Andreas Mühe

A.M. - Eine Deutschlandreise, 2013 “Mutti”, Mummy, is warm, affectionate, endearing, tongue-in-cheeck, playful, old-fashioned—the term encompasses all these subtle nuances and delicate shades of meaning. This weekend, mothers, moms, or simply “Muttis” will likely be celebrated in many places. With flowers. And chocolates. What else do moms do? According to statistics, it is primarily women who take on the responsibility of caring for children and family members. They make up nearly 50% of the total workforce in Germany, with the majority working part-time, as this leaves more time for the aforementioned care work (and less for retirement savings). Only about 30% of them are in leadership positions. In the Bundestag, only 204 of 630 seats are held by women. A good mom is always busy with a variety of tasks—that’s for sure. In 2013, Andreas Mühe traveled with his own mother for the photo series “A.M. — A Journey Through Germany.” Like a panopticon of German history and identity, oscillating between memory and the present, they traveled to Karl-Marx-Stadt and the cliffs on Rügen, Golzow in the Oderbruch (made famous by the GDR long-term documentary “The Children of Golzow”), and Stammheim in Stuttgart, the Zugspitze, and Villa Hügel in Essen, which can be seen here. As a German mother, she drives with style and affluence in a large Audi A8 and looks out at her world—through bulletproof glass. We love moms. Moms take care of us. Moms have to. #mothersday #mutti #andreasmühe

A.M. - Eine Deutschlandreise, 2013 „Mutti“ ist nah, liebevoll, verniedlichend, augenzwinkernd, belächelnd, altbacken — all diese sanften Abstufungen und feinen Schattierungen umfasst der Begriff. An diesem Wochenende wird wohl vielerorts den Müttern, Mamas, oder eben Muttis gedacht. Mit Blumen. Und mit Pralinen.   Was machen die Muttis sonst so? Laut Statistik kümmern sich vor allem Frauen um die Betreuung und Pflege von Kindern und Angehörigen. Von der gesamten Arbeitskraft in Deutschland stellen sie fast 50%, mit einem mehrheitlichen Anteil in Teilzeit, denn da bleibt mehr Zeit für die erwähnte Care Arbeit (und weniger für die Rente). Chefin sein müssen dafür nur unter 30%. Im Bundestag sind es auch nur 204 von 630 Sitzen, die weiblich besetzt sind. Eine gute Mutti ist immer gut und vielseitig beschäftigt, das ist sicher.   Andreas Mühe ging für die Werkserie „A.M. — Eine Deutschlandreise“ 2013 mit seiner eigenen Mutter auf Reisen. Wie in einem Panoptikum deutscher Geschichte und Identität, changierend zwischen Erinnerung und Gegenwart, bereisten sie Karl-Marx-Stadt und die Kreidefelsen auf Rügen, Golzow im Oderbruch (bekannt geworden durch die DDR-Langzeitdokumentation „Die Kinder von Golzow“) und Stammheim in Stuttgart, die Zugspitze und die Villa Hügel in Essen, die hier zu sehen ist. Als deutsche Mutter fährt sie stilsicher und wohlbetucht im großen Audi A8 und blickt auf ihre Welt - durch gepanzertes Fensterglas. Muttis mag man. Muttis kümmern sich. Muttis müssen. - Dr. Kristina Schrei #muttertag #mothersday #berlinerzeitung #mutti

Andreas Mühe, Devon x Wilshire, 2026 How far is it from East to West? Or from West to East? And where is the middle? In It's not a question of geography, but one of perspective. “Central Europe” lies between East and West, so they say. Even today, Germany seems to prefer to think of itself and its national borders within these categories. In the first decades of the 20th century, it was undoubtedly a cultural center, a hub of the avant-garde. Then the Nazis came and persecuted, expelled, eradicated, and banned any intellectually different or forward-thinking ideas, many of which were Jewish. For those who were able to flee, an odyssey often began—and this after the loss of their home. Many artists and cultural figures moved to the United States. Most settled along the East and West coasts, particularly in New York and California. About 1,500 emigrants from Germany and Austria were employed in Hollywood between the 1930s and 1950s. Some were able to make a life there, but many remained outsiders, never adapting to the new language, the different culture, and the unfamiliar country. A famous example is Bertolt Brecht. After fleeing Nazi Germany, he made his way, via various detours, to Santa Monica near Los Angeles. He remained there—unhappily—until October 30, 1947, when he was interrogated by the “House Un-American Activities Committee” in Washington. The very next day, he left the United States and headed east. The diverse group of thinkers and artists who remained in Los Angeles would leave a lasting mark on their new home. This is evident in the cityscape, particularly in the residential architecture. For the geometric modernism that had begun in Europe continued to evolve on the U.S. West Coast. Thus this imposing apartment block stands here, bearing a striking resemblance to an East German prefab, and towering high in a double row of massive apartment buildings known as “The Wilshire Corridor” or “Condo Canyon,” which stretch two kilometers along Wilshire Boulevard. From southwest to northeast, right in the heart of the City of angels and stars. As I said, it’s all a matter of perspective. printed in @berliner_zeitung #losangeles #platte #andreasmühe

