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Arts Calendar / May 6 / Exhibitions
125 Years of National Geographic
125 Years of National GeographicARTPLAY presents a photo exhibition "125 Years of National Geographic" which is dedicated to the 125th anniversary of National Geographic magazine, long renowned for its stunning images. The exhibition including 125 images created by legendary photographers and researchers in National Geographic from 1888 till now tells the story of National Geographic, the years of research and discovery. Each frame tells about a certain milestone in the history of the magazine. National Geographic Magazine Today is recognized expert in the world of photography: it was on its pages where first colour photos, underwater and night shots , the first picture stories appeared. Rare footage were presented at the exhibition, and they will tell visitors about global studies of unusual traditions and the most unexplored places on the planet. One of the main elements of the exhibition is the famous image of the Afghan girl with piercing green eyes, authored by Steve McCurry, the legend of reportage photography. Jubilee exhibition goes around the world, and now Russian fans of the journal have a unique opportunity to plunge into the history of world discovery. The exhibition has already been presented in Germany, Denmark, Korea, Italy, China, Spain and the Netherlands. National Geographic magazine is the official journal of the National Geographic Society. National Geographic Society was first founded in 1888 by a group of 33 Americans with the goal of spreading knowledge of world geography. Over time, National Geographic has supported more than 9000 projects and has released journals, books, television series, films, maps and DVDs in more than 35 languages. National Geographic has been a major supporter of some of the great explorers of the 20th century. The society sponsored the expeditions of polar explorer Robert Peary, submersible pioneer Jacques Cousteau and maritime archaeologist Robert Ballard. Cousteau and Peary are both featured in photos at the exhibit: Peary is pictured somewhere in the far north, wrapped in an immense furry overcoat with an enormous, walrus-like moustache, while Cousteau is seen catching fish in his underwater world. The exhibition emphasizes the magazine's ongoing dedication towards using the power of photography to explore, educate, inspire, document and preserve the world around us. While some photographs shocked viewers with exotic people and scenes, others charmed by capturing everyday life, like a picture of a young Guatemalan boy in a big hat chasing a turkey, or scene of children in 1930s Ohio examining a poster for the circus. Another crowd favorite was a colorful photo showing two obese, smiling French tourists being carried ashore from their yacht by small Tahitian natives. National Geographic's retrospective captures the zeitgeist of myriad places and times from throughout its 125-year history, creating a colorful patchwork of the 20th century. Shocking, illuminating and amusing, it draws viewers in and cannot be viewed quickly.
Artplay na Yauze 
Alexander Lapin: Time Flies
Alexander LapinThe Manezh is home to an entire constellation of Russian and foreign stars of photography. Alexander Lapin is a Russian photographer, born in Moscow in 1945. In school, Lapin favored physics and mathematics. With his teachers' praise and approval he entered a Technical Institute. However, his passion for photography was acquired with such alarming proportions that in 1969 he gave up the institute and decided to devote himself completely to photography. He admired photography of Henri Cartier-Bresson, W. Eugene Smith, and Adre Kertesz who he considered to be his teachers. He began to work as a photographer for different organizations. Several of his pictures were published in some Moscow newspapers, one even on the back cover of Soviet Foto. Alexander Lapin participated in a dozen exhibitions during the 1970s. But it wasn't until 1985 that he was first allowed to show nudes in his first personal exhibition. The public reception was positive and Lapin's career moved forward. From 1979 to 1983, Alexander Lapin also taught part time at People's University of Art (ZNUI). He organized the "Studio of Art Photography" at the House of Culture at Moscow State University between the years of 1985 and 1987. He has been a member of the Board of State Awards in Art and from 1992 to 1997, he was a photography expert for the Russian Federation Commission on State Prizes in the field of fine arts. As a photographer, Lapin participated in many exhibitions in countries such as Russia, Germany, Sweden, Denmark, Finland, France, Switzerland, the US, and England. His works are featured in the Pushkin Museum, Corcoran Gallery of Art in Washington (DC), Museum of Fine Art in Boston and private collections. In 2003, Alexander Lapin published his first edition of "Photography as…" which quickly became a bestseller. The book converses the theory of black-and-white documentary photography, the laws of photocomposition, and the psychology of perception of pictures. There is a review of the principle of assessment and analysis of images. Alexander Lapin lives and works in Moscow and since 1999 has been teaching the History of Photography at the Moscow State University Journalist Faculty.
