HISTORY AND ANALYTICS

Urban opera of Boris Mikhailov

Unregulated, vertiginous freedom of the 1990s emerged as a wild, chaotic period when everything became possible almost overnight: propelling into extreme affluence or rolling to the margins of the society into abject poverty. With his keen eye and a sensitivity of an astute observer, Mikhailov recorded this condition of a “zero state” of the new society, that was just emerging from the ruins of a previous political and cultural formation, in his most controversial photographic project “Case History”, executed in 1997 – 1998 and published in a book format in 1999.

Overpainted reality of Victor and Sergey Kochetovs

It is not only pioneers who form a school, but also those, who adopt and consistently implement the new methods, who create art muscles surrounding the skeleton of ideas, techniques and instruments.

Photographic tropes of Jury Rupin

Like most representatives of the photographic underground in Kharkiv, Rupin pursued an higher technical education.

Urban opera of Boris Mikhailov

Urban opera of Boris Mikhailov

Unregulated, vertiginous freedom of the 1990s emerged as a wild, chaotic period when everything became possible almost overnight: propelling into extreme affluence or rolling to the margins of the society into abject poverty. With his keen eye and a sensitivity of an astute observer, Mikhailov recorded this condition of a “zero state” of the new society, that was just emerging from the ruins of a previous political and cultural formation, in his most controversial photographic project “Case History”, executed in 1997 – 1998 and published in a book format in 1999.

Collage panopticon of Sergey Solonsky

Collage panopticon of Sergey Solonsky

As most of the colleagues, Solonsky has his personal myth: probably, one of the influential facts in his biography was the succession of the practice – the artist’s grandfather made a living with photography and had a laboratory Sergey was allowed to visit.

Roman Pyatkovka: A Field Study of “Communal” body

Roman Pyatkovka: A Field Study of “Communal” body

В ранніх роботах Романа присутня певна “приглушеність” реальності: моделі підкреслено ізольовані від зовнішньої дійсності та злиті зі своїм комунальним коконом, який сприймався як єдиний прихисток, вільний від контролю системи. Фотографії не репрезентували історичну ситуацію та не з’явились внаслідок її аналізу, а були безпосередньою складовою повсякдення.

Misha Pedan: All the Fears at the End of the Soviet Era Were Connected with the Fact that It Was Unclear Where the Danger Was Coming from.

Misha Pedan: All the Fears at the End of the Soviet Era Were Connected with the Fact that It Was Unclear Where the Danger Was Coming from.

Миша Педан рассказывает о структуре фотографической среды Харькова 1970-х и 1980-х, смене художественной и эстетической парадигм и о специфике кураторский деятельности в Советском Союзе периода перестройки.

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