Barnaby Kent

Barnaby James Constant Kent grew up in a “very expressive and artistic house,” in a small village in the Suffolk countryside. His musically talented parents encouraged Barnaby and his brother to paint and draw as children, but as Barnaby admits, “I always gave up because he was better.” Luckily, Barnaby’s father, a photography hobbyist, afforded him yet another creative outlet outside of music. Barnaby describes,  “I wasn’t good enough at the theory side of music to go on and study that so i just picked up Dad’s old camera, took several photographs and decided thats what I wanted to do.” Barnaby was sixteen years old when he asked his father how to use his camera and since then has developed an aesthetic and style that recently earned him Photographer’s Forum Magazine: Best of College & High School Photography award. Barnaby is currently studying at the University of Brighton to earn a B.A. in Photography, and says, “I guess you could say that at the moment I photograph ethereal, yet real moments.




When I was finishing up my final project at university I’d wake up, have a slice of burnt toast, then hobble across slippery cobblestones to a windowless library. When Barnaby Kent woke up on the days that he was working on his graduate project he awoke lying on a bed of luscious leaves in the jungle, and he’d have fresh passionfruit for breakfast before taking a walk in the mountains. It’s no wonder that his work is so magical.
For the Brighton graduate, going on adventures and traveling the world IS his work, which sounds like the dreamiest job ever. His photographs are breathtakingly stunning, particularly his intriguing graduate project which focuses on the community of a teacher training college in Papua New Guinea. We can’t wait to see the places that Barnaby will go next, and to see more of the world through his very perceptive lens.

Interview:
Why or who or what made you go to art school?
It was a fairly natural development from A Levels. It was either art or drama school.
Tell us about your best project.
My best project so far is my graduate project, Each of the boys has a knife. One of the girls was dressed in blue. I was fortunate enough to go to Papua New Guinea for a bit and I came back with this project (and more, I’m still sifting through the photographs now.) It was a completely different approach to producing work; I had limited resources, I was away from everything I had done before and everything around me was exciting and challenging. 
The project focuses on the community of a teacher training college in the Western Highlands of Papua New Guinea. Holy Trinity Teachers’ College is a space where westernised education and development intersect with traditional lifestyles, beliefs and languages. Within the college community tribal constructs of gender, religion, time and fashion now blend with western influences. This dichotomy between the college bringing education, Catholicism and development but also encouraging students and local villagers to share their cultural traditions represents this period of transition in Papua New Guinea.

Tell us about your worst.

There have been some shockers… Well there was Foundation, where drawing was fun but my photographs were rubbish. But I needed that so I would work harder. I remember not being very pleased with any of the work I produced in my second year, I tried to push conceptual narrative and in turn it was all very self involved and just a bit naff.

If you could show one person your portfolio, who would it be and why?

I’d like to have a “Ping Pong Conversation” with Alec Soth. I picked up a copy of his book with Francesco Zanot before Christmas. His project Broken Manual is incredible, all his work is, and he’s inspired me throughout university. I’d also like to give him a run for his money with the ping-pong paddle.

What was the best moment of your three years at uni (extra curricular included)?

Going away to shoot my grad project in Papua New Guinea. I got to see my parents. I photographed every day and I ate passion fruit every morning. I met lots of amazing people and made lots of friends. I slept in the jungle under the stars and I climbed the highest mountain with my Dad. It’s definitely the best thing I have ever done.

A lot is changing – would you recommend art school to someone who is considering going?

I’m not sure. This year’s graduates are the last from the era of cheaper fees, so it’s a different ball game now. I personally loved my time at art school; I’ve met some great people, had some brilliant tutors and had access to equipment and facilities that have helped me to develop my work. I don’t know whether it’s worth the new fees though, I would probably recommend someone to study a craft and use photography within it.

Finally, if your dreams come true, where will you be in a year’s time? 


I’d like to start working commercially while maintaining my own practice; a mix of editorial and travel would be ideal. I’d also like to think I would have started working on a book of my Papua New Guinea work. 

Zoltán Jókay

I am a photographer.

