Tag Archives: Russia

AFTER POST-PHOTOGRAPHY 5 Conference, 23-25 May 2019, St. Petersburg

Conference APP. Cultural, historical and visual studies in photography

23-25 May 2019,
European University in St Petersburg

Addressing one of the most common concepts that define the nature and function of photography, the fifth edition of the conference After Post-Photography  aims to re-think the fundamental notions and offer new perspectives on the subject of photography and its connection with memory.

Memory is a notion commonly brought forward when speaking about photography. The very idea of close connection between memory and photography has long found itself at the basis of the (re)construction of histories and identities.

The photographic image, when regarded as a material evocation of memories, is supposed to not only preserve the past, but to represent a selection of moments worthy of being captured and retained. In this sense, photography has caused fundamental changes to mental structures, such as remembrance and forgetting. Its mechanics, however, is still indecisive: is photography something that evokes memory – or something that enhances oblivion? Furthermore, is a photograph something that really speaks of a moment of the past, or does it rather testify of certain modes of cultural optics? Is there still a possibility to ‘remember’ with, or through photographs? After all, the traditional belief in photography’s truthfulness, its indexical function, the freezing of a decisive moment, or proof of “what has been”, all this stands in strong contrast with the contemporary discussions on fake news, artificially constructed memories, post-reality politics and “augmented” realities.

The conference is chaired by Maria Gourieva, Olga Davydova, Natalia Mazur, Moritz Neumüller, Daria Panaiotti, and Friedrich Tietjen. It is organized in collaboration with the conference “PHOTOGRAPHY AS ART. Current trends in study and the history of national schools”, at the Russian Academy of Arts, Moscow, May 27-29, 2019.

This three-day event will feature four keynote speeches, eight presentations, and a round table, by scholars from Russia, Europe, the United States and Japan.   

Day 1 will feature two evening lectures, one by Fred Ritchin on The Post-Photographic Challenge, the other by Helen Petrovsky on Photography: Memory Formulae.

Day 2 will start with a morning panel dedicated to Photograph Politics, or: How to Show (and how to not). The afternoon will feature the panel Present Photography, or: How to Rethink Pictures. A get-together dinner will be the perfect setting to keep the discussions going on into the later hours.

Day 3 will be dedicated to the panel Photographic Projections, or: How to Show What Never Happened, and a round table discussion on Photography Studies in Russia, before we wrap up the conference in a general Q&A session.

All talks will take place at the European University in St. Petersburg, 1 Shpalernaya street / metro Chernyshevskaya

Talks and presentations will be held both in English and Russian. Simultaneous translation will be provided.  


23 May 2019

16.30 Registration for speakers

17.00 Keynote: Fred Ritchin (ICP, USA): The Post-Photographic Challenge

18.30 Keynote: Helen Petrovsky (Russ. Acad. of Sciences, Russia): Photography: Memory Formulae

24 May 2019

10.15 Registration for speakers

10.45 Welcome

Panel 1: Photograph Politics, or: How to Show (and how to not).

11.00 Carole Naggar France/USA): A Closet, a Suitcase and a Warehouse: David «Chim» Seymour’s Archives

11.30 Susumu Shimonishi (Tokyo University of the Arts): Japanese Photography Magazines. The Case of CAMERA MAINICHI

12.00 Coffee break

12.30 Denis Skopin (St. Petersburg State Univ.): Elimination of the Enemies of the People from Group Photographs in Stalin’s Russia: Political and Psychological Aspects

13.00 Discussion

13.30 Lunch break

Panel 2: Present Photography, or: How to Rethink Pictures

14.30 Irina Chmyreva (Research Centre for Theory and History of Arts, Russian Academy of Fine Arts): Echo of Political Realities in Photography: Studies of Reading National History in Art Photography Projects from 1990-2010s

15.00 Michelle Bogre (Parsons School of Design, USA): The Photograph Unmoored: Truth and Authenticity in the 21st Century