it was a pleasure - with @dinos_chapman_studio Los Angeles, Malibu, Ojai, 2026 shot for @focus_style_magazin , with Jörg Rohleder, @alexandergabriel_official special thanks to @gis_getty & @balthazargetty

Father, 2007 It’s a moment the audience doesn’t usually see: the actor standing behind the curtain in a moment of anticipation. The curtain is about to rise. The scene here clearly dosn't take place in a theater. Andreas Mühe took this photo in a hotel in Los Angeles; the room with the blue carpet appears empty and neutral. Suspense is created by focusing on the single figure, whose face is not even visible. The image captures the moment before Ulrich Mühe is driven to the Kodak Theatre on February 25, 2007, for the Academy Awards ceremony, and the film “The Lives of Others,” starring Mühe in the lead role, receives the Oscar for “Best Foreign Language Film.” These minutes before the big moment are unusually quiet—a pause between the before and the after. Ulrich Mühe, born during the East German uprising in 1953, began his career in the GDR. He achieved early success in the theater alongside Heiner Müller. After reunification, he continued to perform on major stages and with directors such as Zadek, Peymann, and Bondy. He also appeared regularly on the big screen and television. And finally, the Oscar win; probably the crowning moment of an acting career. In the film, Ulrich Mühe played a "Stasi" agent who first spies on an actor couple and eventually switches sides. The personal tragedy behind this is that, due to his cancer, this would be his final triumph. He died on July 22, 2007, at the age of just 54. Ulrich Mühe’s life story is closely intertwined with contemporary history. As an actor, he played many roles; yet the audience watching him from the other side of the curtain was also constantly changing, growing ever larger and more diverse. From the stages of East Germany to the recognition in Hollywood: it's almost the American dream come true. Were it not for the fact that this life story—like so many others—also carries within it the tragedy and unpredictability of real life and death. - Dr. Kristina Schrei #oscar #academyawardwinner #bestforeignlanguagefilm #andreasmühe #losangeles

Andreas Mühe, Konstellation XII, from the series Mischpoche, 2016-2019 Before or after 1945, before or after 1989, East or West—how often do we divide our world into before and after, here and there. The first quarter of the 21st century is already over. And what has happened? A lot. In the confusion of emotions and opinions, humanity seems to be dividing into opposing factions, fighting for advantage by any means necessary—repetition, deception, illusion. For a long time, photography promised to be a bulwark against doubt, a guarantee of authenticity, of truth. “Father with Woman II and Woman III” from the series “Mischpoche” by Andreas Mühe tells a different story. Two great actresses and a great actor come together here. Jenny Gröllmann, Susanne Lothar, and Ulrich Mühe wrote theater and film history in times of upheaval, political reorganization, and artistic avant-garde, love, and turmoil. However, this intimate shared moment, as depicted by Andreas Mühe, never took place. [...] Meaning and truthfulness lie elsewhere than in right or wrong. “Mischpoche” can mean family, gang, clan; positive or negative. It is a Hebrew or Yiddish word that has found its way into Berlin dialect. The series of works was first shown in 2019 at the Hamburger Bahnhof – Nationalgalerie Berlin, which is celebrating its 30th anniversary this year. The museum is located on Invalidenstraße, which was a no man's land between East and West during the division of Germany. The first victim of the Berlin Wall, Günter Litfin, was brutally shot not far from here. As a location, it is one of those critical points in history that carries memories and calls on us to take a closer look. Not to say too fast: That's how it was. But to examine the art and the image again and again for its message and to take up its challenge. "Mischpoche", first exhibited @hamburger_bahnhof 2019 #mischpoke #family #berlin #hamburgerbahnhof