For a living I am working part time
with senior citizens suffering from dementia.
                                     Zoltán Jókay

Zoltán Jókay the son of Hungarian immigrants was born in 1960 and grew up on the outskirts of Munich. From 1984-93 he studied communication design, specialising in photography, at the university in Essen and gained a diploma in 1993. In 1990 he received the grant for contemporary German photography from the Alfred Krupp von Bohlen und Halbach Foundation, and in 1994 the art-promotion prize of the city Munich. In 1995 he received the artist in residence Foto-Feis of the city Edinburg as well as the Aenne Biermann Prize for German contemporary photography. In 1999 he received the photography-promotion prize of the city Munich, and in 2000 a grant as town-photographer in Ravensburg.  Zoltán Jókay has attracted attention via a series of portraits concerned with childhood as a period of vulnerability and loneliness, works that can be seen as reflections on his own early experiences. The portraits in these groups speak of the various nuances of happiness and alienation. His portraits bring incredible insight into people's stories told only through their faces, posture, silhouette and attitude. 



I am trying to grasp life through my work.
I am trying to find out about inner realities.
I am questioning what we are and how we live.


Agnieszka Sosnowska



ADUCATION

M.F.A in Studio Education
Boston University
1997-1999

B.F.A in Photography
Massachusetts College of Art
1989-1995

AWARDS

Annie E. Blake Award, 1991
Scholarship awarded by the Massachusetts College of Art Photography Department.
Funded travel and photographic narrative work in Sweden.
Skriðuklaustur, East Iceland, 2005
Created a series of self-portraits that reflected transition.

EXHIBITIONS 
 
Gallerí Bláskjár 
Egilsstaðir, Iceland.
“Nýjar Ljósmyndir”, Solo Exhibit.


Gallery History

Kartöflurhúsið, Reykjavik, Iceland.
“Reindeer in I”, Group Exhibit.
Sláturúsið
Egilsstadir, Iceland.
”Reindeer in I”, Group Exhibit.


Skriðuklaustur
Egilsstoðum, Iceland.
"Footsteps Home", Solo Exhibit.

Lancaster Museum of Art, PA.
Photo-National Exhibit.
Curated by Therese Mulligan and Jeanne Verhulst, from the George Eastman House.  

Pleides Gallery of Art, N.Y.C
Lisa Dennison, chief curator of the Guggenheim Museum, curated work.
Group exhibit.

Gallery 214 Art Space, Montclair, NJ
Dreamscapes Landscapes Exhibition. 
Curated by Kristen Accola, the past Director of Exhibits at The Hunterdon Museum of Art.
  

MFA Circle Gallery - Walters Art Museum, Baltimore, MD
American Landscapes Exhibit.

Curated by Gary Vikan, Director of the Museum.
The University of Northern Iowa
“Question of Faith” Exhibition.
Curated by Eleanor Heartney, a contributing editor to Art in America. 
Silver gelatin print was published in the exhibition catalogue.
Period Gallery, Omaha, NB
Mixed Media III Exhibition.
Tintype image was selected for curated group exhibit.
George Sherman Union Gallery, Boston University, MA
Artist/Teacher Exhibition.
Curated Thesis exhibit of both student and teacher self-portraits.
Academy of Fine Arts, Warsaw, Poland
Individual Exhibit.
Presented documentary work and open forum discussion for the Fulbright Commission.
Copley Society of Boston, MA 
“Manifest” Exhibit. 
Mixed-media piece was selected for curated group exhibit.
Symphony Hall, Boston, MA
AIDS Awareness group exhibition.
A color photograph shot with the Polaroid 20 X 24 camera was selected.
Congress Street Gallery, Tucson, AZ
Women and Madness group exhibit.
Curators Debra Pierce & Tina McNearney focused on the social construction of identity.

Massport Transportation Building, Boston, MA
Public To Private group exhibition.
A documentary photography project of seaport sites along the Boston waterfront was initiated by
Professor Frank Gohlke from the Massachusetts College of Art.
A series of four-toned silver-gelatin contact prints and a color-coupler print were selected for exhibit
and Massport’s permanent collection. 
 


