MOBILOGRAPHY. Egor Abaturov
The gallery, together with the Omnibus ensemble, invites on October 15, 2011 to the second experimental multimedia project called "Mobilography" the young photo artist Yegor Abaturov.
Mobile photography is my search tool, my everyday capture of graphic artifacts from the urban environment. Shooting with a mobile phone in itself determined this genre and stylistic features of the pictures. And, even shooting with a professional camera, I continue this direction.
I work more and more with what I see every day around me in everyday life, so I have everything new - and topics too. There is a lot of expression in it. I am always watching as a target hunter and always ready to take an accurate shot. This is my creative life, and it reflects the search for spirit through vision. Which is probably the most important in artistic creation. I am not showing the city, I am showing the conditioning of the spirit through my works, as well as its desire to break out of the limits of conditioning. Creativity itself is already a certain freedom of spirit. By spirit I mean not something religious or esoteric, but the driving forces that make us develop, such as aspirations and goals, dreams, intuition, imagination, thirst for the unknown, love. It is no accident that in the eastern poetic tradition such an elusive substance as spirit in a person was figuratively called a city dweller of the body. But for a resident of large megalopolises, even at the material level, there is a certain out-of-bodyness of existence, involvement in a wide range of new trends and trends, the swiftness of changes and regulation by social norms.
In general, a very interesting picture is obtained. Different themes are intertwined with each other, some photographs are formed into diptychs, triptychs and in a series. I try to cut off all unnecessary things. I summarize the topic for myself. I highlight finds, discoveries, style preferences, images, artifacts. Then the works are tied together by theme, style, approach, angle, scale, color, etc. It is difficult to predict the result here. Improvisation and search reign here.
Despite the nature of my photographs, realistic and true, not licked, like streets specially groomed for tourists, I still develop ideas of simplicity and purity of perception. I increasingly prefer minimalism and constructivism. As aesthetic trends, postmodernism is, at the same time, visual codes of technical progress that serve modern existence as one cybernetic organism.
But the main goal in my photographs is to find simplicity and beauty in everyday life. Photography begins to influence the viewer when there is a vision of proportions, when emptiness is part of the whole, when materials have a visual sound. This is expositional aesthetics. When there is a point of view and a picture that can only be seen from the designated point of view. The streets of Europe, like many works of contemporary art, are created according to this expo aesthetics. Contemporary visual culture has introduced the experience of artistic vision into the space of life. When the right angle of view is enough, so that unremarkable, completely ordinary, and often far from new textures and fragments of the urban environment become objects of modern art.
ALTER EGO. Teodor Radu Pantea (Romania)
The gallery together with the Omnibus ensemble presents a series of multimedia projects "CROSSROADS". From September to December 2011, the Tashkent viewer will see 4 unique photo collections. The September premiere is "AlterEgo" by the famous Romanian photographer Teodor Radu Pantea, in October another series of "Mobileography" by Yegor Abaturov is expected, in November - the "Montparnasse" project, where you can see practically live artists, poets and musicians of the era of modernism, and in December The "time factor" that will allow you to get to the streets of old Tashkent.
The peculiarity of the series of multimedia projects "CROSSROADS" is that everything that you see will also be sounded: the opening of each exposition will be accompanied by live music performed by the "Omnibus" ensemble. Such a new unusual format of the show will allow each spectator who comes to experience the cultural space of the modern world in a completely new way.
The first experimental multimedia project kicks off on September 17 at 6 pm with the opening of a photo exhibition entitled "Alter Ego" by photographer Theodor Radu Pantea. Like many famous photographers, Theodore is crazy about display mannequins. Often times, people in photographs look like mannequins, and mannequins look like people. This confusion is amusing, and Theodore plays this duality very well in his photographs. Alter ego is a real or invented alternative personality of a person. The idea for this collection was formed when Theodore discovered the constant presence of mannequins in his real life. When he realized that they can communicate with him, that he can be their partner, and not perceive them as an ordinary subject.
Also, the photo exhibition "Alter Ego" will be supplemented with a video sequence from a series of photographs of the Uzbek photographer Vladimir Shlosberg.
Note: admission to the photo exhibition is free, but you must wear a mask provided by the organizers.
