MOSCOW PARIS CONTEMPORARY PHOTOGRAPHY EXHIBITION MUSEUM SHOWS
With France-Russia Year 2010 in full swing, Maison Européene de la Photographie (MEP) and the Multimedia Art Museum, Moscow (MAMM), formerly the Moscow House of Photography, partnered for the photo exhibition “Photography in Contemporary Russia, 1990-2010“, currently on display in Paris. Art Radar Asia spoke with Olga Sviblova, curator and director of the MAMM, along with reknowed photographer Igor Moukhin and artist Tatiana Arzamasova of AES+F.
Vlad Loktev, '1:0', photograph, 1999. Image courtesy of Maison Européene de la Photographie.
Olga Sviblova has achieved almost superstar status in the art world for her documentary filmwork, numerous curatorial endeavors and tireless dedication to the arts, especially Russian photography. Art Radar Asia managed to catch up with the busy Sviblova who answered questions about the state of contemporary Russian photography, it’s growth since the early 1990’s and the pervasive misperceptions of Russian contemporary art.
“Russian photography, like Russian contemporary art, is quite unknown in the world,” Sviblova says frankly. “It is much less present when you compare it with photography or contemporary art from another country like America, from European countries like France, like Germany, like Britain.” Such statements seem to contradict the international fame that some Russian artists have achieved such as rising stars AES+F and established names like Oleg Kulik and Igor Mukhin. For Sviblova, however, widespread acclaim for Russian artists is still the exception, not the rule. The curator elaborates further on the effects of the economic downturn on Russian art:
“Russian art was forgotten. And also for Russian art and photography, there were not institutions that could support it … there was also the question that the Russian market inside the country was not constructed.”
It was in this climate that Sviblova founded the Moscow House of Photography, now know as the Multimedia Centre for Contemporary Art, in 1996. That same year Sviblova organised Russia’s first photobiennale, followed by the first Moscow International Photography Festival in 1999. Efforts such as these changed the climate of the art scene.
“So now we have in Russia a completely different situation … we have instutions for art and photography, we have our museums. In another sense photography has started to be open in the Russian region, photography started to be popular and contemporary art started, in the beginning, to be popular.”
Exploring the popularity of photography
For Sviblova, there is no boundary between art and photography, they are part of one another, and photography has always been art. However, photography as a medium has exploded in popularity and is, according to Sviblova, one of the “most important arts today”.
Igor Moukhin, 'Moscou', photograph, 1988. Image courtesy of Maison Européene de la Photographie.
Factoring into the success of photography in Russia are the new freedoms afforded to artists. This new freedom which allows photojournalistic, “street” photography to “show the face of Russia”, a truthful representation of the people, society and Russian life.
“You really can tell that today photography is an extremely popular media. Today nobody asks me if photography is art or is not art; it’s really extremely popular in Russia.”
Russian photographer Igor Moukhin echoed the same ideas when we asked him if photography was being embraced within Russia.
“People have ceased and to look [at] and trust the TV. There is no independent press. And on the Internet [there are] a lot of photos, photos about today, yesterday, about life, and these photos discuss.”
Moukhin uses the term “direct photo” in reference to his photographs of Soviet youths and comments on the subjectiveness of his photography, saying that it is not universal since context is necessary. To artists such as Moukhin, context and knowledge of Russian history are necessary to grasp the messgae of his “direct” photography. Yet not all Russian photography is specific to Russian experiences. Communication between countries is another factor when examining the popularity of Russian photography. Acknowledging a lack of communication between Russia and other countries, Sviblova highlights the importance of photography as a method to dispel misconcenptions, and to speak about what has happened in Russia in the past and what is happening now.
Nikolai Polissky, 'La Tour', photograph, 2000. Image courtesy of Maison Européene de la Photographie.
As Olga Sviblova states, the MEP exhibition in Paris presents yet another chance “to show what kind of new photography was born in that time [1990-2010] … we can show what has happened in Russia: on a social level, emotional level, economic level, and political level”. Images of revolution from the first and second Chechen wars also make up an important part of the exhibition and Sviblova stresses how photographers began to tackle issues outside of Russia, on an international level.
“We tried to show history … we tried to show the first and second Chechen wars, what was the Russian strategy … we tried to show the best photographers working at the time … At the same time, we tried to show what happens in the country, we tried to show the youth generation, the old people.”
While some artists use documentary photography to focus on Russian experiences, others use documentary photography to create ties to the rest of the world. As the birth of “new Russia” took place, contemporary street photography captured it from every angle.
Russian photography, international issues
Although it is one of the most popular types of photography in Russia, the exhibition includes much more than just documentary-style images. What Sviblova calls classical art photography and fashion photography make up the remainder of the show and include names such as Oleg Kulik and Arsen Savadov.
AES+F, 'The Islamic Project: New Liberty', 2003, lambda print. Image courtesy of the AES+F website.
Sviblova also speaks in length about the popular artist collective AES+F, a group that uses photography as a tool to address universal, and often controversial, concepts. In reference to images from “The Islamic Project” series Sviblova remarks:
“After September 11 their images started to be so famous, distributed through the Internet and often given out without the signature of the artist because it was like popular art. It was not the mirror of reality, but also the magic mirror of the future … AES+F is one of the most sophisticated, one of the most complicated, and at the same time one fo the most magic artist [groups].”
In a brief Art Radar interview with AES+F’s Tatiana Arzamasova, the artist sheds some light on the collective’s use of photography in recent series such as “The Last Riot” and ‘”The Feast of Trimalchio”. “We use photography as a tool,” she remarks.
On the artists’ website they make no attempt to hide their process, showing how they use assorted images as a starting point for the final product. As a collective,the artists of AES, with the exception of Vladmir Fridkes, do not consider themselves “traditional” photographers. When asked if the international community still had misperceptions about Russian art and Russian photography, Arzamasova indicated that the idea of Russian photography as socialist media is still present. “[People] think of Russia as poor…they still think of the Cold War” Arzamasova states. Undaunted by such stereotypes, AES+F continues to stretch the boundaries of what Russian art and photography is considered to be. Olga Sviblova concludes:
“Great photography is not just image and document of reality, it’s much more metaphoric. If you know the language of the artist, you can read the message and through this message you can see not just today, or the past, you can see our future”
Other stand-out artists featured in the exhibition, which will run until 29 August this year, include the Fenso group, Sergui Tchilikov, Vladmir Kupriyanov, Georgy Pervov, and Vladmir Fridkes.
EH/KN
Related Topics: Russian artists, photography, curators
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