Manege 
Andre Kertesz: Double of a Life
Andre KerteszThe Manezh is home to an entire constellation of Russian and foreign stars of photography. Hungary's Andre Kertesz (1894-1985), who worked in France and the United States and experimented in every possible way with photography during a 70-year career, has an exhibition that is aptly titled "The Double of a Life." Recognized as a pioneer of photojournalism for his experimental work developed with artists of Dada sensibilities and for his experimentation with small-format cameras, Kertesz was one of the most prolific and diverse photographers of the 20th century. Kertesz acquired his first camera in 1912 while working as a stockbroker in Budapest. While he began by photographing family and acquaintances, he soon recognized the power of the camera for capturing the spirit of people and the places surrounding him: villagers and gypsies, urban streets and lush Hungarian valleys. As a soldier during the Austro-Hungarian army during World War I, he documented the everyday life of his fellows until he was wounded in battle. After gaining recognition for his deeply evocative portraits, scenes, and photo-essays in his native country, he moved to Paris in 1925. There, he became acquainted with members of the Dada movement, one of whom dubbed him “Brother Seeing Eye” - an allusion to a medieval monastery where all the monks were blind except one. During this period, he not only executed his distortions series, he also took the portraits of many of the most important artists of his era, including the painters Mondrian and Chagall, the writer Colette and the film-maker Sergei Eisenstein. In response to growing troubles in Europe, he and his wife Elizabeth moved to New York in 1936. Until 1949, he took on freelance work for popular fashion magazines, including Collier's, Harper's Bazaar, House & Garden, Town and Country, Look and Vogue. While they had not intended to stay, the aftermath of the war and the 1956 revolution in Hungary made New York their permanent home. With the development and marketing of instant photographic technology in 1972, he became one of the first photographers to experiment with the Polaroid camera. While his work had fallen out of favor with critics during the 1950s and 1960s, by the 1970s he was recognized as one of the elder statesmen of photography, with work shown in galleries throughout the world. The Central Exhibition Hall Manege is hosting a wide selection of works from throughout Kertesz's career, bringing together some of his best known photographs with less known works that provide an introduction to the rich range of his unique vision.
Manege 
Chris Shaw: Night Porter
Chris ShawChris Shaw is a leading light of modern British photography. He was widely acclaimed after publication of the book "Life as a Night Porter" in 2005: influential critics called him the arbiter of a new genre and London’s Tate Gallery acquired several works for its collection. His "Life as a Night Porter" began in 1993. When one day Chris Shaw found himself with no money and no roof over his head, the prospect of employment as a hotel night porter seemed to offer the ideal solution by providing a place of sanctuary for the night. The work was exhausting. Twelve-hour shifts not always in London's most fashionable hotels proved a real test of endurance. Shaw, an art college graduate, started taking photographs to stop himself falling asleep. "I was saved by photography; it has since become my vocation," confesses Shaw. "Life as a Night Porter" is a diary of sorts covering a period of ten years. And, like a real diary, it bears the imprint of the owner's personality. Blurs, marks, uneven edges and ironic captions give a constant, almost physical feeling of the photographer's presence. Chris Shaw notes that chance events, mistakes and diverse factors ranging from fatigue to lack of time or money played an important role in forming his style. This is how Chris Shaw describes his technique: "Many would probably not consider my raw, uncensored work as "traditional," yet in a digital age as the visual norm becomes ever cleaner and more perfect, I keep redefining the tradition of shooting, then developing and printing the negative with my own hand. I strive for permanence; to archive the physical, to fix a place in time on paper with light, an obsession is with the nature and reality of the imperfect photographic print... What's important here is not technical perfection in the spirit of Ansel Adams, but a physical connection with the print and what it depicts." Apart from the photographs Shaw took in his years working as a night porter, the series also includes shots of hotels where he stayed as a guest - in New York, Paris, London, Amsterdam, Berlin, Arles, Liverpool, etc. The author is often asked: "So where is this hotel?" Chris Shaw points to his own head in reply: in reality such hotels don't exist, but if you always work or live in hotels, then with time they all seem alike - and look that way, too. The second project presented in the exhibition, "Weeds of Wallasey", features Chris Shaw's birthplace, the town he returned to many years later. Wallasey is situated on the Wirral Peninsula in the north west of England. The author writes of this photographic series: "I observed and documented the battle between nature and a post industrial blight, to express my own feelings about a landscape I grew up in, my roots, my weeds... to document a time and a place... the feelings for lost family members, the association of death and departure with my home town. Recently, Peel Holdings signed a multi-million pound property development deal in conjunction with Chinese partners to redevelop this area ("Wirral Waters"). These photographs belong to the "before," and if the after is all brand new mirrored high-rise glass and chrome, there will always be weeds."