19 November Saturday 17.00 / 17:45 / 18:30
Collection Museum Montparnasse France
Music Eric Satie
Video installation by Man Ray
On November 19, 2011 at 1700, the Omnibus gallery and ensemble continues the series of the "Crossroads" project and presents for the first time in Uzbekistan the November third project "Montparnasse"
The "Omnibus" ensemble and the "Art & Fact" gallery present a series of multimedia projects "CROSSROADS". In September and October, the Tashkent viewer has already seen 2 unique photo-collections of AlterEgo "the famous Romanian photographer Teodor Radu" and Mobileography "Yegor Abaturov. On November 19, the third project" Montparnasse "will take place, where we will see almost live artists, poets and musicians of the modernism era.
The peculiarity of the series of multimedia projects "CROSSROADS" is that everything that we see is also sounded: the opening of each exhibition will be accompanied by live music performed by the "Omnibus". This new unusual format of the show allows our viewer to experience the cultural space of the modern world in a completely new way. It would be customary to come to an art gallery for a photo exhibition, look at the photographs, discuss them and quietly disperse. However, the main goal of the projects is to enable viewers to feel themselves in a completely new, special atmosphere of not only SEEING, but also HEARING the exposition, the possibility of its volumetric perception.
For the photographic exposition of Montparnasse, a musical program was selected, which in terms of feeling, technique of performance and genre is the closest to it. The surprises of the project, however, do not end there. The art objects of the artist Sergei will place the audience in a completely non-standard environment for the exhibition and make them not only witnesses of what is happening, but also direct participants in this theatrical performance.
The music of a big city, which grew out of its noise, from the clear pulsation of its entire multifaceted essence, is not just musical sounds. Rhythm and endless repetition are its foundation. At the beginning of the last century, the French composer Eric Satie stated: "My music is deeply industrial. This is music that is only a part of the surrounding noise, any noise that attracts attention." It was Sati who discovered the principle of endless repetition of a short musical phrase over an infinitely long time. Play "as much as you like"! Or "840 times, at will, but not more" ... We will hear his piano works in the project "Montparnasse".
Photo and video documents at the Montparnasse exhibition, offers a journey through time, taking us back to the era of the twenties and thirties, to the very heart of Paris, to the “World Village” on the rue Montparnasse, where artists of different directions and cultures gathered. It was then in this Parisian microcosm that bohemian life separated itself with a sense of primary solidarity. Gathering a huge number of artists, who have since become apologists each in their own kind of creativity, the then Montparnasse actually gave birth to the culture of the twentieth century. Realizing the power of attraction of their World Village, the Montparnasse artists developed a kind of art - an infrastructure based on creative and personal connections, based in cafes where writers (Tzara, Apollinaire, Aragon ...), musicians (Stravinsky, Eric Satie), filmmakers (Cocteau), artists (Duchamps, Modigliani, Fujita, Man Rey) ... and, of course, wonderful muses (Kiki de Montparnasse). Having become a means of developing ideas and carriers of a new culture, political and social ideas, the works of this exhibition express, first of all, the relationship of artists-neighbors in the workshop. They were united and carried away by new ideas, forming groups that represent a significant force of opposition. The fragile peace between the two world wars was blinded by growing nationalism, the breath of colonialist ideas. Great geopolitical upheavals shook the air of the era like thunderstorms, leaving little room for self-expression.
Rebelling against this rapid disintegration of personality, the Montparnasse artists insisted on their desire to exalt man and woman. For this, they created a "place-laboratory", a space of freedom, or rather a tribute to the freedom of expression. They fiercely resisted the obscurantism of the colonial spirit, whose dubious ethics imposed a system of superiority on human races in order to justify Western superiority. Their group considered it a matter of honor to represent the world's cultural wealth by combining the forms and expressions of human souls manifested in the cultures of Europe, as well as Africa, Asia, America ... Montparnasse has since become a place of resistance against all forms of human violence. Voting for pacifism, these artists nourished their art with their ideas and ideals. Their concept of the fate of humanity was based on the power of greatness recognized for each individual, thus creating the first spontaneous utopia.
The multimedia project "Montparnasse" thus offers several landmarks that can serve as a guide to the Parisian world of that era, this handful of artists whose work has influenced the history of world art, arousing moral and political interest in cultural and ideological exchanges.
