01/24: Yuri Avvakumov - MiSCeLLaNeouS

02/24: Ilya Utkin - melancholy

03/24: Igor Palmin - in PARTS

04/24: Yuri Palmin - ChertaNovo

05/24: Boris Tombak - Gt ILLUSION

06/24: Alexander Ermolaev - FRAGMENTs 58/00

07/24: Sergey Leontiev - the TOWER

08/24: Igor Moukhin - MOSCOW light

09/24: Valery Orlov - ForbiddenCity

10/24: Oleg Smirnov - Hero_City

11/24: Michael Rozanov - FLYOVER

12/24: Anatoly Erin - v. GLAZOVO

13/24: Dmitry Konradt - Wells'n'Walls

14/24: Alexander Slyusarev - conSEQUENCES

15/24: Valery Sirovsky - Cathedral_City

16/24: Semyon Faibisovich - my WINDOWS

17/24: Richard Pare - Russian Constructivism: a Province

Richard Pare was born in Portsmouth England in 1948. He sang in the Canterbury Cathedral choir for five years before studying graphic design and photography in Winchester and Ravensbourne College of Art. He began traveling in 1956 and has traveled extensively ever since.

In 1971 he came to the United States to study photography at the Art Institute of Chicago, receiving his M F A in 1973. In 1972 he began what was to become a long-standing association with Phyllis Lambert with a project to document the indigenous limestone buildings of Montreal. This led to the commission to edit the project Court House for the United States Bicentennial, a project devised by Phyllis Lambert and supported by Joseph E. Seagram and Sons. It was during this period that the first few photographs were acquired for the collection that was to become the photography collection of the Canadian Centre for Architecture. As founding curator, commencing in 1974 and over the next fifteen years, he amassed nearly forty eight thousand photographs from the beginnings of the medium until the present. Simultaneously he added many works to the Seagram collection of photographs, a collection that had been initiated under the guidance of John Szarkowski of the Museum of Modern Art. He remains a consultant to the collection of the CCA. His first book, Court House A Photographic Document was published in 1978. This was followed in 1982 by Photography and Architecture 1839 to 1939, a landmark publication that elevated the importance of architectural subjects within the canon of photographic history. Both of these prize winning books were accompanied by traveling exhibitions that were shown in major museums. After living in Egypt for nearly two years from 1983, he published the monograph Egypt: Reflections on Continuity in 1990. He steeped down from the position of Curator of the photographs collection returned once more to making his own photographs In 1996 he received the AIA monograph award for The Colours of Light - The Architecture of Tadao Ando which was published in 1996. In preparation is a work on Soviet Modernism; an extended study of the legacy of the architects of the Russian Avant Garde which flourished briefly in the decade after 1922.

"Richard Pare's photographs in this exhibition are drawn from a much larger projectin which he re-examines the legacy of modernist architecture in the Soviet era between 1922-1932. During this brief period the work of the architects in the immediate post revolutionary period was characterized by a search for a new language which would make a clear break with the medievalist revivalism of the late imperial regime. The result was a flowering of ideas characterized by a vigour and dynamism that was rarely equalled in the twentieth century. The project is being supported by the Canadian Centre for Architecture in the firm belief that the contribution of this work to the modernist period in Europe is not fully recognized and to ensure an extensive record of the surviving edifices. The intention is to generate new research and discussion of this remarkably fertile period in Russian architectural thought". (Phyllis Lambert, Chairman and founding Director, Canadian Centre for Architecture)

“Russian constructivism has always lived the life of the provinces. Just like any avant-garde phenomenon it appeared at the boundary of the creative possibilities of art in order to fight for new territory, and to establish new boundaries. Having completed its pioneering mission it became conquered by the centre, but the administrative centre rather than the creative. Later, for long decades it was in total oblivion, and when, one might imagine, the time had come for its rehabilitation and triumphant return from its forced exile, it turned out that there was no one to return and nowhere to return to. The masterpieces of world architecture had become so old that a special effort is needed to recognise in them the bygone heroes. The new generation, brought up in the post-modernist traditions, is simply ashamed of its provincial relatives. But the state, which is now enthusiastically presenting the Russian architectural avant- garde at international exhibitions, actually has no funds to award these aged ‘shock-workers’ a decent pension. Richard Pare’s photographs document today’s unembellished mode of life in the works of Russian constructivism throughout the entire area of the former Soviet empire. They have no edification or glamorous special effects, but only an elegiac melancholy for a great departed epoch of revolutionary creativity and professional mastery. (Yu. Avvakumov)


18/24: Evgeny Nesterov - FACTORY

19/24: Vladislav Efimov - On the Leninist Path

20/24: Katia Golitsyna - sideSTREET

21/24: Vladimir Kupriyanov - OUTLINES

22/24: Dennis Letbetter - MOSCOW/2

23/24: V. Nilin - W C

24/24: Carl de Keyzer - ZONA

25/24: Marina Tsurtsumia - the VAULT

26/24: Sergei Chilikov - difFERences

27/24: Natalie Jernovskaya - ACADEMY

28/24: Alexei Shulgin - MONTAGE

29/24: Andras Fekete - Establishing Shots

30/24: Vladimir Antoschenkov - MASONRY

31/24: Academy of Architecture - MARKhI

32/24: Igor Chepikov - Resort City

33/24: Alexey Naroditsky - MAR ino

34/24: Igor Lebedev - SPBaroque

35/24: Alexander Brodsky - unDeveloped

36/24: Alexander Djikia - Upper Point