Agnieszka Sosnowska (b. Warsaw, Poland), received a B.F.A. in photography from the Massachusetts College of Art in 1995 and a M.F.A. in studio teaching from Boston University in 1999.
Her ongoing series of self-portraits reflect surreal memories of her rural lifestyle and upbringing and hint back to her childhood.
In 1996, Sosnowska returned to Poland to complete a Fulbright Fellowship where she documented the Tatra highlanders. In 2005, she completed a American-Scandinavian Fellowship in Iceland documenting the local farming culture.

"Many years ago I learned that a photograph can tell a story without answering questions. It’s the question that motivate my stories. In a way I’m inviting the viewer to complete my sentences. With a view camera I compose the edges of an image beneath the dark cloth and search for secrets. Private feelings made public by a person’s body language or the history of a place." - Agnieszka Sosnowska




Nikolay Bakharev

Nikolay Bakharev (b.1946 Altai Region of Russia) was an orphan (his parents died when he was four) who worked as a mechanic until he developed his profession as a self-trained photographer. He grew up in East Russia near Mongolia, and still lives in Siberia. His work was featured in the "Ostalgia" exhibition in the summer of 2011 at the New Museum in New York which gathered art from Eastern European countries with a curious nostalgia for a painful past. As a critic in the Economist said: "All of this art is political, by the simple act of its creation."
Bakharev's models are the people among whom he lives and his depictions can be divided into two distinct bodies of work: private and public. The private images are generally women or couples photographed in their homes, and the public are couples and larger groups in swimsuits photographed in the woods. During the 60s and 70s it was illegal to photograph nudes so the swimmers provided a surrogate. Taking on the role of "beach photographer" enabled Bakharev to both earn a living and depict his subjects in a much more revealing way then was officially allowed.

Bakharev carefully arranges his subjects into compelling poses in which the physical contact is erotically charged, and at the same time display vulnerability and elegance.

Lives and works in Moscow and Novokuznetsk


Solo Exhibitions:
2010: Public and Private. Gallery 'FotoDepartament' along with Gallery 'Photographer.ru'. Moscow, Russia
2008-2009: Public and Private. Gallery 'Photographer.ru'. Moscow, Russia
2003: Bakharevland. REGINA Gallery. Moscow, Russia
         Bakharev Files. Manege, Moscow, Russia
2001: Russians: Love, Desire & Obsession. 'James' Boutique. Moscow, Russia
1999: Nikolay Bakharev. Humanitarian and Political Science Centre Strategy. Moscow, Russia
1998: Nikolay Bakharev. International Photo Festival. Plovdiv, Bulgaria
1996: 25 years of Soviet Landscape. Art Museum. Novokuzbetsk, Russia
1991: SovDep. Photocentre. Kemerovo, Russia
          Nikolay Bakharev. Canon Gallery, Amsterdam, Netherlands
1990: SovDep. Exhibition Hall Flora. Omsk, Russia

Group Exhibitions (selection):
2011: Ostalgia. New Museum. New York, USA
2007: Russia Miami 2007. Art Basel Miami Beach. Miami, USA
2006: Beach Photography. White Space Gallery. London, UK
2005: Universal Experience: Art, Life and the Tourist Eye. Museum of Contemporary Art. Chicago, USA
2004: Fight of Fools. Contemporary Russian Photography, White Space Gallery, London, UK
         Beach photography. White Space Gallery. London, UK
2002: Photoplyazh (Russian Championship of Beach Photography). Central Exhibition Hall Manezh. Moscow, Russia
2000: Interrnational Photoshowroom 'Siberia 2000'. Novosibirsk, Russia
1996-1997:  Russia: Chronicles of Change. Southeast Museum of Photography. Daytona Beach, Florida, USA
1996: Emerging Images: Сontemporary Photography in Russia and Eurasia. Harry Ransom. Southeast Museum of Photography. Daytona Beach, USA.
          Research Center. University of Texas in Austin. Austin, Texas, USA
1995: New Photo Art from Russia. Karlsruhe, Frankfurt, Hannover, Dusseldorf, Erten, Germany
1994: Art of Modern Photography. Russia, Ukraine, Belorus. CHA. Moscow, Russia
1993: 2nd Exhibition of Russian Photographers Union. Moscow, Russia
          Russian Art Photography Today. International Russian-American project involving five artists.              Rutgers University. New Brunswick, New Jersey, USA
1991: 1st Exhibtion of Russian Photographers Union. Smolensk, Russia
          Retort. Shkola Gallery. Moscow, Russia
1989: 150 Years of Photography. Central Exhibition Hall Manezh. Moscow Russia
          Analytical Photography. IV Bienal. Yoshkar-Ola, Russia
1987: All-Union Photo Exhibition (dedicated to the 70 anniversary of the Great October Socialist Revolution.) Moscow, Russia
1972: Svema-72. All-Union Photo Exhibition. Shostka, Ukraine
Public collections:
Moscow House of Photography. Moscow, Russia
Harry Ransom Humanities Research Center, University of Texas at Austin, Texas, USA