Multimedia Art Museum 
Jacques Henri Lartigue: Bibi
Bibi"And now it is up to you, modest photographs, to do what you can - very little, I know - to tell everything, explain everything, make everything be imagined... everything, even and above all what cannot be photographed," - from Jacques Henri Lartigue's diary (1931). The great Jacques Henri Lartigue revealed his talent for photography as a child yet only achieved fame in 1963, at the age of 69. This was when his early work, a brilliant photographic record of French life in the Belle Epoque, attracted attention in the United States. Lartigue's legacy is often seen in terms of these stunning snapshots of sporting events, the nascent automobile and aviation industries, and elegant ladies promenading the Avenue du Bois de Boulogne. But his oeuvre is actually far richer and requires not only our wondrous gaze, but also sensitive appreciation. As if reflecting everyday existence in a mirror, the mature Lartigue documents his life's course in photo albums, sharing his happiness, his troubles and fears. The present exhibition focuses on Jacques Henri Lartigue's works from the 1920s, the period spent with Madeleine Messager, nicknamed Bibi, the photographer's first wife and mother of his only son, Dany. Lartigue's years with Bibi (1918-1930) form an integral whole in his life and work. The robust and joyful Bibi provided an anchor for his anxious sensibility, while Lartigue magnified his wife's serenity with the use of panoramic formats. Bibi was also the subject of his finest autochromes. An elegant and social couple, Jacques and Bibi lived through the heady 1920s, the soirees and the trips to Deauville, the Basque coast and Cote d'Azur. Lartigue sought to make a career as a painter and become financially independent, but this proved fraught with difficulty. Unsure of himself despite his good looks, Lartigue gave way to the temptations of his time. When Bibi left him in 1930 he was dumbfounded and deeply hurt.
Multimedia Art Museum 
Ouka Leele: Transgressive Utopia
Ouka LeeleThe Central Exhibition Hall Manege presents an original photo exhibit under the name "Transgressive Utopia" by the prominent Spanish photographer Ouka Leele who entered the art scene in the 1980s. Ouka Leele (stage name of Barbara Allende, born in Madrid in 1957) began his artistic career as a painter and later dabbled in photography to become one of the main exponents in Spain. Her work has been shown in cities like Paris, London, Tokyo, Sao Paulo and New York as well as in prestigious institutions like the Museo del Prado, the Spanish Museum of Contemporary Art and Fondation Cartier, among others. Author of some of the most impressive paintings and photographs of Spanish art of the past 20 years, she was one of the most visible members of the80's Movida Madrilena. Ouka Leele has ranked alongside such major artists as Cindy Sherman or the filmmaker Pedro Almodovar. In her artistic idiom, she has striven for a fusion of two different media: photography and painting. In her output of a specific type of watercolours, she visualizes her concept of the world, influenced by Surrealism, producing works whose titles often cite fragments of poems. The exhibition titled "Transgressive Utopia" consists of 15 works by the artist produced by the Directorate of Cultural and Scientific Relations to represent Spain in the XI Biennale of Cairo. The selection is a "very special" one that is neither retrospective nor historical, but that brings "analogue photographs, some with more than ten years but which are absolutely unknown, unpublished" and other digital and color little known by the public, among which are two of the Collection "Doce Artistas en el Museo del Prado".
