VILNIUS - "Moscow, Moscow:" Whether it's deliberate or not, the name of the recently opened Russian photo exhibition sighs with nostalgia. And there is a good reason to.
Fifteen years ago, the photography schools of Lithuania and Russia, once closely connected, slammed their doors shut on one another. Many suggest this was mostly due to political reasons.
So it's no wonder the schools' recent re-establishment of communication 's the first Russian photo exhibition in 15 years in Vilnius 's has grabbed the city's attention.
The joint photo exhibition at the ARTima Gallery brings together five Russian artists, all nationally recognized masters, and members of the Russian Photo Artist Association. Obviously, five photographers can't wholly represent the artistic trends of Russia today, but "Moscow, Moscow" does embody the essence of the nation's most esteemed photography school.
Aleksandr Agafonov, 49, who is also chairman of the Russian Photography Association, brings frozen images of derelict ships to Vilnius. The photos convey a strong atmosphere of neglect, the inclemency of wasteland. Agafonov refers to his work as "photo symbols" or "photo essays." He is in constant search of images with fragmentary, uncompleted impressions and irrational reality. Nevertheless, in the broader perspective of techniques, Agafonov's pictures don't seem to surpass the traditional means of photography.
For the past 30 years, Aleksandr Slusarev has been considered Russia's photography celebrity. Previously known for his biting satire of Soviet culture, these days Slusarev has transferred his sarcasm to present-day society. A series of social photographs demonstrates Slusarev's sharp eye for conflicting images, and platforms for social trademarks. Images of national festivities serve as a perfect example - their essence and presentation doesn't differ much from commercial advertising.
Photos by the exhibition's youngest participant, Konstantin Smilga, narrate stories about life in the circus. Black and white images of horses, pigeons, and children are assembled as film sequences or fragments from the past, creating a world of magical realism.
Critics of Ludmila Zinchenko have elaborated on her photographs, drawing parallels with the work of director Aleksandr Tarkovski. Her camera obscura techniques seize the world in a blur, giving off the artistic impression that reality is fading away.
In a series of photographs by Svetlana Pozharskaya, the artist abandons the camera to experiment with new technologies. She scans sophisticated still-lifes, arranged on a scanner as if reflecting the contrasting Russian reality of luxury and poverty.
"Moscow, Moscow" provides a small glimpse at some of Russia's biggest photographers. Even though the exhibit might not cover the latest trends, it excels in demonstrating pieces of Russian tradition.