Southeast Museum of Photography. Daytona Beach, Florida, USA




Igor Mukhin


Igor Vladimirovich Moukhin (Russian: И́горь Влади́мирович Му́хин;) born in 1961, After graduating from college, Igor worked in a project institute. From 1985 to 1986 he attended classes at the studio of prominent Moscow photographer Alexander Lapin. He later spent several years working with samizdat rock musicians.
In 1987, Mukhin had his first personal exhibition at the Moscow State University. Since 1989 he has been working as an independent photographer. His work has been published in many Russian magazines and in foreign editions such as Rolling Stone, GEO, Elle, Vogue, Le Monde, Liberation, Esquire and Time among others.

Igor Mukhin is known for his portrait series of Soviet artists and his detached and incisive series on decaying Soviet monuments and benches. He began to cooperate with the photo agency RAPHO, Paris, in 1988, making fifty portraits of contemporary Soviet artists for the international traveling exhibition "Diaspore" (1989-1991). He created a similar series for the Royal College of Art in London in 1990. Mukhin's other work expresses the anti-climax of the demise of the Soviet state through the decrepitude of symbolic—and once powerful—cultural artifacts.


Lives and works in Moscow. 

1977-1981 Study in the Construction College. 
1981-1987 worked as a technician in the design organization. 
1985 acquaintance with Alexander Lapin and Alexei Shulgin. 
1986 collaboration with various artists for samizdat journals, participation in the first group exhibition at the Little Georgian Street, 28. Introducing Piganovym, Efimov and Alexander Slyusareva. 
1987 First solo exhibition, 120 works in MSU. 
1988 trip to Finland at the invitation of the University of Applied Arts in Helsinki, started work with clippings RAPHO, Paris. 
1989 began working as a freelance photographer, a trip to Paris and London (in Paris met with Garik Pinhasovym. Becomes a group member 'Immediate picture', Moscow. 
1990 Getting Started with Tatiana Liberman
. 1991 Series of 32 photographs of Moscow to the book 'Bulgakov place in Moscow' for Biblioteca del Vestello in Rome, the birth of his daughter Masha, teaches at the Free Ukrainian Fotoakademii in Kiev, . Organized by Alexander Levitsky; trip to Switzerland during the photo-project "Moscow-Zurich '; work over 30 portraits of contemporary Soviet artists for the exhibition catalog' Art Books', 
. 
1992 Work on the anthology 'Baltic Waves' for publication 'Bra Bocker AB', Sweden 
1994 State Prize of Russia 'man of art'. 
1999 Award Mayor of Paris and work on the project 'Lovers in Paris' commissioned by FNAC, with the participation of the Committee for the celebration of 2000, France. 
2000 Birth of son, Maxim. 



Lectures:
1990 Free Academy in Moscow. 
1991 Free Ukrainian Fotoakademiya in Kiev, Ukraine. 
1991 Kanzlei, Zurich. 
1993 Photofestival-93, ship Moscow-St Petersburg. 
1996 IV International Conference on 'Image - a phenomenon of everyday culture', Riga, Latvia. 
1997 Moscow International Photofestival 'Interphoto-97', Moscow, Russia. 