15.30 Alexander Streitberger (Univ. catholique Louvain, Belgium): The Photographic Ruins of the Future

16.00 Discussion

16:30 Coffee break

17.00 Keynote: Andrés Mario Zervigón (Rutgers University, USA): The Camera Lens: Fully Visible and Transparent

18.30 Keynote: Gil Pasternak (Photographic History Research Centre, De Montfort University, UK): Photography in Politics: Remembering and Being Together, With Photographs

25 May 2019

Panel 3: Photographic Projections, or: How to Show What Never Happened

10.30 Oksana Sarkisova (Central European University, Hungary): Imagining Soviet Space: Representations of Travel in Vernacular Photographic Collections

11.00 Maria Gourieva (European University/St. Petersburg State University), Friedrich Tietjen (Germany/Austria): Everybody Lives the Same (in private photographs)

11.30 Discussion

12.00 Coffee break

12.30 Keynote: Galina Orlova (Higher School of Economics, Russia): Anonymous Archive, Digitalization, Recycling

14.00 Lunch break

15.00 Roundtable discussion for educators and researchers: Photography Studies in Russia: Challenges and Perspectives

17.00 Final remarks and outlook


The Conference takes place at the European University, 1 Shpalernaya street, St. Petersburg. Nearest metro station: Chernyshevskaya.

Any changes to this timetable will be announced on the website www.after-post.photography and the telegram channel afterpostphotographytelegram.   


Conference on Photography as Art. Moscow, May 2019. Deadline: April 25, 2019.

International Scientific Conference
PHOTOGRAPHY AS AN ART: Current trends in study and the history of national schools

Russian Academy of Arts
Research Institute of Theory and History of Fine Arts
Moscow Museum of Modern Art

Partners of the Conference:
Instituto Europeo di Design, Madrid, Spain
PhotoVisa International Festival of Photography, Russia
Novoe Iskusstvoznanie [New Art Knowledge] magazine, St. Petersburg, Russia

May 27-29, 2019
Venue: Russian Academy of Arts, Moscow, Russia

Photography is one of the oldest image-making technologies in the modern world. Generations of artists and viewers have grown up surrounded by photography. It is everywhere. Photography is both established and dynamic.
In the context of the massive technological changes sweeping across contemporary visual culture, the place of photography may appear less significant. It even brings to mind the situation of 180 years ago where, during the presentation of a new type of image-making – photography – to the public, an onlooker exclaimed: “Today, painting died!” But it is photography that freed painters to create a new kind of art, the medium of painting transformed but still just as vital and relevant. Similarly, the evolution of technology in relation to photography allows us, first, to clarify what photography actually is in today’s world, and second, to attempt an understanding of the relationship between photography and contemporary art.
Since the beginning of the XXI century, there is no doubt among educated viewers and visual culture researchers that specific expressions of photography qualify it as an art. But, to date, there has been insufficient development of the history of the national schools of photography. This history is especially essential for young researchers and creators. There are histories of regional photography venues and national schools that have never been written. In Russia, it was in the mid-twentieth century that the structure of how the history of photography was represented was established and, since then, this concept of history has remained unchanged.
This conference does not propose revisionism. Rather, the goal is to open a discussion on the methods and strategies for writing the history of photography from around the world.
The title of the conference includes the phrase “history of national schools [of photographies]”. Organizers of the conference understand such schools to encompass a double meaning. First of all, it suggests the definition of regional specifics, the phenomenology of reflection on the history and culture of the regions, states and nations in the formation of regional photography. Second, schools suggest the educational process within the studies of modern art and humanities, where photography is both an educational tool and the subject of study.

Thus, the conference “Photography as an art: Current trends in study and the history of national schools” covers three main areas:
– the study of photography as a medium and the scope of its realization as an art;
– the methods and practices for writing national photography histories;
– the teaching of photography, its history and technology, within art education and the study of photography in the educational context of the humanities.

The aim of this meeting of experts is to define the current state of theory and research in the field, and also to create a foundation for future scholarship and study.

This conference is held in partnership with the editorial board of Routledge Companion to Photography and Visual Culture and the 5th International conference After Post-Photography, May 23-25 in St. Petersburg.

