The Leica Gallery Vienna is proud to present its first group exhibition project with a focus on eastern photography.
„East. Eyes. Effect.” The effect is the result of a change or an action, something that is produced by an act or a cause. In this exhibition we show the effect from the photographer’s point of view as creation of a desired impression.
Satka: memory of the place.
Human memory is made up of three layers: direct memory, short-term memory, and long-term memory. The third of these cannot be reached without going through the first two layers. As a photographer, Gordasevich is often concern with what is called “memory of the place” – the idea that a particular location contains information that can stimulate human memory. The photographs he took in the small town of Satka in the Urals depict casual moments related to direct and short-term memory. They are the kind of moments that dissolve in time and cease to exist. As someone from the vast metropolis of Moscow, he had a feeling of travelling to the past, to revisiting his childhood. Gordasevich hopes that he can help people remember those seemingly inconsequential moments.
Andrey Gordasevich: is a visual storyteller with an interest in people and their personalities, cultural background, and way of life. He has been a participant, jury member and reviewer of Russian and international photo festivals and portfolio reviews. He gave master classes and seminars at Multimedia Art Museum, Moscow, Leica Akademie Russia, Russian State University for Humanities and the Photojournalism Faculty of Moscow State University. Gordasevich’s projects were awarded at several international competitions. His works and books are in the collection of the Multimedia Art Museum, Moscow.
Mezen: By Sky’s Edge.
“Here is a door, behind which the hidden is revealed, enter and you will see not what one wants to see but what is” — Writing on a big wooden cross, Kuloy village, Arkhangelsk region, Russia. This project explores fading northern villages of Russia, the people who live there, the reasons they do not adapt to the modern world and long for the past. Local villages live in a time torn between the present and the past. “Today” is constantly interrupted by wooden houses, built hundreds of years ago, ruins of churches, conversations people have of the old days, all longing for the past. At times it even feels like here there is no “today”; “now” is somewhere there, distant, in the far cities, on pages of magazines, the TV screen, but here it all feels like something foreign, even unreal. Here everything is frozen between “today” and the past.
Emil Gataullin: born in 1972, based in Moscow, Russia. In 1999 he graduated from Moscow Surikov Institute of Art. He studied photography with one of the leading Russian photography ideologists and authors, Alexander Lapin, from 2003 to 2004. His work was published in GEO, LFI Magazine, The New York Times, Black+White Photography among many other magazines. He won many awards including Monovisions Photography Awards 2017, PhotoVisa 2015, The Alfred Fried Photography Award 2014. In 2016 his personal retrospective book “Towards the Horizon” was published by Edition Lammerhuber.
The Coal People
The 19th century is considered the century of steam engines – and coal. At the beginning of the 21st century, coal remains one of the main sources of energy for our civilization. But the civilization has changed. It strives to be cleaner, closer to nature, more civilized – more human. It wants to be humane, but can only become so through technological innovations and new philosophies. Coal extraction is still a difficult job, but the new methods differ substantially from those used in the past. Marmur has seen the giant machines that explore the Planet for the benefit of humankind. And he has also seen the people who operate them – nimble, vigorous, and strong. These people work together with the machines, creating a new symbiosis of humans and their technology. From 2016 to 2018, Maxim Marmur photographed more than 20 operations involved in extracting, processing, and transporting coal in eight different regions of Russia.
Maxim Marmur: born 1968 in Tashkent, Usbekistan. He started his career in 1987 as a news photographer at local newspapers in Omsk, Russia. In the 1990s photojournalist at Moskovskiye Novosti (The Moscow News). From 1998 to 2003 news photographer at Associated Press (AP); from 2003 to 2008 at Agence France-Presse (AFP). Since 2008 freelance photographer. In 1996 and 2000 finalist of the Pulitzer Prize as a staff member of the AP’s Moscow bureau. Award of Excellence at Pictures of the Year International Competition 2001, USA, and 2nd prize at the Best of Photojournalism Contest 2006, USA.
Russian winter Farewell party “Bakshevskaya Maslyanitsa”. “Russian Maslyanitsa” is a very ancient Russian folk tradition and holiday. “Bakshevskaya Maslyanitsa”was founded by groups of students in 1986. Every year it takes place in a new place. It is impossible to reach the place of holiday by car. To go to places more than one hour in the snow through the woods and fields, 6-7 kilometers. In the woods is celebrations, games, competitions, fun. The main event is the awakening of spring. After people burn the effigy of Maslyanitsa, the sun and spring should come. But this is not easy to do. We must first steal it from the fortress. Strong men storming the fortress. This requires good physical training. After Maslyanitsa burned people dance and sing songs about love and spring. The festival attracts more than 6 thousand people.
Viktor Berezkin: born in 1979, in the Moscow region Shekolovo. He learned in Moscow at the State University named M. V. Lomonosov, Faculty of journalism. (2013-2014) Since 2014 Viktor is working as a freelancer. He is a member of the Russian Federation Journalism and International Federation Journalism. He is working with different Medias, searching always for new project with focus on news, people, life and fashion.
East. Eyes. Effect. - Group Exhibition Part 2
- 25/06/2021 - 11/09/2021
Leica Gallery Vienna
Monday - Saturday 10.00 am - 06.00 pm