Category: exhibitions (page 1 of 2)

Masha Ivashintsova “Brought to Light”

Brought to Light

Masha Ivashintsova (1942—2000) was a completely unknown photographer until late 2017, when 30,000 of her negatives and around 1000 prints together with hundreds of pages of personal diaries were discovered by her daughter Asya and her husband Egor in their family home in Saint Petersburg. The discovery made waves across the world and Masha’s incredible life story and her photos captured the imagination of audiences far beyond photography circles.

Masha Ivashintsova was heavily engaged in the Leningrad poetry and photography underground movement from 1960s to 1980s. She was in relationships with three famous Soviet personalities of the time; photographer Boris Smelov, poet Viktor Krivulin, and linguist Melvar Melkumyan, who is also an Asya’s father. Her love for these three men, who could not be more different, defined her life, consumed her fully, but also tore her apart. She sincerely believed that she paled next to them. She did not share her photography, her diaries, and poetry with anyone during her life. As she wrote in her diary: “I loved without memory: is that not an epigraph to the book, which does not exist? I never had a memory for myself, but always for others”.

The Masha Ivashintsova archive contains a photographic record of everyday life in the Soviet Union and post-communist Russia. It is a street photography, but also photography about the ‘self’, about Masha’s reflective consciousness as a prism of her reality and destiny. The calmness of these photographs lies in stark contrast to the fact how torn the artist was throughout her life.

It is symbolic that the first world exhibition of Masha Ivashintsova works takes place in Poland. Her grandfather Alojzy Świetlik was a polish national and her father Yuri Ilyichev died in 1944 near Warsaw during the World War II. „It was not specifically planned like this and therefore is especially surprising”, says her daughter Asya.

We are exhibiting Masha Ivashintsova’s negatives untreated – with all of the scratches, dust, and mold left by time – the same state in which Masha’s daughter Asya found them. Therefore the images are placed on light boxes. Masha’s photographs are like the streets of Saint Petersburg she photographed, cleaned or not, reflecting life in the cold northern sun.

The exhibition is curated by Katarzyna Gębarowska and Masha Galleries.

Where: Dom Towarowy „Jedynak”, Gdańska Street 15 (entrance from Dworcowa Street), 3rd floor.

Monday to Friday: 10:00 — 18:00

Saturday: 12:00 — 18:00

Entrance fee: 10 PLN regular, 5 PLN reduced-fare.

Wojciech Prażmowski

Wojciech Prażmowski was born in 1949 in Częstochowa, Poland. He began working as a photographer in 1968 and participated in the National Exhibition of Fine Art Photography in Czestochowa. In 1975 he graduated from the Skola Vytvarnej Fotografie in Brno, Czech Republic, and from the National Higher School of Film, Television and Theatre in tsidi, Poland. To date, he has participated in over 300 photographic exhibitions in Poland and abroad. Praimowski has been a member of the Association of Polish Artists Photographers (ZPAF) since 1977. Initially involved in metaphorical photography, with elements of conceptualism, he later produced,photo-ob-jects: His works are held in the collections of the tocii Art Museum, Centre for Contemporary Art Ujazdowski Castle in Warsaw, The National Museum in Warsaw, and the Museum of Modern Art in New York.

“Miłosz: From Around Here” is a project created by Wojciech Prażmowski, implemented under Ministry of Culture and National Heritage “Milosz 201 presenting places connected to the life and work of Czeslaw Milosz.The project is an imaginary journey, following the Master’s footsteps after, important for the poet, places in Poland and Lithuania. The author of the exhibition travelled over 7000 kilometres in Lithuania and Suwalki region, made nearly 3000 photographs, visiting dozens of towns and places in Poland and Lithuania: among others : Babance, Wigry, Rachelany, but above all Vilnius…Wiwulskiego street, Bernardi ne Alley, KrOlewska street, etc.. etc.

The idea of the exhibition is the intermingling of cultures and “from around here” belief. When Milosz is in Berkeley- he’s local when in Krakow – he’s loc’ and in Lithuania – as well. The importance of this exhibition is Milosz’s poetry which is and will be time-less, to taste- from Tomaszow, to Klaipeda and Sydney. Working on the exhibition – Prazmowski – often deliberately sought to unify he images, almost to symmetrical combinations.

