The International Festival PhotoVisa starts in the Krasnodar region for the seventh time. 35 photographic exhibitions at 18 venues in four cities – Krasnodar, Anapa, Novorossiysk and Sochi opened this week. Among the authors of projects – photographers from 14 countries, including Argentina and Japan, Australia, Canada, Brazil, Germany, Argentina and Poland, Cuba and France, China and the United States …
The history of this festival is actually formed in a story about how seven Krasnodar years become one of the capitals of the Russian photographic. Specifically, ten. Because the starting point is perhaps the emergence of local “Creative Union of Viva Photo” in 2005. It was his creators Tatiana Zubkov Masha Goldman, Levan Mamulovu came up with the idea of an international photographic festival. The structure of the festival is built on three pillars. In addition there are international exhibitions portforlio revue for Russian photographers. Plus – an international competition in three categories: “Photo”, “Photoseries”, “Multimedia Project (photoclip).” The international jury is working online. The festival features exhibits finalists and winners. In general, Viva Photo spawned Photo Visa. It is not surprising that one of the special projects this year’s festival is dedicated to just the tenth anniversary of the “parent” – the union Viva Photo.
In the new round of International Festival came when there was a support of the Ministry of Culture, ROSIZO, fund “Iris” and Museum of Contemporary Art “Garage”. Today, on its program of work the curators Evgeny Berezner Irina Chmyreva Natalia Tarasova, Masha Goldman.
This year’s theme of the festival – “Language and memory.” Provides a framework in fact coincide with the twinkling and moving boundaries of the photos. Actually, for many photographers is almost synonymous with memory: her instrument, her archive and at the same time – a magical space of memories … This framework allows to demonstrate how the language of photography.
Some of the exhibitions are just pictures from the archives , to the extent the public is rarely available. Thus, among the anticipated projects – large-scale exhibition “There is a people’s war …”, which will show rare photographs of guerrilla warfare during World on the territory of Russia, Ukraine, Belarus from the Russian State Archive of Cinema and the collection of Paul Horoshilova. Plus a big project, “The interior space of the war. The Siege of Leningrad in fotografiyah.1941-1944″.
It is extremely interesting promises to be a show of the heritage of Alexander the Zhytomyr, who studied with Vladimir Tabor and admired collages of John Heartfield. Zhitomir during the war created photomontages for publication in German Front Illustrierte. Photomontage, calling the soldiers of the Third Reich’s surrender and dumped on the German positions, printed on leaflets and postcards that soldiers could hide and be used as a “pass” when passing the front line. In the first months of the war the Germans did not believe that this can work effectively Soviet artists, they thought it was the British. Then, when the authorship was established Zhytomyr, Dr. Goebbels introduced the artist to your personal list of the enemies of Germany. In Zhytomyr has been a wealth of experience of creating cartoons, including political, but montages for German soldiers zagremevshih on the “Eastern Front”, were made in a completely different style – the German romantic ballads. That, since the “Leonore” (we have it glorified Zhukovsky), was based on a meeting with the bride fiance died in the war. Zhitomir in collages confronted the German sentimental pictures on the memory (whether it is necessary to explain where they come from on the war from the enemy?) With drawings of the death on the front lines. Strange pictures of dead soldiers to work as a key to opening a minimum of two doors in the space of death where drawn chill of horror, in the space of personal memories of living of home, family, children.
If a montage of wartime use the rhetoric of “memories the future “and the German ballad for propaganda purposes, the photojournalism peacetime is seen as” the moment of truth. ” While the digital revolution, this “axiom” has long been called into question. The more important the experience of those who are working against time. Exhibition of two well-known reporters, photojournalists and Vladimir Vyatkin Igor Kostin is called “Against the Time”. Igor Kostin passed away this summer. In 1986, he was one of five photographers who filmed the struggle with the consequences of the disaster at the nuclear reactor at Chernobyl since the early days. He could “shoot the subject” … and go to the next. He continued to shoot as many would like to Chernobyl and its aftermath remembered less. He produced 600 thousand (!) Documentary photographs.
More than two hundred of his shots went into the official report of the Government Commission of the USSR and the IAEA. His album “Chernobyl. Confessions of a Reporter”, was released in 20 countries in 15 languages. He twice, in 1990 and in 1996 was named “Reporter of the Year” by the International Association of Journalists. The current exhibition in Krasnodar is not only a tribute to the photographer. She reminds that the picture may still be a research tool, a way to witness to the truth. And that picture – it’s not just the camera lens view of the photographer, but also its ethical stance.
Finally, among the festival hits this year – curatorial project Australian Alasdair Foster’s “Interview Memory”, which brought together works seven photographers from Argentina, Australia, Canada, Colombia, Korea, Japan and the United States. “Light painting” works in photography Tomoko Hayashi as touching the absent lover. Korean Suk Kuhn uses about fun cartoon characters of the 1980s, to tell about their own childhood experiences, is not serene. Canadian artist Diana Thorneycroft takes scenes with puppets – on the theme of the civilizing mission of white America. Australian Patricia Casey connects digital technology with photos … embroidery, demonstrating deceptive, unreliable memories.
In short, the language of photography that seems long ago mastered the inhabitants of planet earth Esperanto looks as rich in surprises as our memory . And how many more will be the benefit of a person with a camera gets to new heights. Literally. Evidence of this – exhibition cosmonaut Fyodor Yurchikhin, party of four space flights, which account for eight spacewalks. His photographs of the aurora, seen from the window of the station, or animated solar cells, which “revealed” at the rising of the sun (in orbit – 16 times per day!), Of those that just have to see.
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