Uncovering Inaccessible Realms Through Documentary Photography
Featuring Miriam Stanke Words by Nastasia Khmelnitski
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Miriam Stanke is a German documentary photographer currently based in Mannheim, South Germany. Since 2018, Miriam has worked in collaboration with Carlo Lombardi, a photographer based between Milan, Italy, and Vilnius, Lithuania. Miriam gained her Bachelor’s degree in Design and Visual Communications and Master’s in Photojournalism and Documentary Photography. During her studies, Miriam came to a realization that her primary interest lies in the world of documentary photography, which allows her to gain deeper knowledge about people, cultures, and their history.
The notion of being able to have an impact on reality and drive towards meaningful conversations, raising topics of concern, led Miriam to work on themes of identity, post-war trauma, religion, and the way history affects generations. Miriam describes her practice as observational and says, “To me, the question of identity is thereby often central. Identity allows us to find a sense of belonging. Moreover, it extends beyond the individual level, encompassing collective identities tied to nationality, ethnicity, gender, and other societal constructs.”
In this interview, we discuss with Miriam the way she approaches the themes and people she decides to document and research. We speak about her collaborative project with Carlo Lombardi, A Country Ain’t Too Much To Love, to work on which they visited Bosnia and Herzegovina intending to focus on the post-war country and the long-term impact of inherent trauma, the effect war had on the people of the region. With her project, Sinjar, My Soul, To You I Belong, Miriam turns our attention to the Yezidi community, which was able to keep its heritage despite the collective trauma as a result of genocide. With the recent birth of Miriam’s baby boy, she anticipates the transformational moment to find its way into her practice and influence the continuous conversation about identity.
‘Having grown up in a small town in South Germany near Heidelberg in a quite protected environment, I developed a strong desire to venture beyond its boundaries at an early age.’
My Story
Hi Miriam, it’s nice to have you in the Mag! How are you doing? Where were you born, and what are some of the early memories you have from growing up in that area?
Hi, thank you for your interest in my work. I am happy to share some of my thoughts with you. Having grown up in a small town in South Germany near Heidelberg in a quite protected environment, I developed a strong desire to venture beyond its boundaries at an early age. I often found myself yearning for new experiences and developed a desire to explore and make sense of the world, that was also fueled partly by my father's frequent travels for work and his stories from afar.
‘Through my journey, though, I realized that working with a camera allowed me to view the world through a different lens, revealing different narratives and perspectives which can open up realms otherwise inaccessible.’
Decision Making
You gained a Bachelor’s degree in Design and Visual Communications from HS Mannheim, then you decided to shift to the Master’s in Photojournalism and Documentary Photography studying at the University of the Arts in London. What influenced you to make a choice towards documentary photography and eventually focus on this niche as a profession?
Studying Design and Visual Communications helped me learn about aesthetics and photography, as well, as it was part of my education. The photo institute was small but well-equipped, so I had the pleasure of working in a family-like atmosphere learning everything from developing my own negatives to working with a large format camera. What I learned served to deepen my love for photography, but I gradually came to realize that what truly captivated me was the stories I found in the 'real world.' I remember sitting in the university library studying all the photo books together with a friend of mine. We often looked at Sally Mann’s Immediate Family or The Roma Journeys by Joakim Eskildsen, amongst other books, and we were stunned.
For my final work, I decided to go to Spain and work on a documentary about illegal immigration. I wanted to understand everything about it, which, of course, wasn’t possible. Through my journey, though, I realized that working with a camera allowed me to view the world through a different lens, revealing different narratives and perspectives which can open up realms otherwise inaccessible. This has not only transformed the way I perceive the world but also made me realize that it bears the chance to shed light on important issues and spark transformative conversations.
All this led to my desire to concentrate fully on documentary. My time at the University of the Arts in London helped me refine my work and also find a more artistic approach to documentary. It shaped my understanding of photography and what you can achieve with your visual language.
‘The stories I capture often delve into cultural differences and identity as well as the profound role that the places they inhabit play in shaping them. By documenting these narratives, I seek to unravel the complex interplay between culture, identity, and the influence of one's environment.’
Central Themes
With your work, you turn to research cultures, identity, religion, and the way history affects people and the places they inhabit. You’ve been to Turkey, Iraq, Tunisia, Bosnia and Herzegovina, and Iran to discover stories, people, and the way their lives unfold under the circumstances today. What are the topics that draw your attention?
Generally speaking, I am often interested in topics that are happening in the shadow of bigger events. I like to observe and have an affection for the beauty in everyday life. Things that don’t scream at you but which you discover by having a closer look and by being more conscious. Maybe this is also mirroring a part of my own identity in a way. Since I traveled to Iran in 2012, I developed a fascination for the Middle East. The journey was very eye-opening to me in the sense that a lot of perceptions stem immensely from false stereotypes. I acknowledge that stereotypes are a way for individuals to make sense of an increasingly complex world, serving as a mental shortcut. However, it is crucial to recognize the limitations and potential harm this can cause and to strive for a deeper understanding of individuals and cultures, embracing their diversity and complexity rather than relying solely on stereotypes. I like to challenge that in my work.
