Berlin, Paris, and Beyond

Rediscovery of a photographer
Mario von Bucovich (1884–1947) was an internationally acclaimed photographer in the 1920s and 1930s. Despite his success at the time, his name gradually disappeared from public memory—a consequence not only of political and historical disruption, but also of his restless lifestyle. A true cosmopolitan, Bucovich’s path led him via Berlin and Paris to the Balearic Islands, London, the USA and finally to Mexico, where he died in 1947. Until his estate was rediscovered in a garage in Mexico City a few years ago, not even the date of his death was known and he was considered lost. Now his work is being honored for the first time in a comprehensive retrospective.

Portraits for the glamour of modernity
In 1920s Berlin, Bucovich was deeply embedded in the media landscape of the Weimar Republic. Working as a portrait photographer, he developed a refined visual language that combined classical elegance with the daring spirit of modern life. His subjects included actors, artists, dancers, and intellectuals—among them Marlene Dietrich, Elisabeth Bergner, Gustav Fröhlich, and Leni Riefenstahl.

Bucovich’s portraits appeared in leading illustrated magazines of the time, such as Die Dame, Uhu, and Der Querschnitt. These images helped define the glamour and cultural sophistication of the Weimar era. His sense for composition, lighting, and pose allowed him to capture not only the likeness, but also the aura of his sitters. He was both a documentarian and a creator of modern celebrity culture.

Images of modern metropolises                                             
Bucovich was considered one of the most important urban photographers of the interwar period. His photographic volumes on Berlin and Paris, published in 1928, offered a strikingly modern visual grammar for the urban experience. In 256 photographs each, they unfold a multilayered portrait of the modern metropolis: from architectural details by way of street scenes and constructions sites to lives at markets, in parks, or along the port. He was not interested in the iconic image but rather in the diversity of impressions—snapshots of a daily life undergoing transformation.

Landscapes and life
From the 1930s onwards, Bucovich lived and worked in Spain, England, the USA and Mexico. There, too, he searched for new motifs, new clients and new contexts. In Spain, he photographed traditional life on the Balearic Islands. His images of local festivals, peasant families, and quiet village streets strike a delicate balance between ethnographic interest and aesthetic interpretation. His camera was never exploitative—rather, it was driven by curiosity, empathy, and visual sensitivity.

Later, in London and the United States, Bucovich adapted his practice to new markets. In New York and Washington D.C., he returned to capturing the essence of the two cities in photographic volumes – producing stunning views of skyscrapers and urban infrastructure.

In Mexico, where he lived from 1939 until his death, Bucovich explored color photography for the first time. His series Mexico Lindo was aimed at tourists, yet it retained his characteristic eye for detail, composition, and cultural nuance. With this body of work, Bucovich once again demonstrated his ability to merge artistic ambition with commercial savvy—he formatted these color prints precisely and sold them as “ready for framing”.

A journey in images
The exhibition follows Bucovich’s life as a photographer and traveler. It presents his key locations, themes, and commissions in roughly chronological order—allowing visitors to experience his aesthetic evolution and the context of the countries in which he worked.

From Weimar Berlin to postrevolutionary Mexico, Bucovich was a visual chronicler of a changing world. His work bears witness to the transformations of the 20th century—politically, socially, and artistically. His rediscovery is not just a recovery of a forgotten name, but a reminder of how photography shapes our understanding of history, identity, and modern life.