Vater mit Frau II und Frau III, 2019, printed @berliner_zeitung Weekend Edition, Feb. 2026 Vor oder nach 1945, vor oder nach 1989, Ost oder West— wie oft teilen wir unsere Welt in ein Davor und Danach, ein Da und Dort drüben. Das erste Viertel des 21. Jahrhunderts ist auch schon wieder vorbei. Und was ist passiert? Viel. Im Wirrwarr der Gefühle und Meinungen scheint sich die Menschheit in gegnerische Fraktionen aufzuteilen, die mit allen Mitteln – Wiederholung, Täuschung, Illusion – um ihren Vorteil ringen. Die Fotografie war uns lange ein Bollwerk gegen Zweifel, Garant für das Echte, die Wahrheit. „Vater mit Frau II und Frau III“ aus der Serie „Mischpoche“ von Andreas Mühe erzählt es anders. Zwei große Schauspielerinnen und ein großer Schauspieler treffen hier zusammen. Jenny Gröllmann, Susanne Lothar und Ulrich Mühe schrieben Theater- und Filmgeschichte in Zeiten des Umbruchs, der politischen Neuordnung und der künstlerischen Avantgarde, der Liebe und des Tumults. Dieser intime gemeinsame Moment, wie Andreas Mühe ihn zeigt, hat aber nie stattgefunden. [...] Sinn und Wahrhaftigkeit liegen woanders als im richtig oder falsch. „Mischpoche“ kann Familie, Bande, Sippschaft meinen; positiv wie negativ. Es ist ein hebräisches, beziehungsweise jiddisches Wort, das seinen Weg ins Berlinerische gefunden hat. Gezeigt wurde die Werkreihe erstmals 2019 im Hamburger Bahnhof –Nationalgalerie der Gegenwart, die dieses Jahr ihr 30jähriges Jubiläum feiert. Das Museum steht an der Invalidenstraße, wo zu Zeiten der deutschen Teilung ein Niemandsland zwischen Ost und West lag. Das erste Maueropfer, Günter Litfin, wurde unweit brutal erschossen.   Als Ort ist es einer dieser neuralgischen Punkte der Geschichte, der Erinnerung in sich trägt und dazu aufruft, genauer hinzuschauen. Nicht vorschnell zu sagen: So ist es gewesen. Sondern die Kunst und das Bild immer wieder auf seine Aussage hin zu überprüfen und seine Herausforderung anzunehmen. (Dr. Kristina Schrei) #andreasmuehe #mischpoke #berlinerzeitung @hamburger_bahnhof , exhibition "Mischpoche, 2019"

von Herzen danke, liebe @henrikenaumann ! Zwickau, Sachsen, Ostdeutschland

Gottlob & Anna, a love story Two delicate ropes intertwine and loom into the picture. Their outlines stand out against the purple background. Andreas Mühe has immortalized this moment as a photogram, a 19th-ce. technique that uses only light exposure and no camera to create a unique photographic image on light-sensitive paper. The fleeting image tells of a historical event: the fate of two lovers whose lives were lost in the turmoil of World War II. Anna and Gottlob were a couple and Mühe's great-grandparents. In the 1930s, they established a farm in the Uckermark region after leaving their old home in Southern Germany. Shortly thereafter, World War II began. As the war was drawing to a close, Gottlob and Anna were hanged in the gateway of their own farm. This is how it is still recounted in the neighborhood today. The perpetrators were never sought; it would have been too dangerous to bring charges against the Russian occupiers. The couple was not allowed to be buried in the cemetery because, without murderers, they were declared suicides. This was the historical narrative of the GDR, a state "liberated from fascism". In Ovid's “Metamorphoses,” the ancient poet tells the story of Philemon and Baucis, a married couple who, despite their extreme poverty, take in the gods disguised as beggars. As a reward for their kindness, they wish to die together. Zeus granted their request: when death came to them one day, he transformed them into trees entwined forever. Dr. Kristina Schrei print out now: weekend issue of @berliner_zeitung #andreasmühe #valentinesday #love #photogram #memory

Sierra Towers, Los Angeles, 2026 Sunbeams hit the bright concrete of the facade. The residential building from 1965 stands proudly against the bright blue sky. Not a single cloud disturbs the stack of beams that rise orderly into the sky. On each floor, horizontal balconies open up the view to the outside. A dream home comes true. "Platte" is en vogue. At the time, „Platten“, i.e. prefabricated buildings were the prestige project of the GDR and heralded socialist modernism. New living for the new working class, plus extra comfort. These buildings as a place of longing seemed forgotten, but now the modernist, compact residential building is celebrating its renaissance. When poor Berlin was still dreaming of sexy angels, a mayor generously sold land to investors. Berlin's residents sorely miss this space today. The dream of a free Berlin has turned into a nightmare, at least on the housing market. Andreas Mühe's magnificent Platte stands on the edge of West Hollywood in Los Angeles, the most famous city of angels, where dreams are made and destroyed. Here, too, there was once a lot of promising space available. Living well requires good housing. People from Berlin to L.A. can tell you a thing or two about that. (Dr. Kristina Schrei) #losangeles #berlin #platte #andreasmühe #andreasmuehe #berlinerzeitung

