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Portraits of Kaunas and Vilnius Jewish Ghetto Survivors, printed to accompany the exhibition Antanas Sutkus: In Memoriam (2016).
The In Memoriam series depicts those few who survived the Holocaust in Lithuania, implying the horror of dramatic reality half a century after the event. It confirms the deeply humane gesture of the photographer who captures memory and time as they open up to understanding, redemption and rebirth. The text includes essays by philosopher Leonidas Donskis and Kamile Rupeikaite (Vilna Gaon Museum, Vilnius), as well as the interviews with last living survivors of Kaunas Ghetto. English, first publication in an edition of 1,600. Softback, 112 pages. ISBN: 978-0-9557394-9-1
Dmitry Konradt trained as a geologist and went on to become one of St Petersburg’s most famous photographers. After his celebrated black and white images of performers on and off stage at the legendary Leningrad Rock Club, he switched to cityscapes and began working in colour in the 1990s. State and Time contains 59 colour and 25 duotone plates, featuring many Dmitry Konradt’s iconic images of Russian underground rock bands, such as Aquarium, Kino, Aukzion. Text by London art critic Alexander Kan and St Petersburg historian Lev Lurie.
Grigoriy Yaroshenko. Norilsk. Book and limited edition print. Edition of 20
Published by White Space Gallery, London UK. In English and Russian, first edition of 1000. Paperback, 70 pages. ISBN: 978-1-9999442-0-9. Printed by Wilco Art Books, Netherlands
Photographs: Grigoriy Yaroshenko. Essay: Andreas Petrossiants. Translated into Russian by Natalia Rubinstein.
In a memorable image from Michelangelo Antonioni’s La Notte (1961), Lidia stands at the corner of a building, framed by the developing outskirts of Milan during the miracolo economico. As seemingly stagnant contemporary ‘ruins’ decay around her, they simultaneously continue to expand with Milan’s economic development. We are reminded of Walter Benjamin’s writing on ruins: ‘In decay, sorely and alone in decay, historical occurrence shrivels up and disappears into the setting.’ This collapse of history into setting is captured in the photographs by Grigoriy Yaroshenko contained in this book. The pictures take the Russian city of Norilsk as their protagonist—somewhat analogous to Antonioni’s portrayal of Lidia. The city’s collective memory includes traumas that are inscribed into its ruins: composed of massive and expansive housing blocks, seemingly infinite mines, quarries, and factories, and a permafrost extending towards the horizon in every direction. Its operating factories and plants are as much a fabric of the city as its natural geography. It was founded as a site for forced labour, constituting the centre of the Norillag system of GULAG labour camps, with 72,500 inmates at its peak in 1951. Looking to Yaroshenko’s series, as the past and present can not be separated from one another – the former informs the latter, and the latter contains the former’s mark, rhythm, and material/immaterial ruins. Yaroshenko’s wandering eye has captured how a city can emerge from darkness in more ways than one, and can carve out a present without forsaking its history in the process.
Rustam Khalfin. Seeing Through the Artist’s Hand
Paperback – 2007
by Nadim Samman (Editor), Aliya Abykayeva-Tiesenhausen (Editor)
Khalfin, a Tartar, born in Tashkent (Uzbekistan), began his professional life during the stagnant Soviet era, graduating in 1972 from the Moscow Architecture Institute. In the 1980s, while residing in St Petersburg, he became involved with the circle surrounding Vladimir Sterligov – a close associate of Kasimir Malevich. It was then that Khalfin was first exposed to the richness of the Russian Avant-garde, a point of departure for his own painting. Shortly thereafter, in partnership with his wife Lydia, he began to pioneer performance art in Kazakhstan. From then until today, Khalfin has ceaselessly experimented with a variety of media, also including painting, sculpture, installation, and video.
Horizons features unpublished dialogue between leading figure of the St Petersburg underground art scene,