Manege 
Philip Jones Griffiths: Recollections
Philip Jones GriffithsEvocative images by celebrated photographer Philip Jones Griffiths will be on display in Recollections at the Central Exhibition Hall Manege. The exhibition will feature around 60 images of Britain in the 1950s and 60s. Recollections by Philip Jones Griffiths runs from 17 October 2008 to 15 March 2009. The first display of Griffiths' work since his died was in March 2008 at the National Conservation Centre in Liverpool. One of the greatest photographers of the twentieth century, Griffiths' depiction of the Vietnam War redefined photojournalism and provided a window on the actions of America. Recollections will showcase lesser known but equally engaging images of Britain, and in particular Liverpool, at a time of social and political change. Born in Rhuddlan, Wales, Griffiths took photographs of local weddings and day-trippers whilst still at school, creatively influenced by Liverpool artist and friend Adrian Henri who was evacuated to nearby Rhyl. Speaking earlier this year Griffiths remembered fondly his time spent in Liverpool: "In my youth Liverpool was the unofficial capital of North Wales. It was where I went to expand my horizons, experience the world outside my village. It provided a mix of enlightenment and education and an early experience of multiculturalism. The bustling seaport city became my favourite!" Highlights of Recollections include: evocative images of 1950s Liverpool street scenes; striking photographs of the conflict in Northern Ireland; an insight into the 1950s and 60s cultural scene including revealing shots of the Beatles, Adrian Henri, Lawrence Olivier and Norman Wisdom; captivating images of London life, from Buckingham Palace to Battersea Park, Piccadilly Circus to Pentonville prison; fascinating portraits of protests and political figures such as Tony Benn and Harold MacMillan; slideshow of Griffiths most important pictures from Vietnam. Born in 1936 in Rhuddlan, Wales, Philip Jones Griffiths studied pharmacy in Liverpool and worked in London while photographing part-time for the Manchester Guardian. In 1961 he became a full-time freelancer for the London-based Observer. He covered the Algerian War in 1962, then moved to Central Africa. From there he moved to Asia, photographing in Vietnam from 1966 to 1971. His book on the war, Vietnam Inc., crystallized public opinion and gave form to Western misgivings about American involvement in Vietnam. An associate member of Magnum since 1966, Griffiths became a member in 1971. In 1973 he covered the Yom Kippur War and then worked in Cambodia between 1973 and 1975. In 1977 he covered Asia from his base in Thailand. In 1980 Griffiths moved to New York to assume the presidency of Magnum, a post he held for a record five years. His continued revisiting of Vietnam, examining the legacy of the war, lead to his two further books Agent Orange and Vietnam at Peace. "Philip Jones Griffiths was one of the greatest and most influential photographers of the late twentieth century. Anyone who had the privilege to know him encountered a lively and enquiring mind with a strong - indeed driving - sense of justice. This was coupled with a quick and wicked sense of humour, which is evident in many of his photographs in this exhibition, with their irreverence towards authority, both political and cultural," said Julian Stallabrass.
Manege 
Photobiennale 2014: Erwin Blumenfeld
Erwin BlumenfeldErwin Blumenfeld's life and work impressively document the socio-political context of artistic development between the two World Wars, while highlighting the individual consequences of emigration. The exhibition devoted to Erwin Blumenfeld's multi-layered œuvre brings together over 300 works and documents from the late 1910s to the 1960s, and encompasses the various media explored by the artist throughout his career: drawings, photographs, montages and collages. This exhibition traces his visual creativity and encompasses the early drawings, the collages and montages, which mostly stem from the early 1920s, the beginnings of his portrait art in Holland, the first black and white fashion photographs of the Paris period, the masterful colour photography created in New York and the urban photos taken toward the end of his life. The retrospective also showcases his drawings, many of which have never been shown before, as well as his early collages and photomontages, shedding fascinating light on the evolution of his photographic oeuvre and revealing the full extent of his creative genius. The now classic motifs of his experimental black-and-white photographs can be seen alongside his numerous selfportraits and portraits of famous and little-known people, as well as his fashion and advertising work. In the first years of his career, he worked only in black and white, but as soon as it became technically possible he enthusiastically used color. He transferred his experiences with black-and-white photography to color; applying them to the field of fashion, he developed a particularly original repertoire of forms. The female body became Erwin Blumenfeld's principal subject. In his initial portrait work, then the nudes he produced while living in Paris and, later on, his fashion photography, he sought to bring out the unknown, hidden nature of his subjects; the object of his quest was not realism, but the mystery of reality. Blumenfeld's work was showcased most recently in France in a 1981 show at the Centre Pompidou, which focused on his fashion photography, in 1998 at the Maison Europeenne de la Photographie, as well as more recently in the exhibition "Blumenfeld Studio, Colour, New York, 1941-1960" (Chalon-sur-Saone, Essen, London).