[scroll down for en] Wenn der Schnee an manchen Orten ausbleibt diesen wieder überrascht uns das Klima, gleichsam als letzte große Macht, über die wir uns nicht erheben können. Doch das Gefühl, dass es insgesamt immer weniger Schnee wird, trügt nicht. Kontinuierlich liefern uns Messdaten die Zahlen dazu. Und selbst extreme Schneemassen können Folgen von Erderwärmung und Klimawandel sein. Trotzdem werden Klimaziele zurückgenommen, still und schnell. Käme nur eine große, weiße Schneedecke, die alles bedeckt und vergessen macht! Andreas Mühes Bild „Riffelspitzen“ von 2009 trifft es genau: Ein Mann steht starr vor einem Berg und blickt nach oben. Dahinter ragt das raue Gebirgsmassiv hervor. Der Mensch ist im Vergleich zur Natur klein, doch hat er sich ins Zentrum gerückt. Die verdächtig dunklen Lederhandschuhe jedenfalls bezeugen Täterschaft. EN: When snow fails to fall in some places, the climate surprises us once again - as perhaps the last great power over which we cannot rise. But it’s not just a feeling that there is less and less snow. Data continuously provides us with the figures to prove it. And even extreme snowfall can be a consequence of global warming and climate change. Nevertheless, climate targets are being scaled back, quietly and quickly. If only there were a large, white blanket of snow to cover everything and make us forget! Andreas Mühe's 2009 painting “Riffelspitzen” (Ridge Tips) captures it perfectly: a man stands rigidly in front of a mountain and looks up. Behind him the rugged mountain range rises. Man is small in comparison to nature, yet he has placed himself at the center. The suspiciously dark leather gloves, at any rate, testify culpability. #andreasmühe #climate #snow #berlinerzeitung #weekend

Berliner Zeitung, Wochenendausgabe, Jan. 2026: Oh Tannenbaum, dein Kleid will mich was lehren Noch ein Weihnachtsbaum? Die Feiertage liegen hinter uns, das neue Jahr ist angebrochen. Zeit passiert und vergeht. Es sind kurze Momente des Innehaltens, die außergewöhnliche Tage im Jahr markieren. Manchmal steht die Zeit sogar kurz still. Aber Zeit lässt sich nicht aufhalten: Politik und Geschichte ereignen sich und wirken in unser Leben hinein. Andreas Mühe hat für eine Werkgruppe die Weihnachtsbäume seines Lebens, von 1979 bis 2016, rekonstruiert. 1989, aus dem der hier abgedruckte Weihnachtsbaum stammt, war ein besonders intensives Jahr der Weltgeschichte: Tian'anmen-Platz in China, friedliche Revolution in der DDR, Sturz von Ceaușescu in Rumänien. Andreas Mühe verfolgt diesen Herbst, indem er im Wechsel die „Aktuelle Kamera“ des DDR-Staatssenders mit dem SFB (Senderfreies Berlin) und der Abendschau abgleicht. Mühe erinnert sich, dass nach den Aufregungen im November ’89 der Weihnachtsbaum ungewohnt hastig geschmückt wurde. Zu viel passierte rundherum. Und doch überdauern Traditionen Umbrüche, selbst Ideologiewechsel. Die Wiederholung und das Wiederkehrende haben etwas besonders Beruhigendes, Befriedendes. Die Weihnachtsbäume in Berlin, die sich langsam auf den Straßenrändern der Stadt wiederzufinden beginnen, halten Zeit besonders gut fest: Als Stadtbewohnerin kann man täglich live mitverfolgen, wie die saftigen, grünen Nadeln sich langsam ins Braun verfärben, bis sie schlussendlich ganz vom Ast ablassen und auf den kalten Berliner Boden fallen. Die Berlinerinnen und Berliner zelebrieren diesen philosophischen Moment der Vergänglichkeit bis zum Äußersten: zumindest vergangenes Jahr wurden die letzten Tannenbäume noch knapp vor Ostern gesichtet. @berliner_zeitung #tannenbaum #christmastree