The project was prepared with the organizational support of the Montparnasse Museum (Paris, France) Special thanks to the director of the museum Jean Dinu and the curator of the project Shalva Khakhanashvili
GYPSY MADONNAS. Alexander Barkovsky
On February 25, 2012, as part of the ongoing series of multimedia projects "Crossroads", prepared by the gallery together with the Omnibus Ensemble, Tashkent residents will be able to get acquainted with the collection of Alexander Barkovsky "Gypsy Madonnas". Author, graduate of the Art College named after P.P. Ben'kova, refers his collection to ethnoart.
His heroines belong to one of the most interesting ethnic groups in our region - Central Asian gypsies (mugat, lyulya). With the help of a photo collage, the artist tried to create a kind of fictional gypsy country against the background of ancient Bukhara and Samarkand. Therefore, the works of the collection are closely related to the life and beliefs of the inhabitants of this country. Even when choosing the material and the method of their design, the author takes as a basis the cult objects that accompany the Roma at key moments in their lives.
For example, wooden frames for these works are symbolic, made in the style of Beshik cradles, with embossed corners like on wedding chests. And the mat for the photographs reminds of the traditional Bukhara hand-made gold embroidery that adorns their festive clothes.
An interesting effect was given by the artist's use of an unconventional technique for printing his works. He transferred the usual photographic image to lithography. At the same time, black prints, originally printed on white paper tinted with green tea, were then manually painted with watercolors.
Along with painting, installation, video art and other types of contemporary art, photography for Alexander Barkovsky is just one of the possible forms of expression. And at this exhibition the photo collection is successfully complemented by a video installation made by a young artist based on Raphael's "Sistine Madonna".
The corresponding musical program, compiled and performed live by the musicians of the Omnibus, helps to create an atmosphere in which the locality and immediacy of the plot acquire the necessary versatility.
TRANSITION. Viktor An
The Transition is the simple name of the photo exhibition to which the Art & Fact Gallery and the Omnibus Ensemble invite guests on March 17, 2012. The exposition is also simple visually - in the genre photographs presented by Viktor An we will only see how, for example, people are hurrying along an ordinary underground passage or children are playing on the outskirts of the city.
But it would be wrong to interpret the meaning of the exhibition only according to what lies on the surface. Let's try to find our own key to the collection of an experienced and difficult photo artist.
The gradual transition from one stage to another represents both the life of mankind as a whole and the life of an individual. People made the main discoveries at the dawn of civilization, during the period of direct perception of the surrounding world. They learned how to extract and use fire, tamed wild animals, invented the plow and the wheel, invented writing and paper, gunpowder and weapons.
Among the active creative minority, which carried away the rest of the inert mass, people of art have always occupied a special place. Because they talked about human nature. So in ancient times, instinct forced artists to follow natural beauty. And the hero of the Renaissance was an artist who knew how to see all the variety of shades and transitions in the picture of the world.
Just as an individual person makes the most of his experience, strength and health during the heyday of life, so human society, with the transition to the path of scientific and technological progress, made more and more use of the available resources. Although life was becoming much more comfortable, - a person was increasingly moving away from his natural essence, and the kingdom of reason was inexorably turning into a kingdom of cold calculation ...
And people of art, who know how to appreciate what nature has given them, were the first to notice this transition. Despite the fact that, unlike the artists of the past, our contemporaries are more often governed by reason, the desire to show their individuality and independence from the world around them, they sounded the alarm ...
It is the artists who insist that art prevails over science and technology, that impression is more important than counting, the word is more important than the number, and the metaphor is more important than the formula. And, probably, that is why they see the unity of the past, present and future in the life of man and humanity in general as a metaphor for the Transition.
The Omnibus ensemble and the Art & Fact Gallery are starting the next stage of the CROSSROADS series of multimedia projects. Again, for four months we will get acquainted with the views of different artists on our world, plunging into the atmosphere of their perception. Once again we will hear the music that is being born right here and now.
