FINAL WEEK: Selected photographs from Disco Polo series are still on display at Calvert 22 as a part of 'Post Soviet Visions: image and identity in the new Eastern Europe', 23 Feb - 15 April.
Find out more about the exhibition via The Calvert Journal, words by Anastasia Fedorova. Read the article here.
'The study of unique architectural settings is one of the main preoccupations of the new generation of photographers from eastern Europe. At the same time, the visual narrative they construct goes much further than just documentation. It’s not about capturing the existing space, but about contributing to the ever-shifting character of the environment. In her project Disco Polo, Paulina Korobkiewicz studies the urban aesthetics of eastern Poland after 1989, focusing on the peculiar signs of its transition to global capitalism. Plastic palm trees make streets into a globalist non-place. A patchwork of colourful advertising and pastel shades over tower block architecture illustrates the contemporary collision of influences from East and West.'
Disco Polo is on display at Calvert 22 at 'Post Soviet Visions: image and identity in the new Eastern Europe' group exhibition exploring new visual representations of lifestyle and landscape in Eastern Europe, until 15 April.
Featuring: Armen Parsadanov, David Meskhi, Dima Komarov, Genia Volkov, Grigor Devejiev, Hassan Kurbanbaev, Ieva Raudsepa, Jedrzej Franek, Masha Demianova, Michal Korta, Patrick Bienert and Max von Gumppenberg, Paulina Korobkiewicz, and Pavel Milyakov.
Second edition of Disco Polo photo-book is available from the Calvert 22 Bookshop
‘Post-Soviet Visions: Image and Identity in the New Eastern Europe’, a new exhibition at the Calvert 22 Foundation’s gallery space in East London, takes in the work of other young photographers across the former Soviet Union and its satellite states. And in much of their work you can see the same ambiguous, impressionistic take on post-Soviet possibility.
The foundation, which also runs online magazine The Calvert Journal, is dedicated to looking at contemporary culture and creativity in what it calls the ‘New East’. And the exhibition, says Calvert 22’s creative director Ekow Eshun, comes out of that conversation. What is marked in pretty much all the works is not nihilism and despair, but rather improvised opportunity. ‘The show is about how these artists imagine and create space,’ Eshun says. For curator Anastasiia Fedorova, ‘it’s also about youth, and youth in historical context, how the 26 years since the collapse of the USSR is a whole life for the new generation. Just like youth, this historical transition is also about growing pains, empathy and ecstasy, and the restless identity search.’
Written by: Nick Compton
Read the article here.
Diane Smyth reviewed 'Post-Soviet Visions: image and identity in the new Eastern Europe’, new group show at Calvert 22 featuring Disco Polo, for the British Journal of Photography. Exhibition curated by Ekow Eshun and Anastasiia Fedorova.
Read the article here.
'Post-Soviet Visions: image and identity in the new Eastern Europe is a photography show exploring new visual representations of lifestyle and landscape in eastern Europe. The exhibition gathers the work of a young generation of artists rising to prominence a quarter-century after the end of Communism. It opens on 23 February at Calvert 22 space in London.'
‘Post-Soviet Visions: image and identity in the new Eastern Europe’ is a group show of photography exploring new visual representations of lifestyle and landscape in Eastern Europe. The exhibition, that opens at the Calvert 22 Space in London this week, gathers the work of a young generation of artists rising to prominence a quarter century after the end of Communism. Here we speak to the curators Ekow Eshun and Anastasiia Fedorova about the ideas behind the show and to select some of their favourite photographers involved.'
Read the article here.
Eastern Europe has often been overlooked and under explored in the West. We tend to think about it as grey and drab, as if it is still sunk in the Cold War. But there’s a cultural dynamism to the place right now coming through in everything from fashion to art to film.
The show gathers works from photographers in Georgia, Latvia, Poland, Russia, Ukraine and Uzbekistan. Although the personal circumstances of these photographers may differ, they share a common past: either they themselves, or their parents, grew up in countries that once existed under communist rule. Against the complicated politics of many of those countries, there’s a generational wave of creativity that is really thrilling to see.
With the show we’re interested in how people live and look and connect with each other; how they construct their identity as citizens of relatively recently independent nations and how they make sense of their own place against the complicated past of their country. For example, the relationship between photography and architecture in the show is very important. Communist-era buildings and monuments loom over many post-Soviet cities today. It’s very hard to walk through Moscow or Kiev or many other cities without encountering these domineering structures. They are a reminder of the power and control that an overbearing system tried to exert on its citizens. At the same time, history isn’t static. What’s interesting to explore, is how people now put some of these buildings to use and how photographers are looking anew at their own past.