Conference working languages: Russian, English.
Time-limit: reports – 20 minutes. Within the framework of the conference round table – 10 minutes.
Applications are accepted in Russian and English. Abstracts will be published before the conference.
Applications are accepted until 00:00 April 25, 2019 at the email address mos.photo.conference2019@gmail.com
Contact person: Irina Chmyreva, PhD, executive chairman of the organizing committee of the conference

Now&After’16 International Video Art Festival Deadline: July 15, 2016

OPEN CALL – International Video Art Festival NOW&AFTER’16

Video artists from all over the world are invited to submit their works for the sixth edition of International Video Art Festival Now&After.
International Video Art Festival Now&After is annualy held in Moscow, Russia. Now&After is traditionally hosted by a museum. During few weeks a festival program is demonstrated as an integrated multi-channel video installation.

The sixth edition of the Festival will take place at The State Darwin Museum from October 29 till November 29, 2016.

Now&After’16 is organized by Media Art Center Now&After

Now&After’16 co-organizer – the State Darwin Museum

Festival Director and Curator – Marina Fomenko


So what do the artists focus on?

· Ecology as a relationship between the organisms and the environment or ecology in a general sense?

· Environmental catastrophes or ecological balance maintaining?

· Relationships between humans and the environment or the life of nature itself?

· The growth of cities or rural ecosystems development?

· Social or cultural ecology?

· Ecology of the relationships among people or between people and animals?

· Alienation from nature or integration with it?

· Contamination of the environment or preservation of untouched nature?

Participation Terms:

-There is no entry fee.

-All rights on videos remain property of authors.

-Submitted videos must have been completed after January 1, 2013.

-Running time is up to 15 min.

-Entry form must be completed online.

-Each applicant may send maximum 3 submissions for single-channel videos ( .jpg with dimension not less than 400 px X 300 px .) The required formats for videos are h264, .avi, .mov, .mpeg2, (PAL), Videos should have quality not less than 720px X 576px.

-All the films selected for the competition program will be considered by the jury.

-The authors of the best films will be awarded.

-The Festival’s Prize Fund is 120,000 rubles.

Opening: 3 November, 2016, 7 p.m.: The State Darwin Museum, Vavilova st. 57, Moscow

Deadline: July 15, 2016

For more information, please visit the festival’s website http://www.now-after.org/eng/

SUBMISSION  http://www.now-after.org/eng/zayavka.php?o=1



PhotoVisa call for entries. Deadline: September 6, 2015

PhotoVisa call for entries is open!

PhotoVisa is an international festival of photography held since 2008 annually in Krasnodar and Krasnodar region, Russia in October — November.

– The theme of this year is The Language of memory, and can be presented by works created with both analogue and digital media, including manipulation of the photographic image.

– The contest is held in 3 nominations: Single photograph, Photoseries, Multimedia Project (photoclip).

– The contest has submission time from: June, 20, 2015 to September, 6, 2015. 11:59:59pm (Moscow time).

– The jury works online from: September, 7, 2015 to September, 20, 2015.

– The results of jury work will be announced within the days of the festival of 2015 at the finalists’ exhibition opening.

– The finalists and winners’ exhibition and the special multimedia show will take place in the framework of the VI International Festival of photography PhotoVisa. Works will be published in the catalogue of the Festival and at the Festival’s website.

More detail about the contest you can find on: http://photovisa.ru/contest/index.htm


Repost: Sochi Project and Crowdfunding – Interview

Photographer Tina Remiz recently interviewed her peers Rob Hornstra and Arnold van Bruggen – the duo behind The Sochi Project – for IdeasTap. This is a repost of the article, which gives great insight into their work (just in time for the Olympic Games) and into themes such as Crowdfunding, Collaborative work and documentary photography. Enjoy!

Zarevitch Capitanovsky


Rob Hornstra and Arnold van Bruggen on the Sochi Project

Since 2007, photographer Rob Hornstra and writer-filmmaker Arnold van Bruggen have colllaborated to document Sochi, Russia, where the 2014 Winter Olympic Games will be held. They talk to Tina Remiz about crowdfunding and working across different platforms…

How did The Sochi Project change over the years you worked on it?