In February, the project will present an exhibition of a young artist, creator of video and photo art, Alexander Barkovsky "Gypsy Madonnas", in March we will see conceptual photography by Victor An - in the "Transition" project, April suggests the appearance of a completely new experimental project "Popular Mechanics" , and in May a new exposition of works by Dina Penson is expected - the first woman-photographer in Uzbekistan, daughter of the legendary Max Penson.
We will again find ourselves in another dimension - with the help of the Omnibus ensemble, the audience will become both listeners and participants in the event.
The Crossroads series is reaching a new level - the show format becomes even more exciting and experimental. Exactly EXPERIMENT is the key direction of all four projects. The format of the exhibitions itself is already familiar to our viewers - the simultaneous seeing and hearing of the exposition becomes clearer and more familiar. But in this series of projects, the research spirit increases. Authors of photographs and photographers are experimenters in their time and space. A video installation must be added to each of the projects (three of them will be created by Sukhrob Nazimov). Art objects of the remarkable artist Sergei Sedukhin organically exist in the exhibition space. The sound component - improvisation in the style of musical minimalism - is immediately invented by the musicians of Omnibus.
Alexander Barkovsky, known as an art hooligan, who often shocks the audience with his difficult art, creates his paintings by combining different artistic techniques. The artist transforms his photo collages into a lithographic print, and then finalizes it, already manually applying paint. He is also the author of a video installation for his photo series.
Viktor An, a well-known Tashkent photo artist, will help us take a philosophical look at the world around us, and from completely unexpected sides. This photographer is one of the few who shoot today on photographic film, believes that only film is able to convey not only the image, but also the breath of the moment.
Dina Maksimovna Penson is the first professional female photojournalist in Uzbekistan, a phenomenon unique for the Central Asian region of the 50s. The era of great construction projects and the conquest of virgin lands in her works is manifested in persons and faces snatched from a human anthill. And the results of trips to Western countries in the 70s (which in itself at that time was a very daring experiment) are portraits that are stunning in their atmosphere and psychologism.
Of course, this series of projects will not be complete without surprises. "Popular Mechanics" will allow viewers-listeners to become creators - of what? ... We'll see ... We'll have to think about the questions - where is the stage and where is the exhibition area, who is the musician and who is the viewer ... The visual component of this project will be constructivist reports from the construction of the Kattakurgan hydroelectric power station by photojournalist Fyodorov. The creative spirit of this collection must resonate with the entire atmosphere of what is happening.
The intersections of artistic styles, types of art, times and spaces, their imposition on each other will give the audience an amazing opportunity to "get lost" in the exhibition space, to feel themselves inside a certain performance. The Omnibus ensemble and the Art & Fact gallery invite you to reveal your inner potential and join the latest phenomena of world culture.
No duplicates. Dina Khodzhaeva-Penson
Photographer, daughter of a photographer
On the eve of the May presentation of the No Duplicates media project, which was prepared by the Art & Fact Gallery in cooperation with the Omnibus ensemble, we talk with the famous Tashkent historian Boris Golender about the main author of the project, photographer Dina Penson-Khodjaeva:
Boris Golender: They lived in a one-story old building in the center of Tashkent, in Lazo Lane (where the current Cosmonauts Avenue is located). In 20-30s, almost all newspapers and magazines in Uzbekistan published day after day photographs of Max Penson. During the war and immediately after it, a very popular “Photogazeta” was published weekly in Tashkent with materials on topical issues for Uzbekistan, in which he was one of the main authors. They have taken tens of thousands of photos! The work of this master was so appreciated that a separate substation was built for him (since the light was often turned off) so that he could develop, fix, print his pictures at night. Thanks to Max Zakharovich's passion for photography, all of his children became photographers, seeing by his example how interesting it is to work in this area.
When the earthquake struck, his huge Max Penson archive was littered and badly damaged. Dina Maksimovna and her husband, a wonderful documentary filmmaker Fayzulla Khodzhaev, literally at the risk of their lives saved his photographs taken on glass plates with a Leica camera. (In general, unfortunately, such "glass" archives are very poorly preserved, but earlier this was not given much importance).
The fact that today the world knows the name of the remarkable photographer-reporter Max Penson is largely due to their credit. Fayzulla Khodjaev made a film and wrote the first book about it. And Dina Maksimovna, collecting bit by bit everything that related to his work, talked and corresponded with art critics, gallery owners, with her father's colleagues. As a result of many years of such selfless activity, several Max Penson's photo albums were published, exhibitions were organized in different cities. This, in turn, raised the prestige of Uzbek photography in the world as a whole.
