英语翻译其中已经翻译了一点点,但是不是很对.没办法,个人能力有限,原文如下：Wittwer's work on show

英语翻译其中已经翻译了一点点,但是不是很对.没办法,个人能力有限,原文如下：Wittwer's work on show is based on photographs from Eastern Prussia,dating from around 1935 - 1945.The images depict the seemingly idyllic life of members of the local bourgeoisie – mostly Nazis – up to the Russian invasion.The focus of Wittwer's Watercolours and Inkjetprints is on everyday subjects:children sledging,hunt scenes,a boat on the river,a merry-go-round...Only now and then there's a glimpse of a Nazi uniform or a scorched building.The seemingly banal subjects do not lessen the darkness radiating from the pictures; even without background knowledge,there is a general feeling of unease coming from the works.Wittwer has truly sussed the art of making beautiful pictures simmer with evil.It is not all darkness though in Wittwer's world.There's an almost humorous thread,which – albeit its traceable connection to the subject of the show – strengthens the autonomy of the single image,easing it away from too much history and politics.Take the figurines for example,the porcelain statues generally admired by the burgeoisie and despised by those with opposing lifestyles:In one large-scale watercolour,we see two figurines – man and woman – engaged in a teasing dance at a masked ball.Wittwer portrays the pair in a way that makes them seem engaged in a lethal struggle,where the woman's fan becomes a bludgeon with which she is about to batter the man after ripping off his mask.This subtle satirical aspect returns in a number of works throughout the show,see for example the boy missing from the group of boys playing the harmonica in the entrance,– you will find him in the last room,playing his instrument between a dead stag and a rocking horse.The show is intriguingly complex,because its subject touches on a burning issue (particularly in Germany) from recent history,yet – with the risk of this becoming a catchphrase for Uwe Wittwer – stronger than ever before in Wittwer's work,this show is about images,– about what we make of them,how images influence each other and how they fight for a place in our memory.In this show,even pictures that are not obviously referential to works by other artists,begin to shove their way through our minds,until they find a spot next to a better-known picture.It is so,that your average woman walking down the steps in that Eastern Prussian forest ("Grosse Waldtreppe") demands to be seen next to Richter's and Duchamp's "Nude Descending a Staircase",or the man steering his boat ("Boot negativ") through a river near Königsberg (Kalingrad),might as well be steering towards Böcklin's "Isle of the Dead".前两段大致的翻译：Witter的参展作品是根据1935到1945年间东普鲁士的一些照片创作而来。这些照片描绘的是当地资产阶级看似田园诗画般的生活-主要是纳粹-入侵俄罗斯的这段时间。Witter的水彩画和粉末画关注的重点是日常的东西：像小孩子们玩雪橇，狩猎，划船，乘坐旋转木马等场景。只是偶尔会有涉及到纳粹的制服或者烧焦的建筑物的一瞥。这种看似平淡无奇的事物并没有淡化从画作中散发出来的黑暗。即使没有背景知识，人们也能从这些作品中感受到一种普遍存在的不安情绪。乌韦威特沃已经发现了使美丽的画面充满邪恶的艺术。