Personal exhibitions: 

1987 'for young for young' club of the Moscow State University. 
1988 'Igor Mukhin' Uralmash, Sverdlovsk. 
1989 'Igor Mukhin' Gallery, Kuibyshev. 
1989 'Igor Mukhin' club photographer, Ukhta. 
1990 'Igor Mukhin' gallery 'Interphoto', Leningrad. 
1993 'Study of Soviet monumental art' photos, Yoshkar-Ola, Russia (booklet). 
1994 'Benches: Transformation for the Future' XL Gallery, Moscow (catalog). 
. 1995 '40 photos' Museum of the Revolution, Moscow (catalog);
. 'Vision of Russia' Grote Kerk, Naarden Fotofestival, Netherlands (catalog)
. 1996 'Life in the city' The Latvian Museum of Photography, Riga, Latvia;
. 'Landscape changes' Gallery in Moscow (Photobiennale-96), Moscow (catalog)
1997 'Moscow Moscow' club 'Slepenais experementa', Riga, Latvia; 
'The Soviet era: Benches and Monuments' photodiode, Riga, Latvia; 
'Crossing' Goethe Institute, Moscow; 
'Culture Park. Memory 'KUKART-III International Festival, Tsarskoe Selo;
. 'B. Semin and Mukhin: Contemporary Russian Photography' The Camera Obscura Gallery, Denver, USA;
. 'Moscow: the city and the people' LEK, Ljubljana, Slovenia (catalog);
. 'Igor Mukhin' Galeria Gerulta, Month of Photography in Bratislava, Slovakia (catalog)
1998 'Youth and the City' Manege, Photobiennale-1998, Moscow (catalog) 
'Moscou la Jenne' Bibliotheque Elsa-Triolet, Pantin, France (catalog); 
'Moscou', MJC du Lau, Pau, France. 
1999 'Nonstop' Gallery XL, Moscow (catalog); 
'Igor Mukhin', Gallery Carre Noir, Paris; 
'Playground' M. Gelman Gallery, Moscow; 
Girls', Gallery XL, Moscow (catalog). 
2000 'Paris as it is', a concert hall foyer of Russia, Moscow; 
'Between the Lines' INVOGUE, Moscow; 
'Paris' Month of Photography in Paris. Gallery Carre Noir, Paris. 
2001 'Moscow Light', Museum of Architecture named Schuseva, Moscow. 
2002 'Moscow-Paris ", MDF, Moscow; 
'Relations', Nizhny Novgorod - Samara - Novosibirsk - Ekaterinburg; 
Moscow. International photography festival, Pingyao, China (catalog); 
'Nizhny Novgorod', Summer 2001. Photofestival Pro-Vision. N. Novgorod (Catalog). 

COLLECTIONS 
The Museum of Modern Art, New York; 
The Jane Voorhees. Zimmerli Art Museum, New Jersey;
. Maison Europeenne de la Photographie, Paris;
. Fonds National d'Art Contemporain, (FNAC) Paris;
. Moscow House of Photography, Moscow;
. The Ministry of Culture of Russia, Moscow;
. State Historical Museum, Moscow;
. Museum of Contemporary Art 'Tsarina', Moscow;
. Museum photo collection, Moscow;
. Harry Ransom Humanities Research Center, The University of Texas at Austin;
. The Corcoran Gallery of Art, Washington DC;
. Denver Art Museum, Denver;
. Southeast Museum of Photography, Daytona Beach;
. Latvian Museum of Photography, Riga;
. Victor Barsokevitch Photographic Center, Kuopio;
. The Navigator Foundation, Boston;
. Arabella Hopewell Collection, London;
. Museum of Architecture named Schuseva;
. Museum of Fine Arts, Santa Fe;
. And private collections



Valery Shchekoldin

Born in 1946, Nizhny Novgorod.

Lives and works in Moscow.

1950-1980 lived in Ulyanovsk, served in the army and became a freelance photographer. 

1980-1995 lived in different cities of Russia, from 1985 to 1995 - in Yaroslavl Zalesskiy. 