Max Penson was a great photographer. And the little girl who was present at all stages of the creation of his works received a very good school. Dina learned from her father the most important thing, which you cannot learn in any university - to seize the moment, to see what ordinary eyes cannot see.
The album dedicated to the work of Dina Penson, in my opinion, is well shown.
Working for "Uzbekfilm" as a professional photographer, she filmed the so-called "working moments" of the film process, which give an idea of the film itself. This was important, because if the film was not preserved, then at least there was a photo library for it.
Here are magnificent photographs of the post-war life of Europe, where she, the photojournalist of "Uzbekfilm", was lucky to be with the actors. And look, she doesn't shoot the Tower in London or the solemn departure of the Guardsmen, or the Eiffel Tower in Paris. We see ordinary residents: police in a random place, hippies on the street, or just admire - "Parisian janitor". At a time when the officialdom prevailed in photography, in her photographs the daily life of European cities. This is not filmed today, when we all understand the importance of such filming, because it is the main part of our life. And she understood this back in the 50-60s. And in this she continued the work of her great father.
In addition, these photos were taken in a very good style, there is nothing superfluous in them. Nothing hinders the perception of what their author wanted to convey to us. This is the art of the photographer.
Dina Maksimovna is a master of portrait, any of her portraits conveys personality. For example, guests of Tashkent are depicted here: the great composer Dmitry Shostakovich, popular singers: the Bulgarian Biser Kirov, Edita Piekha, the Azerbaijani Zainab Khanlarova. But this applies not only to famous people, she works with the same interest on portraits of a geologist, driver, cotton grower. Modern photographers, alas, often lack this skill. And she caught a moment when people do not pose at all, they just work or communicate as usual. Girl at the tandoor: “Hot cakes on a hot day” - a great name! This kind of love for people distinguishes all Pensons. Their photographs do not look like millions of photographs in which some "inflated" foreman in full dress posing in the field.
With simple means, Dina Penson is trying to express something important in our life. On the one hand, there seems to be nothing in the photo "Artery of the Republic". On the other hand, this is pure constructivism! If we look at how this photo is located in relation to the audience, then in the upper part we see these triangles, the arrows are pure geometry, and at the bottom there is a whirlpool that does not obey any geometric laws. The main idea of this work: chaos and geometry are one. The author has not changed anything here, but a thinking person will read it.
Or take the wonderful reporters footage of the Tashkent earthquake, photographs taken from the top of the Samarkand minaret or at the Ulugbek observatory.
Her father taught her the ability to capture time, and she continues his work with dignity. Therefore, what she did is invaluable ...
On Saturday, that is, on April 21, the next project, organized by the Omnibus ensemble and the Art and Fact gallery, will take place, which will be called Popular Mechanics. This is the third pilot project this year in the CROSSROADS series. As for the opening time, it will be divided into 2 sessions again. The first session will take place at 6 pm, and the second at 7, the program will be repeated.
Of course, this series of projects was not without surprises. A special feature of this exhibition is that the viewer who comes to Popular Mechanics will be given the opportunity to feel like a musician. That is, you will have to think about the questions - where is the stage, and where is the exhibition area, who is a musician, and who is a spectator ...
The visual component of this project will be constructivist reports from the 1920s-1930s from the construction of the Kattakurgan hydroelectric power station, the Chirchik building, the Tashkent Photon plant by unknown photojournalists of that period, and photographs of contemporary foreign authors, for example, a photographer from Turkey - Murad Germen. The creative spirit of this collection must resonate with the entire atmosphere of what is happening.
Here, probably many listeners may have a question, what is constructivism? Constructivism is an artistic trend in the art of a number of European countries at the beginning of the 20th century, which proclaimed the basis of an artistic image, not composition, but construction.
The supporters of constructivism, putting forward the task of "constructing" an environment that actively guides life processes, sought to comprehend the form-building possibilities of new technology, its logical, expedient designs, as well as the aesthetic possibilities of materials such as metal, glass and wood.
