Off The Wall – Anouk Kruithof

 

Off the wall, in Saint Petersburg, Russia. On the invitation of Daria Tuminas and Zhenia Sveshinsky, I had to develop a 5 day workshop from June 21 till June 25th for 15 students. The assistant of the workshop and the translator also took part in the end, so we had quite a big group of 17 students all together. The workshop was hosted by Fotodepartament in St. Petersburg, which is a small centre for photo education, an exhibition-space and book (edition) shop in one, ran by Nadya Sheremetova.

 

 

Workshop inside Fotodepartament.

 

My workshop was called ‘Off the Wall’ and aimed to stimulate students to find the right presentation form fitting to the context of their photo-archive, photo-project, photo series or singular photo. Anything was possible as long as they don’t see their photo or photographs as the end result. We were going to explore how we could use this photographic material and were thinking about different ways of presenting the photographic material. We’re going to find suitable possibilities where the nature of these sources – a photo, a photo series, an archive of photos – can be translated into a ‘space’. ‘Space’ can be very diverse: an exhibition space, public space, a book as a space, the internet or the screen of your mobile device. The photographic material can be transformed into spatial, virtual or interactive installations or sculptural forms.

 

 

Discussing Daria Tuminas’ inspiration wall & Vanitas Bananitas and the association of a banana with sex.

 

Part of the workshop was making an ‘inspiration-wall’ and the day after the students had to present this wall and give a presentation about their research and connect the different works or artists they chose to their own project.

 

 

Discussing inspiration wall’s outside, in front of Fotodepartament.

 

On the last evening we celebrated at TAIGA art space with an exhibition of the works made during this workshop of all the students.

 

 

Installing the group exhibition at TAIGA & immediate mobile phone posting by Nadya Sheremetova while on high blue heels.

 

 

Making personalized presents for the students & workshop-family picture on the opening of the exhibition.

Underneath you will find their work made in the workshop and their own words and information added towards it.

 
 

Julia Lisnyak – Voina (beyond)

 

Selfmade newspaper spread (A3) with different articles experts about the VOINA Art-Group («War»)

Voina is a revolutionary group of Russian artists that engages in radical street protest actions. The group was founded by Oleg Vorotnikov (a.k.a. “Vor”, ideologist) and Natalia Sokol (a.k.a. “Kozlyenok”, coordinator) in 2005. On June 25, 2006 Alexey Plutser-Sarno joined the group and became its media artist and author of the group’s media art, concepts and texts.

On the selfmade newspaper spread you’ll find an empty frame and in this frame there is a slide-show of photos made by Julia, who over years was following, accompanying and photographing the VOINA Art-group.

Julia Lisnyak:  “The only word I can think of when talking about the art-group “Voina” is “beyond”. Its numerous actions remained beyond my subjective perception, until an obscene picture has been shown to the entire Piter. This was the largest obscene sign during the history of the humanity. The city was asleep, the bridges were raised, and instantly a phallic symbol of 65 meters slowly rose, drawn on one of the bridge parts. The picture was turned towards the building of the FSB. In the morning the phallic symbol was washed away, though the agitation remained. Piter and Moscow, and the entire country were happy about something. And so I decided to take a closer look on the group. However, at the same time all the Mass Media decided  to do the same. All activities of the Group were recalled, including the seizure of the White House, the wild party in the Museum of Zoology, a punk concert in Court etc. The “Voina” was basking in glory and I decided not to queue up amongst the others. I would have simply forgotten about the Group, unless I haven’t met its participants in Piter, when Oleg Vorotnikov and Leonid Nikolaev, its leaders, were unprisoned from the pre-trial detention center (SIZO). Now it’s time for some prehistory. In 2010 Leonid Nikolaev put a blue bucket on his head, jumped on a car with a light bar, ran over its roof, jumped down and ran over the road, thus protesting about using of light bars in our roads. This happened near the Kremlin. On 15th of 2010 Vorotnikov and Nikolaev were arrested and sent to the pre-trial detention center of St-Petersburg. They were unprisoned on 24th of 2011 on the bail, paid by another celebrity, the world famous Banksy. The Group once more was being paid much attention. It was then that I met them, Oleg, Lenya and Koza. They were celebrating their unprisonment, Oleg was reading his prison diaries, and every day the Group was giving interviews. They were having fun. Many friends came to their side then. It seemed to me that the story of the Group “Voina” was coming to its end.  Many people thought so, when the Group was nominated for the award “Innovation”, established by the Ministry of Culture of Russia. Critics and art experts couldn’t speak out the name of the Group’s action, taking part in the competition, as it was rather rude, “The Dick is imprisoned by the FSB”), and were trying to invent some more neutral names for the action. The Group protested against its participation in the “Innovation” competition. Finally, on 7th of April 2011 the Group was announced as the winner within the nomination “The Work of Visual Art”. And once again for some time the Group was paid attention to. Everybody seemed to expect that the Group would get its prize of four hundred thousand rubles and settle down. However, the Group didn’t come to get its prize. Then there was the March of the Discontented, when the activists were splashing urine from bottles over policemen. I shooting the interrogations, moving from one place to another, birthday parties, walks in the night Piter and long conversations.”

Gradually the attention to the Group jaded, but I go on with my story. I am going to continue until I understand who they are, the participants of the Group “Voina”. 

Are they outcasts, who think themselves to be heroes? 

Are they riffraffs, wishing to become famous? 

Are they hooligans, anarchists or idealists, who believe they can improve the world around them? 

I still have no answer.

 

 

 

Katja Garkushko – Return

 

Why do people make so many pictures? Maybe they want to dismantle reality for souvenirs?
From space to material and then to the picture. Photos are fragments of reality and shooting breaks the continuity. I used the classic views of St. Petersburg as material for this work. The photos of unknown, forgotten in the photolab, return these fragments back into space in installation, and visitors take away during the show, until it disappears.

