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

18/24: Evgeny Nesterov - FACTORY

19/24: Vladislav Efimov - On the Leninist Path

20/24: Katia Golitsyna - sideSTREET

Katya Golitsyn was born in Moscow in 1964, and is an artist. She graduated from the Faculty of Book Illustration in the Moscow Institute of Printing, and is a member of the Russian Union of Photographic Artists.

Among more than 30 group and personal exhibitions are the following: Third Day of the Third Moon, Manezh Gallery (2002), Portrait of a Saxophone, Photosoyuz Gallery (2001), Mohicans of the Roads, Paris Cafe , Moscow Arts Centre (2000), Citroen Territory, New Collection Gallery (2000).

ďIf architectural photography can be compared with portrait photography, then what is the photography of streets and lanes? Everyday genre? At all events, the presence in the frame of faces or the faces of houses is extremely important for recognising architecture, since we canít recognise it by verbal descriptions (this is police practice), but only from a familiar physiognomy, like an old acquaintance.

Visitors gather together at stations and depart to the underground, while locals meet each other in the lanes. Although in the modern dictionary of Russian town planning such planning units donít exist. Lanes are no longer being planned, but planning still goes on in the lanes. Thoroughfares are planned, but on passing through them, you donít remember anything in particular. A lane can remain in oneís memory from walking through it and the meetings one had while doing so. And we recognise those lanes in which we have spent time and on the faces of whose houses we have looked. Katya Golytsina both remembers and loves anyone and everyone, and perhaps for this reason uses memory rather than photographic technique; complicated manual retouching as a supplementary tactile experience, when it seems there isnít enough light to take a photograph. Indeed, there is little light in Moscow, but more than 100,000 houses.Ē (Yu. Avvakumov).

(exhibition)

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