Major Sium Yimesghen

MAJOR

My name is Major Sium Yimesghen, an eritrean citizen. I ani currently living in Malta as a migrant ( to be resettled to a third country). The aim of my artistic project is to introduce people the lived realities of migrants and refugees; to tell people that people are fleeing their homelands after having being left with no choice to free themselves from shackles of dictatorship, tyranny, atrocities, tortures, slavery, political crisis , and civil war.

Anna Grzelewska

Anna Grzelewska is a photographer and director of documentary films. She was born in Warsaw In 1976 and continues to live there. A student of Cultural Studies at the University of Warsaw, she also graduated from the Warsaw School of Wajda, and attended the Institut Tviirti Fotografie (ITF) in Opava, Czech Republic. Her photographs have been published, among others, in the following magazines: The Guardian, Geo, Election, Politics, cross section, Newsweek Poland, Rzeczpospolita, Elle, Beauty of Life, Exklusiv, Kikimora and Gaga.

„JULIA WANNABE” project shows growing up of my daughter Julia. My purpose was to ,.earch for sources of woman’s identity and to approach to the moment when a girl becomes a woman. There is something ambiguous and perturbing in this transition. The culture pictures childhood as a land of happiness: sweet and innocent. Also, our memory tends to wipe any flaws out of this image. Shooting Julia I wanted to look at the process of growing up in a more comp* way. It is not a reportage, a diary or family album, but an attempt to capture the universality of this time. It is also a photographic reinterpretation of the psychological process of transfer – the photographic image is the result of Julia’s experience and my own childhood memories.

The tittle of the project is a reference to „Madonna wannabe” (=Me., who listen to Madonna’s music are dressing and doing make-up` exar tly like she does. With these external attributes they try to discover the escense of being Madonna, the essence of femininity she embodies. Paradoxically, it helps them to express themselves.

Eugenia Maximova

Eugenia Maximova was born in Ruse, Bulgaria. 
She graduated from The University of Vienna, reading journalism and communication science. 
 Eugenia Maximova is particularly interested in visual anthropology. Her journalistic background influences many of her projects, and although they often differ from the traditional concept of ‘photojournalism’, the goal of her images is to bring to light the lives of others and to communicate socio-political models and tendencies, examining their consequences for society and culture.  Currently Eugenia works as a freelance Photographer. Her clients include: GEO, National Geographic, Die Zeit, Moscow News, The Guardian and many more. Eugenia’s work is represented by The Anzenberger Gallery/ Agency.

Associated Nostalgia

“Kitsch and the human propensity for exaggerating have always fascinated me,” says Eugenia Maximova, who was born behind the Iron curtain, in the Bulgarian city of ruse on the banks of the river Danube. “Many of my childhood memories relate to kitsch. It was on open display in almost every household growing up – crystal and ceramic dinner sets, vases and figurines, hard-to-acquire foreign objects, plastic fruit and flowers. They were showcased behind glass and were the pride of the house.”

But it was only when she started working on the design for Kitchen Stories From the Balkans – her self- published photobook, based on her much- published series of modest interiors – that she began to think about how to include “some of those incredible plastic tablecloth patterns so beloved in these latitudes”. Then came the discovery that the garish tablecloths have been manufactured in her hometown for many years; all the serendipity she needed to forge a new project, Associated Nostalgia.

“Kitsch is sometimes difficult to digest, but for many it is also unpretentious and tasteful,” states the journalism graduate, who picked up a camera eight years ago after the sudden death of her mother, a noted painter, and who regards her work as something of an antidote to the usual stories about the region, focusing on conflict. “Kitsch doesn’t require lots of preparation, rethinking or consideration. In fact, it barely requires any thinking at all. Kitsch is melodramatic, sentimental and folksy, but it also entertains. The kitsch culture of today flourishes across all areas of life.” But, she insists, the work remains a form of social observation and commentary.

“The scarcity of goods during communism created a culture of showing off, in which people behave ostentatiously. Kitsch was also widely used as political propaganda during that period. Art’s sole raison d’etre was to bolster a dictatorial regime and glorify its leaders.”

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