Arnold van Bruggen: We originally intended it as an online project with a large publication at the end. When we launched a crowdfunding campaign to finance the work, we promised our donors an annual gift and, because we’re real book lovers, we decided to make a publication at the end of each year.

Rob Hornstra: The first annual publication – Sanatorium – was just a booklet, but in 2010 we produced a really comprehensive document about [the territory of] Abkhazia, which was received and reviewed by many as a book on its own. This made people take The Sochi Project more seriously.

Why did you decided to divide the project into smaller stories?

Rob: Early on in the project we realised that it could be divided into three regions, so each one became a separate chapter of the story. This model fits our way of working. We do slow investigative journalism, spending a long time on each story, which allows us to make separate publications for each chapter.


The Sochi Project © Rob Hornstra / Flatland Gallery


Why did you decide to crowdfund? 

Arnold: We didn’t want to depend on arts grants or compromise the narrative to sell articles editorially, so crowdfunding seemed like a logical choice. We had a story with a clear deadline that involved the Olympic Games, a centuries-old conflict and the incredibly photogenic region of Abkhazia, so we were sure to have thousands of donors in the first year.

Rob: We believed there was a dedicated crowd, that understands this kind of story can’t be funded by the traditional media and is ready to pay for it directly. Probably we were a bit naïve.

Why did you decide to set up your own crowdfunding system instead of using platforms like Kickstarter and what did you learn from the experience?

Arnold: Back in 2009, crowdfunding wasn’t that popular; Kickstarter was just starting out and run by an invitation-only policy. Even now, the most successful crowdfunding campaigns are for short-term projects with clear goals, like “fund my book” or “pay for my trip”. We had a five-year-long project and would have to ask for around €300,000 at once, with no or little material to show.

Rob: One of the inspirations for our crowdfunding model was the Obama campaign, which was largely funded by very small – around $5 – donations. We set up a three-level donation model for €10, €100 and €1,000 and called them bronze, silver and gold respectively because of the Olympic Games reference. Our goal was to convince 1,000-2,000 people to donate €10 per year in exchange for some behind-the-scene stories – but that was a mistake. The crowdfunding system required a lot of administration, and we never had more than 300 bronze donors at a given time.

The biggest challenge was bridging the gab between people saying that they’d donate and actually doing it. This wasn’t because they didn’t want to fund the work, but because the step of giving €10 was too insignificant for them. On the other hand, silver and gold donors were very loyal to the project and infused it with substantial amounts of money.


The Sochi Project © Rob Hornstra / Flatland Gallery


What would you recommend to someone considering crowdfunding?

Rob: Keep it simple, set a clear goal and make your campaign a bit sexy to increase the audience.

Arnold: Know what you’re getting yourself into and be prepared to spend 50% of your time working on the project and 50% administrating the crowdfunding campaign.

Rob: On the bright side, by the time you finish the project, you have a dedicated audience enjoying and willing to promote your work.

The Sochi Project now exists in the form of a book, exhibition and website – what are the differences between each?

Rob: The storyline’s the same, but you get a different experience on each platform. We achieve this by separating the responsibilities: Arnold is in charge of the website, while I manage the exhibition and we bring the Kummer & Herrman design team on board when working on the books.

Arnold: We went through several versions of the website and settled on one that presents a tight edit and strictly linear narrative and allows us to control how you experience the story.

What advice would you give photographers and journalists planning to work on a long-term project?

Arnold: Be ambitious and look for opportunities to collaborate. Make complex stories and care not only about the content, but also its presentation

Rob: Focus on quality. There are too many people trying to do everything at the same time. Don’t underestimate what you can achieve either, just set out to make the best project ever.


The Sochi Project © Rob Hornstra / Flatland Gallery



Images: © Rob Hornstra / Flatland Gallery. From: An Atlas of War and Tourism in the Caucasus (Aperture, 2013).