Multimedia Art Museum 
Rene Burri: Retrospettiva
Rene BurriThe Central exhibition hall Manezh is holding the exhibition "Retrospettiva" by Rene Burri which includes reportages and the most beautiful and important photos of the famous Swiss photographer. Rene Burri helped shape the history of photography in the 20th century. Many of his images, such Che Guevara with cigar or the works on Le Corbusier, are known throughout the world. Burri meticulously archived all his photo-essays in the form of contact prints that allow us to retrace how the photographer approached his themes, subjects, and the people he portrayed - the stories behind the icons become visible. Without doubt he belongs to the protagonists of a color photography that has artistic aspirations. After working as a photographer for five decades Rene Burri can look back on a rich body of work in color. "Retrospettiva" will present a largely area of the oeuvre of this great Swiss photographer, a world-renowned photojournalist and celebrated member of Magnum photo agency. Rene Burri studied at the School of Applied Arts in his native city of Zurich, Switzerland. From 1953 to 1955 he worked as a documentary film-maker and began to use a Leica while doing his military service. Burri became an associate of Magnum in 1955 and received international attention for one of his first reportages, on deaf-mute children, "Touch of Music for the Deaf", published in Life magazine. In 1956 he traveled throughout Europe and the Middle East, and then went to Latin America, where he made a series on the gauchos that was published by Du magazine in 1959. It was also for this Swiss periodical that he photographed artists such as Picasso, Giacometti and Le Corbusier. He became a full member of Magnum in 1959, and started work on his book Die Deutschen, published in Switzerland in 1962, and by Robert Delpire the following year with the title Les Allemands. In 1963, while working in Cuba, he photographed Ernesto "Che" Guevara during an interview by an American journalist. His images of the famous revolutionary with his cigar appeared around the world. Burri participated in the creation of Magnum Films in 1965, and afterwards spent six months in China, where he made the film The Two Faces of China produced by the BBC. He opened the Magnum Gallery in Paris in 1962, while continuing his activities as a photographer; at the same time he made collages and drawings. In 1998 Burri won the Dr Erich Salomon Prize from the German Association of Photography. A big retrospective of his work was held in 2004-2005 at the Maison Europeenne de la Photographie in Paris and toured many other European museums. Rene Burri lives and works in Zurich and Paris.
Manege 
Shadow Land: The Photography of Roger Ballen
Roger Ballen The Manezh will be a home to an entire constellation of Russian and foreign stars of photography in "Photobiennale 2014" period and will give a long-awaited chance to see the work of internationally-acclaimed photographer Roger Ballen those who are interested in photography. The retrospective exhibit by Roger Ballen, titled Shadow Land, is the first major exhibit in Russia of work by Ballen, who is known for his strange, psychological and oddly beautiful pictures, many of which have been exhibited in galleries around the world. The retrospective presented at Rosphoto covers a long period of his work and allows visitors to witness the evolution of his style. It should be mentioned that the principal feature of his work that has remained constant over the years is his use solely of black and white film. "My pictures are not separated from the fact they are black and white. I like black and white because it is a very minimalist, very reduced and at the same time very abstract art form. Besides, I am a part of the generation that grew up using black and white film," says Ballen. The photographer was born in New York in 1950, but for over thirty years he has lived and worked in South Africa. His early pictures from 1982 to 1994 partly continue the tradition of documentary photography through the depiction of political, social and cultural aspects of the South Africa of that time. In those days Ballen was chiefly influenced by photographers like Henri Cartier-Bresson and Andre Kertesz. On the contrary, his current work has no clear influences, appearing to be simply a series of artistic, aesthetic statements that make no claim to portray anything particular about South Africa. Since 2002, Ballen has even replaced portraits of people with drawings, sculptures, paintings and installations that he transformed into a particular photographic reality through the camera. So the title of the exhibit, Shadow Land, not only refers to the photographer's black and white style and shadows as his ways of achieving a certain visual effect, but it also seems to express both themes of his art: On the one hand, the darkness of life in South Africa; on the other, the shadowy side of the mind. "We cannot understand happiness without understanding corresponding emotions such as sadness. There is an existential happiness, which is a deeper emotion than the one governed by ordinary temporary experiences," says Ballen. Taken from this point of view, the darkness of his work is not as frightening as it might seem, functioning as an essential aspect of our understanding of light, as well as a part of our complex subconscious. However, his pictures have many visual meanings and sometimes these meanings are contradictory in nature. Men, animals and objects do not function according to viewers’ rational expectations in his photos, which defy precise interpretation. Ballen’s surrealistic and complex aesthetic world is both the fruit of his imagination and a set of universal symbols and ideas strongly affecting other people. An archetype realized in an image is regarded by the artist as being an important aspect of photography, addressed mainly to viewers' subconscious. For example, the bird, symbolizing transcendence, purity and godlikeness in many cultures, will be a central theme of Ballen's next book. Some photographs from this project are currently on show at Rosphoto. This exhibition covers three decades of work, from his early series, Dorps (1986) and the highly charged series Platteland (1994), Outland (2001), Shadow Chamber (2005) and Boarding House (2009) through to unseen new work from the Asylum series.