1997 'The best photographer of Russia' - 'Paris Match', 'Best photo series, the' - 'Interphoto-96'

1998 'Photographer of the Year' – Photo editors club of Germany, 1 st place, 

Daily life, photo series - 'Interphoto-97'

1999 'The best Photo of the year.' - 'Interphoto-98',
'Award for humanistic attitude in photography' - Institute of Humanitarian Studies, Frankfurt, Germany, 'Best photo series in the journal' - Photo editors club of Germany


Personal exhibitions:

1987 'The Moment of Truth', Ulyanovsk, Regional Arts Fund
1991 'The hidden man', Moscow, Photo Center
1994 'The word victory - the root of trouble', dedicated to veterans of the Great Patriotic War, Moscow, Photo Center
1997 'Pictures', Moscow, gallery 'Russian field'
1998 'Ulyanovsk', Moscow, New Manege (within Photobienalle-98)
He was taking pictures in different cities of Russia and Soviet Union, in Chechnya and other “hotspots”
His characters - the old people, youth, children from orphanages and youth from the correctional colonies, people in prisons and retirement homes’ residents, farmers, workers, bohemians. 
His photographs were published in journals '’Soviet woman’', 'Ogonek', 'worker', 'Peasant', 'Family and School', 'Motherland'.


"When one remembers the past, it had long gone nowhere, it seems larger, clearer and more significant still is not cooled yesterday. Old Photos approximate half-forgotten faces, long-standing event. Staring at them, move in a silver car at the time by accident and was depicted in passing time and once again facing him. Because of this history is seen in reverse perspective: that previously seemed insignificant, is of crucial importance, but that it seemed important and indestructible, crumbles to dust.

 When I did my series of shots of darling billboards and foolish political propaganda, to which could not be treated seriously, but which, however, did her stupid thing, I realized that it must be treated with humor. Then I thought to myself direction: "Sotskretinizm" - and began to consistently identify the absurdity of the system. When the pictures had accumulated enough, I thought it would be nice to publish a book with the modest title "The Art of degeneracy. But then passed terry Soviet times: just died, Brezhnev and Andropov was still alive - no thaw was not forthcoming, on the contrary, the system tried to tighten up the nuts. Who knows what would have turned out, lived a few years Andropov. So what about the book I thought, too, with humor, and continued to accumulate between the case material. Now this time is history, but history has a strange habit of repeating itself. I do not know how anyone, but I like to reread old books, review old photos and was transported back to the old days" 




Igor Savchenko

BIOGRAPHY:
Born in 1962 in Minsk, Soviet Union.
Lives and works in Minsk, Belarus.

1980-85.- Studied cibernetics and automatic control systems at the Belarusian State University of Informatics and Radioelectronics.
1980 - First practice of scuba diving at Minsk School of Voluntary Society to Support Army, Air Forces and Navy with instructor Valery Burtsev.
1985-91 - Worked an engineer, Minsk.
1988-89 - Contacting Valery Lobko Creative Photography Studio in Minsk.
1990 - Prize by Kodak-Pathe Foundation at Salon International de la Recherche Photographique, Royan, France.
1991 - First solo exhibition, Galleri Index/ Fotograficentrum, Stockholm.
Artist working with photography.
1992 - Portfolio reviewer at FotoFest, Houston, Texas, USA.
2000 - Portfolio reviewer at Odense Photo Triennial, Odense, Denmark.
1995 and 1996.- Guest teacher at Turku School of Art and Communication, Turku, Finland.
1997-2006 - Artist in residence at: Hartford Art School, University of Hartford, Hartford, Connecticut, USA, (1997); Konstepidemin/ School of Photography and Film of Gothenburg University, Gothenburg, Sweden, (1998); Kuenstlerhaus Boswil, Boswil, Switzerland, (1999); Villa Waldberta, Feldafing-Munich, Germany, (2000); Literarisches Colloquium Berlin, (2006).
1994-95 - Started writing texts and prose.
1997 - Declarative abandonment from creation of new photographic works.
2001- First book of his prose "Nach Osten. Bewegt, doch nicht zu schnell" and art-object-book "Sergeyev's Temptation" .
2002 - One of his works has disappeared from a retrospecrive show of his photographs at Contemporary Art Museum (from 'Invisible' series), Minsk .
2003 - Resumed practicing scuba diving at Sea Pegas Diving Club, with instructor Andrey Likhachyov, PADI, Minsk .
2004 - First courses of technical scuba diving, with instructor Sergey Borisov, TDI, Hurghada, Egypt .
2005 - Certified as Adv Tx TDI diver with instructor Andrey Chistyakov; Trimix Deep Diving master-class with Chistyakov and diving with him to the depth of 192 meters, The Blue Hole, Dahab, Egypt.