As you mentioned, the stories I capture often delve into cultural differences and identity as well as the profound role that the places they inhabit play in shaping them. By documenting these narratives, I seek to unravel the complex interplay between culture, identity, and the influence of one's environment. To me, the question of identity is thereby often central. Identity allows us to find a sense of belonging. Moreover, it extends beyond the individual level, encompassing collective identities tied to nationality, ethnicity, gender, and other societal constructs. It consists of a personal and collective history shaped by experiences, traditions, and legacies.
What is the process of research you have before going to discover a place and document your findings?
When it comes to research methods, I prefer not to overplan my trips. I believe that spontaneity plays a vital role in uncovering unexpected opportunities and moments while traveling and photographing. Planning everything in advance tends to make me feel anxious, as I fear missing out on valuable experiences. Instead, I enjoy maintaining a sense of spontaneity and adaptability during my journeys. It is still crucial for me to have a foundational understanding of the people and places I intend to document, which helps me to approach the subject matter with respect and sensitivity.
‘During our second visit to Bosnia and Herzegovina, both Carlo and I had the desire to explore the concept of inherited trauma. By focusing on the youth, we aimed to bring another perspective to the story, which turned out to be incredibly valuable.’
A Country Ain’t Too Much To Love
A Country Ain’t Too Much To Love is a project you worked on as a duo with Carlo Lombardi, visiting Bosnia and Herzegovina several times to research the post-war land and its people. Carlo told us, in the interview, about the second visit, “We explored their perspectives on how inherited trauma affected them even if they didn't experience the war directly.” Could you share your encounters with young people you decided to include in the project, their stories, or their interpretation of the post-war reality?
During our second visit to Bosnia and Herzegovina, both Carlo and I had the desire to explore the concept of inherited trauma. By focusing on the youth, we aimed to bring another perspective to the story, which turned out to be incredibly valuable. I vividly remember an encounter with a group of young friends on the outskirts of Sarajevo. It was a sunny day, and we had been exploring the surrounding area of Sarajevo for a while when we noticed the group sitting outside a residential building. These buildings were characteristic of a period of intense construction during the 1970s, and they still showed marks of the Bosnian War, the impact of bullets on the walls. Despite encountering reminders of the past days in their environment, the issue of segregation did not seem to be a significant topic for them anymore. The environment, despite inheriting the wounds of the past, appeared to have gradually lifted the burden of it.
In another portrait, we captured Dragomir, a dancer, and peace activist, aside from a peace camp. The camp, organized by young adults who were born after the war, served as a platform to bring together individuals from different ethnic backgrounds as a response to the deep divisions and ethnic tensions that prevailed in the country. Such camps emphasize the importance of addressing the wounds of the past and that lasting reconciliation requires addressing the root causes of division. While there is a prevailing desire of young people to coexist peacefully, Dragomir also acknowledges the need for education and efforts to overcome still-existing divisions. It was powerful to see the effort young people put into the camps, partly also to prevent history from repeating itself.
Collaborative project with Carlo Lombardi, A Country Ain’t Too Much To Love
Sinjar, My Soul, To You I Belong
In the project, Sinjar, My Soul, To You I Belong, you dive into researching the community of Yezidi living in the war-ridden land of Sinjar, trying to preserve what has been left. The images of a day-to-day are powerful in the way of surfacing the emotions of a viewer. What was important for you to bring to life with this project after visiting the area and meeting its people?
Thank you! It was also an intense encounter, and I felt thankful to be able to get access to the community. For me, it was especially important to portray their strength and their power of resilience which was incredible to see. The Yezidi community has endured a collective trauma, with each family carrying deep emotional wounds and grieving the loss of loved ones due to the genocide perpetrated by the so-called Islamic State. Witnessing their strength reaffirmed the power of community to me. Besides having faced centuries of persecution, they have maintained their cultural heritage through oral traditions, preserving stories, poems, and rituals across generations as a way to resist oppression. Capturing the strength of the Yezidi people, who are both survivors and a community marked by their history, was, therefore, very important to me. Later on, I decided to incorporate poems written by three young Yezidi men, Emad Bashar, Saad Shivan, and Sarmad Saleem. Through their words, I feel that the story can be given more justice. After all, the project is also serving as a reminder to never forget, and of the significance of remembering and acknowledging the past.
‘I recently became a mother, which feels very transformative. In my work, I often come across the question of identity and belonging, which has become an even more central question in my life now.’
A Sneak Peek
What project/s are you currently working on, and what should we expect next in terms of themes you’re developing?
Currently, Carlo and I are working on a new collaborative project dealing with transgenerational trauma and the shaping of identity in the Baltic countries. Hopefully, we can continue shooting this summer.
I am also planning to bring together some of my work into a book project on recurring topics in the past years, such as collective trauma and resilience. It is still in the early stages, but something I am putting my energy into at the moment.
Besides that, I recently became a mother, which feels very transformative. In my work, I often come across the question of identity and belonging, which has become an even more central question in my life now. I guess this will also bring a shift not only in the way I see things but also in my work.