Manege 
Vladimir Lagrange: Thaw
Vladimir LagrangeThe Manezh is home to an entire constellation of Russian and foreign stars of photography. TASS correspondent Vladimir Lagrange's series "Thaw" documents an era that is relatively recent but has already become legendary, like the Russian Golden Age. Vladimir Lagrange is a photographer thaw, short time of hope, which left a bright trace in the lives of people in art and literature. Lagrange came to the profession in a happy time when the theory of "critical moment" Henri Cartier Bresson is beginning to spread in the USSR and became one of the unwritten rules of shooting. His photography "pigeons", increased the size of the wall, is involved in the exhibition "Our youth", held in Gorky Park in 1962. Zvonko top creative life. Virtually the entire exposition unfolds against the backdrop of his mnogometrovoy work. Photography is the era of emotion, her mood: to replace the bronze statue of the young people have not known war, full of joy of life. Vladimir Lagrange - generation leader in his profession. He's already working for Photo TASS ahead and he has 25 years of work in "gloss" at that time, the magazine "The Soviet Union", for the time in which the photographer has created several thousand images. Vladimir Lagrange rented economic, social and political reportage, and received a portrait of Soviet man, the chronicles of a generation in which those who come later will recognize the human face of the past Soviet Union. All Soviet journalism was based on the interference in reality, ie the reporter is actively engaged with those he photographed. In the early 1960's have the debate about the role of the author and the limits of its intrusion into reality. The traditional approach to photography was dropped sixties generation. Vladimir Lagrange, and dozens of other authors are included in journalism at the "ottepelnoy" wave. The new generation refuses to die. A new hierarchy of values. The young are pleasures of life, they are looking for new forms of expression, they speak the language of emotions. Vladimir Lagrange was one of the first spoke that language. He uses all the new tricks - look through the glass (photo "Belaz plateau Rasvumcherr"), the game scales, rhythmic song - bright features of photographs of the sixties. He shoots through steel spark a flame ("Dynamics Labor"), stevedores through thick corn ("Strada"), workers wade through the snow storm ("Pinega. Purga"). We have a dynamic image generation - another bright feature of the new language of the sixties. In the development of this language Vladimir Lagrange is flush with the global development of photography. Another trend of the sixties - blurring of motion pictures ("Chaut") The photo referred the motion as such. Brush blurred in motion, the mountains in the background - how muddy the silhouette of a person, too, went to blurring, but the emotional expression of the moment so much that the object depicted in the photograph, flies directly in the face the viewer: the space frame - in the voice space. Such images were difficult to censor. Long work in "the Soviet Union" self produced experience: he was well aware that will not go into print, and continued to shoot "nehodovye pictures" "on the table". One can also see a typical Soviet images of these images, you can reconstruct all of the work of Soviet ideology. Vladimir Lagrangian can be found "Chornukhi" - something that could never appear on the pages of the Soviet press. World of Soviet man was broken into two parts. One part - the myth, the second - everyday life, then, what was life.
Manege 
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