In 1989 he presented his first project – the series of photographs “Alphabet of Gestures”, which had been updated with new images up to 1994.
The photos from this series were performed in an unusual technique of re-photograph. Savchenko had selected the photos of the 30-60s from the family archives and then selectively photographed some areas, cropping and thus modifying the meanings of images. The object of his interest, as the name implies, was the body language, a nonverbal sign: all irrelevant has been removed from the photos, all that distracts the attention, so gestures could appear in their symbolic nature. Such a “bare” sign devoid of contextual and narrative “garments” provokes a strong reaction of spectators, like a bare nerve.
The next project “Shadows” (1989-1993), which central objects-signs were human figures, was the logical extension of this concept. The photos, where on a sterile, devoid of details background we see human figures reduced to the graphic symbols of some unknown code, offer the spectator to unravel himself and provide them with subjective sense. Such images are, in some sense, anti-photographic: the photographed reality, which manifests itself in details, is deliberately deprived of these details. That is, a photo ceases to function in a copy mode of reality. In such cases, according to Baudrillard’s idea, when real objects lose one of their dimensions, their presence becomes magic: visual images begin to be regarded as “sensual mystifications”, which may be symbolically acquired by a spectator.
While in the first three projects (“The Alphabet of Gestures 1.2” and “Gestures”) Savchenko attached great importance to the variety of non-verbal communication symbols, in the following series (starting with the “Mysteries) his photos acquire a new dimension – historical. The artist becomes a narrator of stories, the witnesses of which were the photos: he complements these stories with his author’s marks (scratches, lines, dots) and signatures, so that the photos acquire an additional meaning.
In the project “We speak German” (1991) Savchenko refers to the time of World War II, when, according to his words, intercultural relations have reached their climax. War, as a specific mode of existence, has always possessed a terrible, but in a certain sense, romantic halo. During the war, there is always a place for an individual act of bravery. This is the time of the most palpable alienation of individuals and the time when fatalism as a position is the most appropriate.
Two parallel trends develop in his works – the reduction of the visual and the enrichment of narrative. They reach their apogee in “The Invisible” (1993-1994) and “Commented Landscapes” (1994-1995). In the series “The Invisible” the visual completely disappears from the pictures: we see only exposed or unexposed images. The only thing these pictures are valuable at is the fact of their existence. They become silent confirmations of their signatures. Thus, the stories they tell acquire an extra persuasiveness.





In “Nach Osten. Bewegt, doch nicht zu schnell” (1994-2002) Savchenko creates realistic audio-visual collages, in which he explores the aesthetic and ideological similarity between the Soviet and Nazi regimes. He imposes the music on pre-war newsreel fragments: the Soviet music is superimposed on the German newsreel and vice versa (e.g., the Soviet song “Higher and higher” on the fragments of “Triumph of the Will,” by Leni Riefenstahl). The audio fragment named “Free evening of Otto Stolz” (1999) is quite notable in this project.  It is an audiotape of the Eighth Symphony of Anton Bruckner made during its performance. On the record we can clearly hear the sounds emitted by a person in the room: the author narrates his thoughts arising during the performance of the symphony. So with Igor Savchenko’s brings luck, Otto Stolz – the protagonist of this work – appears.
In his latest project – “Nine, eight, six. Three numbers of Field-Marshal-General Keitel” (2009) and “Twenty seven seconds. Demiurge’s Practicing” (2010) – Savchenko gives each spectator the opportunity to become a demiurge for some time, to construct certain events and to experience them. The projects provide step by step instructions for modeling situations: following them, you can, for example, feel what Wilhelm Keitel felt at the time of signing the document of capitulation of Germany in World War II, or control the situation on a small area of the Minsk road. In order to feel full like a creator of the reality, you need only a little imagination and sensitivity, which is inherent to romantic and dreamy natures.