Turkish Empire was governing lands from Hungary to Georgia, from Algiers to Eritrea over half of millennium. Its collapse gave countries to the generations which lived under Turkish occupation. These terrains are still suffering from shakes which are echoes of the history. We can find traces of it in the landscape: ruined houses in Bosnia, empty terrains near Kars in eastern Anatolia where millions of Armenians used to live, removed faces of Saints from Serbian, Macedonian, Romanian monasteries, ruins of Trapezunt or Ani. We can read sub consciousness of former Ottoman Empire nations from their landscapes. The more we travel through former Empire of Turks the more we notice the impact of hundreds years of cultural, economical and religious occupation on landscape of todays Bulgaria, Albania or Greece. Genius landscape painter John Constable said: We see nothing truly till we understand it.
Metropolitan can refer to a citizen of a metropolis, especially one who has the sophistication, urbane attitudes and values. In the past, word ‘metropole’ have been used to describe metropolitan centre of the British Empire considering London as a cultural, financial and diplomatic heart of the empire. To these days London continued it’s position as en ever-growing global city and most important city in Europe.
The very first thing that I saw in Skopje was the construction of a 25-meter tall figure of a warrior on horseback which, from what I later found out, was the statue of Alexander the Great.
“Push the Sky Away” is a triptych, with each part of the work the consequence of what has gone before, as well as leading on to the next. It is a creative path that has given me an interest in the primeval cultures from which our own cultural codes have grown. As a consequence I attempt to extract an underlying structure, which I believe is unchanging and unchanged. My feeling is that this lies within the tradition of the emotions, rituals, and behavior – elements which are shared in common across all cultures, and to which photography has access.
My father says I am a person from the “lost generation”. He says that we are too lonely, too withdrawn, and constantly change masks creating an illusion of life.
I am sitting by the window, looking at another faceless, bleak panel house. Every day and every night this ridiculous block of flats, a shelter for thousands of anonymous lives, stares at me with its empty eyes, not letting me forget about where I will return.
Ira Thiessen researches a complex identity of Russian Germans who returned back to their historical motherland in the series of staged portraits “Privet Germania” (Hello, Germany).
After 30 years of the Chernobyl disaster Jadwiga Bronte documents the lives of people who suffer the consequences of the tragedy. The Polish-born photographer follows a group of disabled people who are living in “closed governmental institutions called ‘Internats’ which are something between an asylum, orphanage and hospice”. Internats are hidden from public view, and even some Belarusians themselves are unaware of the reality of life inside. These are places where tens of thousands of people spend their entire lives.