Boris Mikhailov on the history of creating one of the key projects by Fest Reaction Group — “If I Were a German…” series.
Talks and thoughts of the Kharkiv photographer Boris Mikhailov on his practice, written down by Vita Mikhailov.
In his photographs and his written expositions on the medium, Rodchenko insisted on formal innovations such as extreme foreshortening and seriality.
Найбільшого визнання, яке досягло рівня справжньої слави у 1970-х роках, Олег Мальований отримав як фотохудожник, яскравий образ якого він активно культивує, стаючи взірцем для багатьох фотографів міста, що прагнуть втілити себе в фотографії-як-мистецтві.
Mikhailov recorded this condition of a “zero state” of the new society, that was just emerging from the ruins of a previous political and cultural formation, in his most controversial photographic project “Case History”, executed in 1997 – 1998.
More than a thirty-year-old photographic practice of Anatoliy Makiyenko belongs to Kharkiv School of Photography, the characteristics of which were recognised and systematised not so long ago.
Igor Manko: “We Tried to create works that would make you stop in front of them and think for a while”
Art critic Alina Sandulyak prepared an interview with the participant of Cosprom photographic group Igor Manko
In Roman’s early works, certain “dullness” of reality was present: the models were expressly isolated from the outer reality and merged with their communal cocoon, seen as the only refuge free from the control of the system
Misha Pedan: All the Fears at the End of the Soviet Era Were Connected with the Fact that It Was Unclear Where the Danger Was Coming from.
Misha Pedan on the structure of Kharkiv photography scene in the 1970-1980s, the change of aesthetic paradigm and the specific character of curatorial activity in the Soviet period of “perestroika”.
The most challenging thing about discussing any artistic ‘school’ is finding the exact balance between common and unique features in its representatives.
In a country where photographic practice existed in only two modes – an amateur one, focused on technical quality, encouraged by the state through the creation of a network of photo clubs, and a reportage one, directed by an ideological governmental order – Rupin and the other members of the Vremia group were looking for ways to rethink photography as an artistic practice