 

 

 
 

Anna-Polina Shurygina – X(tra) – Ray

 

Lightbox and different photos printed transparant sheets.

 
 

 

 

Noora Sandgren – Ok Fly

 
Photo circle 90x90cm, installation 2,7- 4 meter strings, stones & one whole brick found in Saint Petersburg.
 
 

 

 

Fedor Shklyaruk – The Aether
 

“These premises clearly give the conclusion that there is in nature some bodily substance other than the formations we know, prior to them all and more divine than they…”

On the Heavens by Aristotle. Installation. glass cube, white block, spot light. 50 x 50 x 50 cm – glass cube. 150 x 100 x 50 cm – block.
 
 

 
 

Vik Laschenov – Reducing Distance With Photography

 

Now, each of us surrounded by a huge number of photographs and images. So that is a reason for distancing viewers from it. How can viewers are able to overcome this estrangement? Which images can involve us totally? How change their experience if we use viewers body as a medium for images? I think such a photography should be performative. I think such a photography should have a viewers physicality aspects. When I remove media of photography, when I create some special terms for representation images I try to play with viewers. I’m interested in riddle viewers with way of viewing images.

 

 

 

Elina Ryzhenkova – Outer Layer

 

Installation out of 12 handmade pictures, 4 wooden sticks and 10 meters of paper.

The landscape is always about distance. A distance from the viewer as well as a distance from reality. Destruction of the outer layer distances a photograph from the world and brings it closer to a viewer. When the inner layer is uncovered, two bodies meet each other: a body of a photograph and a body of a man. In areas where the image is destroyed, visual information is replaced by the tactile. We don’t feel these places as empty. They are filled with invisible.

 
 

 

 

Ekaterina Iushkevich – Please Comment On My Photographs Performance

 

In this performance I invited viewers to look at my photos and comment on them and in return I offered them my services such as a massage, a manicure or cleaning their shoes. while doing this I recorded their comments. This performance shows the relevance of the public in an art context, because on a certain moment during this performance they, themselves become more important then the photographs they are looking at or the performance where they are taking part of: let’s say: the work.

 

 

 

 

Yulia Spiridonova – Untitled

 

Photo on fabric 40-50 inch hanging from ceiling in space.

 
 

 
 

Daria Kalugina & Kirill Savchenkov – Locus Amoenus

 

The photographic images contain imprints of habitual objects and today vice versa the objects contains traces of images of the perfect life, of a dream of the paradise. Due to popular advertising concepts, which represent products using the photographs of beautiful women, beaches, palm trees,  the image of an acquired desires rises in our head  while we clean a kitchen, wash dishes and so on.

 

 

 

 

Daria Tuminas – No Tail No Scale

 

Dummy of book project/ spread from the chapter ‘Circle the Bite with Three Fingers’.
The project grows from my ‘double identity’ as a folklorist and a photographer. In four cities between Moscow and St. Petersburg, I find legends that serve as starting points for my photographic investigations and reflections on certain male practices and behavioural strategies. In the chapter ‘Circle the Bite with Three Fingers’, I study a crocodile that surprisingly appears in Veliky Novgorod’s chronicles of the 17th century being the son of the city’s founder. This scaly creature, a monster similar to a dragon or a snake, represents aggression. What does it do? Serves devil. Steals wives and girls. Drowns or kills people. Eats virgins. It ia a mythical villain and a lover. I study its habits, complicated relationships with women, and a destiny to be defeated.

 
 

 

 
3 channel video projection on a semi-transparent fabric (140 x 80 cm).

In this project I’m dealing with 3 certain feelings that I was experiencing quite a lot during last half of the year here in Czech Republic. All of them were connected with the particular event which happened to me in the end of last year. In this 3 video installation I present video documentation of the certain action which took place quite recently. In this action I placed myself in front of the camera for approx. one hour, trying to feel and live through those certain feelings that I had. Important part for me was to try to capture my condition and mood in order to be able to have a distant view on myself as a viewer from a side.

 

 

 
 

Anastasia Bogomolova – Datcha / Garden

 

Installation out of prints, plants, land, pots, shelves, watering cans, lamps – 240 x 280 cm.

 

 

Jana Romanova – My Mother Was On The Photograph

 

Multi media installation: photos and post-its on mirror (triliage)  and video on Ipad.

 
 

 
 

Margo Ovcharenko – Untitled 
 

Book mock – up. approximately 50 cm x 47 cm x 6 cm foamboard, inkjet print.
The fake book mock up which is presented here intended to show non-narrative photographic series.
Originally contains six books each one connected to one specific subject. Such book forms were spread during medieval times and were usually sacral texts.
Which is also connected to theme of photographic series which is sense of shame and a concept of original sin.

 
 

 

Julia Borissova – DOM (Document Object Model)

 

Dimensions – various, small house: 10 х 10 х 8 cm, a big house: 17,5 x 13 x 10 cm (not including plants).

“Dom” means a house, home, a building or a household in the Russian. My idea is to create a utopian version of sprouting houses. As a model for my houses, I chose the kind of mass housing. I grew the plants in the models and watched as they were germinating. I was photographing to capture the variation of their appearance,  thinking about how our concept of home is changing over time and the notion of home is transforming in connection with the place in which we live.  From these pictures I’m going to make an animated movie showing the process of germination. And the final part of my work was talking to people around me who responded to my question what their sense of “home” meant for them. According to their answers I made the audio file, which sound was accompanied my installation.

 

 

 

Natalia Baluta – Afterwards

 

Black box with photographs, which one can watch with a flashlight or a mobile phone.

 
 

 

www.anoukkruithof.nl