The MONTH of PHOTOGRAPHY in MINSK is 18 exhibitions of photographers and photo collectives from 10 countries held in 7 venues of the capital, the audience of more than 500 000 people, an invitation to reflect on photography as a phenomenon, a tool and a topic for dialogues, discussions and experience exchange. For the fifth time in a row the festival team keeps the public “intellectually fit”– through unexpected concepts, projects coming from various parts of the globe and distinguished guests.
“Black Passport” was his most renowned project, practually it can be described as his autobiography where the images war alternated with the private ones, the safe western life – with the horrors of wars elsewhere.
For three years the Chinese photographer Zhang Kechun had been travelling along the Yellow River on a folding bicycle with his Linhof camera and a tripod. The idea of a project that would capture the life in seven provinces crossed by the legendary river appeared in 2010 after Kechun read the story “Rivers in the North” by Zhang Chengzhi.
The exhibition reflects the period from 1959 to 1982 which can be described as the times of amateur photo-club movement in Belarus. These dates have been chosen not accidentally: in 1959 the first post-war association of photographers was created – the section of photojournalists in the Union of Journalists of the BSSR, and in the 1981-1982s – a series of three major national photo festivals (“Photographica” in Minsk, “The World of a Contemporary Person”/“Mir Sovremennika” in Grodno and “Rainbow”/“Raduga” in Mogilev) was over.
Beauty and transience, love and death. No other living thing appears more frequently in symbolism than the flower. And in art history, the history of the flower picture is one of the most exciting and complex themes. This exhibition brings together for the first time diverse approaches within contemporary floral photography.
Edward S. Curtis was a significant and controversial figure in the history of US photography, the author of the monumental chronicle of Native American people – a multi-volume publication “The North American Indian”.
The rite system contains stable verbal, behavioural and subject codes transmitted from generation to generation, and in case of rituals associated with the wreath – through the female family line. Understanding the symbolic purpose of the ritual wreath is based on its form of the circle. The circle is the embodiment of the Great Cosmic Path, where the heavenly constellations gradually intertwined. The girl’s head was interpreted as the Sun around which this round dance was going on in circles, with every circle symbolizing the path of a new life, a new generation, a continuation of the kin.
Each period creates its own rites. They are essential to maintain a society and to keep an axiological order. Some of them disappear, other change their form and significance. There is, however, a set of universal rites such as incorporating a child to the community, marriage rites and the rituals of bidding the deceased farewell. Their momentousness results from a chain of biological, social and religious spheres of human life. Certainly they are also subject to change, their course and the ways of celebration are being transformed. Sometimes they become only a form deprived of comprehension and emotional involvement.
Nowadays, there is no more need discuss the famous Shakespeare phrase “The whole world’s a stage”. Different branches of social sciences analyze the importance and existence of everyday rituals and roles. The image creation becomes one of the most important parts of advertising and entertainment industry. Although we may agree with the necessity of everyday roles and rituals, they might become an object of criticism.
The Lost Territories Archive holds several thousand photographs taken between 2008 and 2016 in the former Soviet republics by Sputnik Photos, a group of photographers working together: Andrej Balco, Jan Brykczyński, Andrei Liankevich, Michał Łuczak, Rafał Milach, Adam Pańczuk and Agnieszka Rayss.
The educational program and exhibition of archive-based photobooks and multimedia.
In China, it is difficult to imagine a wedding without cigarettes: guests, newlyweds, children and the elderly are all seen in the shapshots smoking. As a token of appreciation, it is customary for the bride to light a cigarette for each and every man invited, regardless of his age. The bride and the groom are then invited to play some cigarette-smoking games of an unprecedented ingenuousness.
From September, 24 to October, 8 2018 within the framework of “The Month of Photography in Minsk” in the exhibition space Falcon Club Boutique Cinema (Pobediteley Avenue, 20) Minsk residents and guests visiting the capital will be granted a unique opportunity to see André Perlstein’s works, getting acquainted with his interesting and varied career.
Suprematist Wedding Project is the result of my studies on phenomenon of utilitarian photography from Internet. In the project I confront the aesthetics of wedding photography with the self-manifesting discourse of Suprematism.
It is believed that in the first half of life a human-being goes up, in second, rolls down. It explains the ambiguous perception of time: when time is watching out for us and when we are watching out for it. All 10-year-old Barbara days long do not include any plans, but there is the obey […]
The exhibition “Belarusian Wedding: Ceremony, Medium, Song” reflects the desire to show the faces of the people, whose recorded voices or performing skills make the treasury of the audio archive of the Cabinet of the Traditional Musical Culture of the Belarusian State Academy of Music (BSAM).
In the year of the 30th anniversary of the historic photo exhibition “The Beginning” in the Minsk House of Cinema (now the Red Church), it would make sense to organize a large retrospective exhibition of new Belarusian photography, the foundation of which was laid in the 1980s by young authors from informal photographic groups and associations.
Since 2010 the fund “Archeology of Photography” has been taking care of the archive of Zofia Chomętowska, one of the most important female photographers of the interwar period. The vast collection with about 6,500 negative and 4,500 positive images does not have many exhibition prints.
Indie is a cooperative gallery of twelve artists who operate both as a group and as partners. When invited to react to the term ‘safe haven’ as a part of the artist/curator project, we decided on a communal activity which would bind us as a group but would also focus in the individuals in it and allow them to act freely.