Original article

Russian Art & Culture Postgraduate Writing Competition. Deadline: Oct 15, 2012

Russian Art and Culture Postgraduate Writing Competition Call for entries

Deadline: Oct 15, 2012

Russian Art and Culture, the largest Russian art website in the UK, is
launching a new graduate writing competition to coincide with our
official launch event in November 2012. This prize is intended to give
graduates an opportunity to have academic work published.

Entries must relate to Russian/Soviet art (i.e. painting, sculpture,
architecture, film, design or photography) and are invited from all
recent (within the last 12 months) or current History of Art graduates
enrolled on a Masters course or PhD. Submissions will be judged by a
panel of experts in the field of Russian art.

The prize winning entry will receive a £400 cash prize as well as
publication of the essay on Russian Art and Culture website and in the
first issue of a new online journal of graduate writing launched by the
website in November.

For full guidelines and details see

COMPETITION: Russian Art and Culture Postgraduate Writing Competition

or contact with queries or submissions to

Deadline for submission: Monday 15 October 2012

Last days to participate in PHOTOVISA’s Contest THE ROAD. Deadline: Sept. 1, 2011

Photography Contest THE ROAD

in the framework of the III International Festival of Photography PHOTOVISA in Krasnodar, Russia

The contest is held in 3 nominations:

  • Photography/Photoseries
  • Multimedia Project (photoclip)
  • Exhibition Project

General Conditions:

Photographs taken not earlier than in year 2005 by photographers of any age living in Russia and abroad are accepted.  All rights for the works submitted belong to the authors of works.

Works should be submitted no later than September 1, 2011, 00:00 Moscow time.

The results of the contest will be announced by the jury during the Festival.

The finalists’ exhibition opens in the of the framework of the III International Festival of photography PHOTOVISA (20-27 October 2011); the winner in the category photography/photoseries will be announced at the opening of the exhibition.

Works of the finalists in the nomination Multimedia Project (photoclip)  will be wide screened in one of the city cinemas  in the program of Photoclips’ Night  -a special multimedia show within Films program щаthe  III International Festival of photography PHOTOVISA in Krasnodar

Winners in the nomination Exhibition Project will be presented during the multimedia show of new photo exhibition models that will be held as one of the main events of III International Festival of photography PHOTOVISA.

Works of the finalists and winners of the contest will be published in the catalogue of the III International Festival of Photography PHOTOVISA in Krasnodar and at the Festival’s website

Creative conditions
The main theme The Road can be represented in various forms and photographic media (works created by both analogue and digital means are accepted, manipulation on the photographic image is not exempted).
One of the aspects of the theme The Road  is welcome to be disclosed:  poetic and philosophical;
environmental and social;  regional (The Roads of the Northern Caucasus)

Terms and Dates

1. The competition is held in three stages, a preliminary step is submitting photos to the competition for consideration by the jury. Date of application for the competition – from April, 11 to September, 01, 2011.

2. After the deadline of applications the jury defines the best works in each nomination on-line. The selected works will be published for public viewing at the web-site. The authors will be asked to send the works in high resolution and the photos will be printed for inclusion in the exhibition (nomination Photography/Photoseries), show (nomination Photoclips) and the Festival’s catalogue. The jury works from September, 01 to September, 20. From September, 21 to September, 28 the participants will be asked to send the files for exhibition and show.

3. The jury makes final decision in the nomination Photography/Photoseries while viewing works at the contest exhibition. Exhibition project to be shown at the Festival is selected by September, 20, 2011. Winners in the nomination Photoclips are selected by September, 20, 2011 by  online jury voting.


Each nomination of the Contest is judged by its own competent jury to form a professional and appropriate modern assessment of photography, exhibition project and multimedia project assessment in each nomination.

Nomination Photography / Photoseries

In the nomination Photography/Photoseries the jury will pick up the best single photograph (or series of photographes) in three categories:  The Road. Image (best poetic and artistic statement);  The Road. The relationship of humans and the environment (best if environmental and social aspects of the relationships of man and the sea); The Roads of the Northern Caucasus (best work devoted to the region in which the competition is held).