Disco Polo exhibited as a part of Post-Soviet Visions: image and identity in the new Eastern Europe, exhibition curated by Ekow Eshun and Anastasiia Fedorova.
A group show of photography from the New East
Post-Soviet Visions: image and identity in the new Eastern Europe is a group show of photography exploring new visual representations of lifestyle and landscape in Eastern Europe. The exhibition gathers the work of a young generation of artists rising to prominence a quarter century after the end of Communism.
The photographers in Post-Soviet Visions come from Georgia, Germany, Latvia, Poland, Russia, Ukraine and Uzbekistan. Although the personal circumstances of the photographers born in Eastern Europe differ, they share a common past with either they, or their parents, growing up in countries that once existed under Communist rule. Today, they live within the globally connected modern world where borders of East and West are erased by new technologies. But the physical traces of the past can be seen in work such as Jedrzej Franek’s dizzying shots of Polish tower blocks and Michal Korta’s striking black and white images of Brutalist buildings in Skopje, Macedonia.
Following the Soviet Union’s collapse in 1991 and the end of its influence over its satellite states, the countries of the former Eastern Bloc have each forged their own paths. In artworks such as Hassan Kurbanbaev’s portraits of teenagers in Tashkent, Uzbekistan, and David Meskhi’s photos of skater kids in Georgia, Post-Soviet Visionscaptures the new identities emerging across the region. Instead of old binaries of East vs West, socialist vs capitalist, their images capture a generation shaped by issues that are personal rather than the political; by questions of sexuality, gender and style.
Participating artists: Armen Parsadanov, David Meskhi, Dima Komarov, Genia Volkov, Grigor Devejiev, Hassan Kurbanbaev, Ieva Raudsepa, Jedrzej Franek, Masha Demianova, Michal Korta, Patrick Bienert and Max von Gumppenberg, Paulina Korobkiewicz, and Pavel Milyakov
Afterparty: Miranda at Ace Hotel
Thursday 22 February, 6pm – 2am
23-28th October 2017
TjejLand is a Stockholm based curatorial platform founded by Petra Stenvall in 2014. TjejLand's vision is to act like a social meeting place and to create a curative, creative platform & publications featuring female photgraphers around the world.
Thanks to Contemporary Lynx Magazine: Disco Polo Edition II and Perspectives were displayed as a part of the Hackney WickED Festival / Hackney Wick & Fish Island Open Studio DIY in London. A weekend with contemporary art, live performances, photography, immersive installations and music.
The event was taking place at the Hive – a performance and project space located in a Victorian factory, where Contemporary Lynx Magazine in collaboration with BFLMPSVZ publishing were presenting their artistic programme created in collaboration with international emerging artists.
The Camberwell Book Prize was founded to support emerging graduates from the Photography programme at Camberwell College of Arts, University of the Arts London. The project supports a proposal for an experimentally orientated publication, through a series of workshops, design consultation and production budget. It aims to contribute to the evolving research and ideas around artists’ books and to support ambitious graduates in seeking audiences for their practices. The project was initiated by Duncan Wooldridge and Sigune Hamann.
Jurors 2016: Duncan Wooldridge, Sigune Hamann and James Edgar.
Thanks to Duncan Wooldridge, Sigune Hamann, James Edgar, Oliver Boulton, Samuel Jones, Laurence Soens, Chelsea College of Arts Artists Book Collection, V&A Artists Book Collection.
Zine design: Hekla Studio, featured photographers:
Kamil I, Piotrek Bekas, Filip Berendt, Magda Biernat-Webster, Jan Brykczynski, Grześ Czaplicki, Alicja Dobrucka, Anna Kieblesz, Kasia Klimpel,Wawrzek Kolbusz, Paulina Korobkiewicz, Gabriel Orłowski, Jerzy Piątek, Natalia Podgorska, Monika Proniewska, Ernest Protasiewicz, Ernest Wińczyk, Martyna Wyrzykowska, Karolina Zajaczkowska.
Warsaw Art Book Fair is an event dedicated to art books and publications bringing together knowledge from different fields of visual culture. It is an initiative of the Bookoff art bookstore and Polish printed design promotion platform Print Control. Partner of the Fair is the Museum of Modern Art in Warsaw.