GASK/Хороший повод

   Давно не писал, а тут как раз появился хороший повод. На днях в городе Kutna Hora  в галерее GASK (http://www.gask.cz/)открылась выставка "Obraz v kterem zijeme". Среди прочих фотографий там были выставлены мои три фотографии из серии "Belief in the past".

3th December

   Это был очень странный день. Всё началось как обычно, я проснулся, долго мучался и наконец поднялся, принял душ и поел. Потом позвонила Мама. Мы долго говорили обо всём . Она долго рассказывала про работу, которую ищет и про то, скольо ей там могут платить. Из  всего разговора я точно понял, что времена прошли. Мои родители прожили всю жизнь в Беларуси, получили образование, каждый день ходили на работу, родили и воспитали двух детей. Сейчас им уже под шестьдесят и идинственное, что они могут себе позволить сейчас - это работу с зарплатой в 200 долларов. Я долго слушал и не знал что ей ответить.
    Потом я решил пройтись немного. Я взял фотоаппарат и вышел на улицу...

Это был странный день. Сначала мамин звонок, потом эта встреча. Я не хочу описавать, что произошло, но я знаю точно, что должен запомнить этот день. Эта фотография как напоминание о нём, что всё это было на самом деле в этот субботний день, когда чайка пролетела передо мной и я сделал это фото.

HIGHWAY Ulrike Feser "Tourist"/ Yauheni Tsitko

Ulrike Feser employs photography to examine integral parts of mass culture and their associated cultural projections. The color photographs from the series "Tourist” interpret Los Angeles on the basis of the artists perception as a foreigner. The photographs are consciously avoiding the well known images  and clichés of the city presented to the world through cinematic means. Instead freeway landscapes and concrete facades are captured from inside a car. Los Angeles is depicted as a place lacking a single identity, a city of autonomous traffic infer structures, where the notions of outside and inside do not exist.

The color photographs exhibited in the exhibition „Tourist“ are personal

interpretations of the artist´s perception of Los Angeles as a

foreigner. She consciously chooses not to repeat the images and clichés

presented to the world through cinematic means. Through depiction of

Freeway landscapes and concrete facades the photographs ask how and

whether people can live here.

The color photographs exhibited in the exhibition „Tourist“ interpret

the cityscape of Los Angeles on the basis of the artists perception as a foreigner. The photographs are consciously avoiding the well known images  and clichés of the city presented to the world through cinematic means....

The artist does not approach LA as a traveler, coming from the periphery

with the intention of reinforcing preconceptions of the city‚s

character, but rather chooses to depict the city as a place lacking a

single identity. This Los Angeles is a city of autonomous traffic

infer structures, where outside and inside don´t exist. The artist

photographed the images from inside the car. Respectively leading to

images such as: other automobiles, landscapes butting up to the

roadside, or concrete beams supporting bridge with the intention of reinforcing preconceptions of the city‚s character

The artist depicts Los Angeles as a place lacking a single identity, a

city of autonomous traffic infer-structures, where the notions of

outside and inside don´t exist. Participating in the internal movement

of the city, the photographs are  taken from inside a car.  Respectively

the images are leading to other automobiles,  landscapes butting up to

the roadside, or concrete beams supporting bridges.

The view seen from a moving car represents the pinnacle of the urban

experience: seeing is separated from the act of moving.  Major cities

offer an abundance of enticing surfaces which when viewed in motion, are

presented and withdraw simultaneously. They offer areas without pause,

one is denied the privilege of being able to enjoy and develop personal

perspectives. They offer situations where expanses of space and time are

lacking and every decisive chance to grasp the view is hindered.

However, one does not have to stay in a passive position. Ulrike Fesers

photographs attempt to reconstruct a situation from a lasting

perspective. In the moment the picture was shot, the possibilities are

introduced.  Where otherwise the journey collapses from speed upon

itself, where a series of impressions accumulate and are placed in a

formless conglomerate, and where memories are represented as an

exhausted condition of perception, the artist insists: this here , this

absolutely  concrete cross-section from a flow of impressions fascinates

me and now (therefore) my interest in Los Angeles is obvious.

 (a text by Robert Pitterle about Ulrike Fesers:"Tourist")