In general, having come to the opening of the Popular Mechanics project, you will again find yourself in a different dimension - with the help of the Omnibus ensemble, the audience will become both listeners and participants in the action.
The intersections of artistic styles, types of art, times and spaces, their imposition on each other will give viewers an amazing opportunity to "get lost" (in the good sense of the word, of course) in the exhibition space, to feel themselves inside a certain performance. The authors of the project propose to reveal their inner potential and join the latest phenomena of world culture.
A series of projects "Crossroads", implemented by the Art and Fact gallery together with the Omnibus ensemble in 2011-2012, has become a real event in the cultural life of Tashkent. Today Perekrestki are entering a new stage of development and are turning into a creative laboratory. The uniqueness of the project concept lies in the fact that its components - music, video art, photographs, installations - are invented and implemented by all participants together. For 5 days, a team of young photographers and musicians will live as a single "commune" in the Art and Fact gallery, creating a performance that will be presented to Tashkent residents on January 13, 2013.
The theme of the project will be the youth movement - STREETART.
So, the next round of the Perekrestki projects is the attraction of new forces and opportunities to the creative process. We go beyond simply combining photos, footage and music tracks. The phenomena occurring in parallel are woven into a single synthetic fabric.
"Crossroads-Street Dance" is a new kind of performance, uncharacteristic and unusual for our territory. This is far from an exhibition and not even the actions that took place in previous projects. What our viewers are about to see is closer, and perhaps even on the verge of a theatrical performance. After all, it is theater, like nothing else, that engages all human senses, makes you feel, see and hear what is happening.
The idea of the creators of this project is that all types of art - music, photography, video, dance, as well as computer technologies intertwine and grow into each other in front of the audience. On a given theme - street dance - improvisations will be created by the project participants - photographers, musicians, actors,
dancers. These improvisations will take place in turn, for some time, and others will certainly be connected to the lead improviser.
The goal is to awaken the maximum of creative potential in all areas of human activity, to expand his perception of the world. A photographer here can become a musician, a musician - a dancer, a dancer - a photographer. And anyone can start a completely new page of their creativity here, try themselves in different qualities, learn their own capabilities.
DAILY DREAM. Samad Gorbanzade (Iran)
The Omnibus Ensemble and the Art and Fact Gallery present the multimedia project "Crossroads", within the framework of which an international exhibition of the Iranian photographer Samad Gorbanzade entitled "DAILY DREAM" will take place. The opening ceremony of the exhibition will take place on March 17, 2013 at 18:00
The works of Samad Gorbanzade reflect the inner side of the photographer and take us into a mysterious and gloomy atmosphere, where we are left alone with our foreboding and thoughts. Many of Samad's photographs depict a teenager for whom time has stood still and is now involved in a world of desires, fantasies, feelings and horror. The photographer places his hero in unfamiliar places and reflects the destruction and disappearance of a lost and forgotten world, which is only a wasteland and nothing more.
The author tells about the state of his soul, reflects on time space. “… People start writing the saddest songs when they are on the border of time, between heaven and earth, yesterday and today, with a cold smile on their face and a question in their head. Looking back at the events that happened in the past, we fearfully await the events that will happen in the future. " Does Samad Gorbanzade suffer from sleepwalking? Or is it just his daytime wanderings that came from turbulent dreams that do not allow them to leave? His works represent his soul, which takes us to a mysterious and incomprehensible mind, and they leave us there, with oppressive fears. The main personality in many of his photographs is a teenager, for whom time has stopped, he has not become an adult, and this is associated with a load of desires, imagination, feeling and cruelty.
Simple photographs with small details, simple lines, without twisting and connecting them with visual games, his mysterious mind literally makes the viewer accept and understand them. Photos do not belong to one period of time, neither the past nor the future, but at the same time they look like the remains of what humanity destroys - their memories, and they, in turn, easily return the past to people, and impose the transience of human values, and then outside of time and place, they make you fall into the trap of fear, which is the punishment for shameless sin, and is to you what it is to most - the fear of falling into the dark ravines of time. The masterful presentation of his works, which the public perceives so close to reality, being confident that they are examples, makes them (the public) come closer to the subjective and material reality, which is like a pendulum of time between sleep and real shocks.