Translated material
Colta.ru
This year, Colta.ru decided to go to the experiment and invited to temporary curators over the section “Photo projects” of young and talented representatives of leading Russian photocurium. We divided the calendar year between six curators and asked them to select the most interesting samples of modern Russian photography for publication. Thus, we hope to expand the observed field of photographic projects and introduce the reader to the authors who have not previously been presented on our website.
Invited curators
Katerina Zueva , center of photography named after Brothers Lumier
Nadezhda Sheremetova , "Femicip"
Sergey Lostev , "House of Metenkov"
Daria Tuminas , Freelance Curator, Amsterdam
Anastasia Bogomolova , The Blog This a Photobook
Svetlana Taylor , British Higher School of Design
The first resident: Katerina Zueva, curator of exhibition projects of the Photography Center named after the Brothers Lumier since 2010. The scope of research interests is an independent photograph in the USSR in the 1970-1990s, as well as young Russian photography, copyright photo books.
Katerina Zueva about the project of the recent laureate of World Press Photo Nikita Shokhova
Nikita Shokhov - a graduate of the Moscow school of photography and multimedia named after A. Rodchenko, a student of Igor Mukhin, works in the documentary photograph, while from a series to a series, violating all the laws of this genre. As if the usual view of the surrounding reality does not make it possible to consider, to explore it properly. The author is closely in the framework of a clean, direct photo. Hence the experiments of Shokhov with installation, and the use of complex lighting and light filters during the shooting of the report.
In one of the current projects, Scan , begun in 2013, Nikita uses a special shooting technique that involves a scanner. In the field of view of the photographer, as always, - a crowd, procession, human mass. Pervomaiskaya demonstration of the Communists, opposition rallies, a procession, a parade in honor of Victory Day. The new technique makes it possible to compact time inside, to seize the complex, changing conditions of the object in the frame frame. Setting a picture of time, Shokhov, on the other hand, erases all personal features, all signs of an independent, sharp judgment. Time seems to lubricate the details of life, leaving only this energy of the movement of the masses.
Looking around, Shokhov uses the “crooked mirror” of his new optics, possibly in the hope that with its help you can straighten a reality with which, it seems, something wrong. But in the end, this “minus per minus” gives only an even more negative sign.