Baku, Azerbaijan is the largest city in the Caucasus region. Being a city founded upon oil, it went through several oil booms accompanied by massive growth and construction. City Hall’s will to reconstruct the post-Soviet city using its own understanding of aesthetics led to a forced demolition of “outdated” buildings, to the detriment of those wishing to preserve cultural heritage and ancestral homes.

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Marat Dilman is young, yet, promising contemporary photographer from Almaty, Kazakhstan. His recognizable and elegant body of work includes such aspects like national identity of Post Soviet Kazakhstan, a construction of new visual language that ideology uses to interact with the society, technological impact on archaical or semi-archaical symbolism like ornaments, and portraits in connection to internet cables, pop culture and, of course, beauty.

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 The series has been realized in Yakutsk, in the far east of Russia – the coldest city in the world. Solely, this superlative gives birth to images in someone ́s mind, images of bleakness, exotic, maybe even archaic.

“Lenin lives! Lenin is with you!” Since the Bolshevik Revolution of 1917, this hymn has been more than an ever-present slogan. Throughout the 20th century, the  figure of the revolutionary leader was omnipresent. But as Russia prepares to celebrate the centennial of the October Revolution, Ukraine, the other pillar of the Soviet Empire, will have none of him. Summum of decommunization: as of late 2016, none of the 5,500 statues that formerly dotted the territory is still standing.

According to ancient legends, vampires appeared on the Earth at the same time as the first people. They changed, mutating and imitating. If we interpret vampirism wider than a myth about aristocratic bloodsuckers, we may assume that each of us carries an element which, unrevealed up to a certain time, is able to turn any human into a savage monster. 

This story is about those of us with whom life just happens. It takes place when the connection between cause and consequence is no longer coherent.  I am documenting a naïve visual subculture of a public space, which has become widely spread throughout Ukraine after a fall of the Soviet Union faced globalization.

Four months in Kyrgyzstan, portraying this country on the outskirts of global headlines with a large format camera, through faces and landscapes. This work highlights the generational disparities between those nostalgic of an abolished USSR order and modern westernized youths born after the fall.

In this series I have concerned myself with the way that history and memory are perceived through images.

I explore a way of creating content around the photos through their physical presence as objects, connecting them with natural elements, thus highlighting their temporality. These flowers and petals mark the present, but at the same time they are a very powerful vanitas symbol. Black-and-white photographs ‘mean’ a different era; they are a visual analogy of the idea of memory slipping away with time. The concept of this work is fragility and disappearance.

Secluded in the West Siberian plain lies Aidara. The village is only reachable by the river Ket, the passage requires attention and experience as fallen trees are often creating obstacles under the water surface. The next bigger settlement lies around three hours down the river. The village of 150 inhabitants is mainly consisting of a community of Russian Orthodox Old Believers who live by the strict rules of their religion.

‘Tales of Lipstick and Virtue’ deals with the crossroads of gender, class, ethnicity and their interconnection to self representation as well as post-colonialism, authenticity and pseudo luxury.

The work consists of portraits in Albania and figurative fake-stills of brand imitations and counterfeit luxury out of the studio. Using methods of documentary, fashion and advertising photography, it is blurring the thin line between original and bootleg, truth and fiction, genuine and counterfeit.