Jonas Kindermann
- 21 hours ago
- 4 min read
Jonas Kindermann is a Berlin-based photographer who shoots abandoned palaces reclaimed by nature. He started after moving to Berlin, back when the former East was still full of crumbling ballrooms, old military bases in the woods, and empty hospital complexes left behind after the Wall fell. He now travels through Italy, Portugal, Georgia, France, and Germany. Kindermann finds most of his locations through research well before he books a flight. His work has shown in some unexpected spaces, from a swimming ground to a Berlin techno club.
Q: What first drew you to abandoned places, and how did you end up photographing them?
A: My first memories of capturing abandoned places were made after moving to Berlin. At that time, there were still a lot of beautiful and romantic lost places to be found in and around Berlin, especially in former Eastern Berlin. There were impressive decaying ballrooms, military bases in the woods and so-called Heilstätten, beautifully arranged buildings being used as hospital complexes far out in nature.
They were all left to decay after the fall of the Berlin Wall. Those buildings had completely lost their former sense and once important cultural meaning. I took a lot of time cycling to places out of town and exploring those areas and spaces on my own. The idea to visit foreign countries for photography came later.
Q: You travel across Italy, Portugal, Georgia, France, and Germany for these palaces. What makes you stop and photograph one?
A: The decision to take a photo somewhere often comes long before even booking the flight. Unless you would expect it, my photography is based on a lot of research you have to do long before the trip. Sometimes I find a place, get to know the country and then directly book the next possible flight. Sometimes you find other places or new amazing perspectives while exploring, but that's not always the case.
Later my perspectives of traveling changed a bit and I thought the other way around. Which shots I need for which exhibition and for which series the photos should work well. Those beautiful places are often in picturesque areas and landscapes, so it's also worth the trip itself a lot and getting to know a certain area. Name me an Italian city and I have probably already been there.
Q: Many of these palaces are hard to reach or closed off. How do you actually get in?
A: I have to say it's pretty important to be fully awake, concentrated and very careful. You have to check out the spot and gather important information before entering. Sometimes a building gets renovated and you don't want to end up in someone's then private garden or area. I am sometimes asked if I ever had problems with the law or any dangers – and the simple answer is no! I am pretty lucky about that. I often go alone, so I am even more focused on my journey. If somebody wants to seal the area and stop you from entering there, I think it's no urbex. Meanings in this point are different. You should know what risk you take and how far you would go. Nothing should ever happen so better be careful!
Q: You enter these places with a lot of respect and a light footprint. What are your own rules once you're there?
A: I approach my photography with deep respect for the environments I enter, seeking to capture the fragile dialogue between decaying architecture and the returning natural world. Nature is reclaiming what was once hers, causing places to transform in new and different ways. I am looking for a scenic spot and try to get an idea how to portray it. I try to make the angle fitting for a nice romantic shot.
I normally don't change anything in the building, maximum I open or close a window. I actually like the light spreading in, to give the shot a positive attitude. I mostly travel alone. I feel like I can concentrate better and rely on my senses when entering and capturing an abandoned building. As I develop a deep connection to these places, I transform them into my photography.
Q: You turn these ruins into what you call quiet poetry. How do you find the poem in a place like that?
A: People have told me that each of my pictures tells a romantic story within its own framed scenery – and that's pretty much how I see it. Through my visual conversation, I show this new, romantic interpretation of the world as I see it. I find the poem in the way places transform. A good example is this overgrown greenhouse in Tuscany. It is completely covered with woods from the outside, while the inside stands empty, even though it was meant to be the other way around. How things sometimes turn out, it's now lying in a state of decay hidden in a secret corner of a park.
Proving that it is the earth, not gardeners, who have patience. Now nature took it anyway, that's quite poetic.
Q: What's next for you? Is there a dream project you're hoping to do one day?
A: I was always pretty much into visiting spots and photographing them and I am still curious about that. But when I got the chance to do exhibitions everything changed a bit. It's nice to photograph but of course it is also nice to share your thoughts, perspectives and ideas with other people. Since the day I started with exhibiting I was invited to various art festivals, did collaborations with beautiful galleries or even concert venues. Perspectives seem to be limitless if you meet creative souls and have them around you, as here in Berlin. I even did an exhibition in a swimming ground and now I have an exhibition running in a Berlin techno club.
Also, magazines and press started to find words for what I do. Just like this interview here. So, I would say my dream already came true and I am blessed being living it.