Single photos (no more than 15 (fifteen) by an author) and series that include no more than 15 works are accepted for the contest.

The downloaded files should be in RGB, up to 800 pix on the longer side. If the size is over the limit, the system will automatically diminish the image.

One author can submit no more than 15 works.

Photographer’s portfolio, submitted to the contest, should be accompanied by the photographer’s biography and the description of works or series (project). In the description the photographer indicates what aspect of the main theme in his opinion, reflects the submitted work.

The application must contain the phrase: “all right to the photos belong to the author”.

The photographer has the right to decide if his portfolio is submitted as a series (project) or set of single images.

Nomination Photography / Photoseries Jury:

1. Andrei Polikanov, photo-director of Russkiy Reporter Magazine,  Russia

2. Andrei Bezukladnikov, founder and director of Phographer.ru web-site, Москва

3. Saiful Huq Omi, photographer, director of Photo Agency, Bangladesh

4. Levan Mamulov photograper, member of the organizational committee of the Festival Photovisa in Krasnodar, Russia

5. Andrzej Florkowski, dean of Photography and Media University, Poznan,  Poland

6. Natalia Vertlib, founder and director of Espectro Gallery of Photography, Krasnodar

7. Dominique Charlet, founder and director of Dominique Charlet Gallery, Paris, France

8. Alexander Kitaev, photographer, photography historian , Saint-Petersburg

9. Michaela Bosakova, director’s assistant, International Festival of Photography Month of Photography in Bratislava, Slovakia

10. Beate Cegielska, director of Galleri Image, Aarhus, Denmark


Nomination Multimedia Project

Applications for the contest in this nomination can be submitted starting May, 15, 2011  

In the nomination Multimedia Project (photoclip) the jury considers multimedia projects created on the base of photography with duration of no more than 200 seconds. The jury considers only the works disclosing one of the three aspects of the main theme of the contest listed above, and determines the winners in three categories: The Road. Fiction;  The Road. Non-fiction; The Roads of the Northern Caucasus.

Clip file should be accompanied by the author’s biography and a description of the project. The clip must be based on the photos made by the author – contest participant. Photographies in the clip can be accompanied by sound, text and graphics (both static and animated).

Nomination Multimedia Project (photoclip) Jury

1. Elena Sukhoveeva/ Victor Hmel’,  artists-photographers , members of the organizational committee of the Festival Photovisa in Krasnodar, Russia
2. Andrei Chezhin, photographer, artist, Saint-Petersburg

3. Timotheus Tomicek, artist, works with photography and video, Vienna, Austria

4. Vladimir Birgus, photographer, photography historian, Professor of Photography and Media Department, University of Opava,

5. Hanne Nielsen and Birgit Johnsen, artists, working with video; founders and directors of Video-Art Festival, Denmark.


Nomination Exhibition Project

Applications for the contest in this nomination can be submitted starting May, 15, 2011

In the nomination Exhibition Project the jury considers models of solo (or group) exhibitions of photography. This nomination is intended for curators and curatorial groups (which may include photographers). Generating models of exhibitions involves more than just a set of images intended for display, but their sequence, construction, lighting design. The contest of Photographic exhibition models presupposes showing 3D projects. Each of the curators (curatorial groups) is free to choose configuration of the space necessary to show the accurate idea of the exhibition. In addition to the  files with the models in 3D the contestants provide a description of the project and an archive with photos.  The projects should reflect the main theme of the contest and offer innovative vision of photographic exhibitions space.

Nomination Exhibition Project Jury
1. Evgeniy Berezner, curator, Moscow, Russia

2. Moritz Neumueller, independent curator, director of the European Master of Fine Art Photography, Madrid, Spain

3.  Krzysztof Candrowicz, director of Center of Arts, Lodz, International Festival of Photography in Lodz, Poland

4. Natalya Tarasova, senior lecturer in Photography at the Moscow State University of Сulture and Arts, lecturer of the course Exhibition Activity Organization

Jury members make their selection of the finalists and winners independently online.