as RTL and Sat.1. The environmental movement mobilized both young and old; the Chernobyl disaster sparked anti-nuclear protests and contributed to the founding of a political party dedicated to environmental protection. Technological progress and pronounced materialism stood in tension with devastating crises such as the Cold War, the Gulf War, and the AIDS epidemic.
The diversity of this dynamic era is reflected in Giesel’s work. This becomes particularly evident in his advertising and press photography, as well as in commissioned works produced in his studio, through his photojournalistic activity, or in independent competitions. Giesel’s photographs depict life in the West—shaped by work and tradition, prosperity and leisure—between Hanover and Mallorca. In doing so, the photographer stages both the normative and the absurd aspects of everyday German life. With a strong sense of humanity, he captures the quirky details and stereotypes of the petty bourgeoisie. At the same time, a lightness pervades his images, allowing viewers to recognize themselves in what is depicted or to identify with it. For some, these historical documents now also carry a sense of nostalgia.
MARIETTA MANN
| Freizeit (Leisure time), Hanover, 1974 (C-print, 2024)
| Joachim Giesel photographing a family in front of their home, Germany, 1987 (C-print, 2024)
| Tourist on the beach, Mallorca, c. 1983 (C-print, 2024)
| Drum corps at the Schützen parade, Hanover, 1983–1985 (C-print, 2024)