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

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

Andras Fekete was born in Leningrad in 1976, and is a photographer. He graduated from the Faculty of Modern Languages at Eotvos Lorand University, Budapest. He began his photography in 1997. In 2000 he was awarded the Jozsef Pecs Bursary by the Hungarian Ministry of Culture. He has had personal exhibitions in Hungary, Slovakia, the Czech Republic and Russia. He has been published in the journals Fotoreporter (Hungary), and Afisha (Moscow). In January 2002 he was awarded first prize in the Hungarian Press Photographer 2001 competition for his reportage ‘Mosfilm’, taken for Afisha. The exhibition includes photographs from his Moscow series, A guidebook for Afisha.

“In townplanning, the address plan is the source of information for the location of properties in the urban infrastructure, and a component part of the current plan for building the city, and is part of the town planning land survey.

In reportage photographic and video work, the address plan, or the so- called establishing frame, usually includes buildings and landscape, and gives the viewer a direct impression of the place where the action is. The address plan often coincides with the general one.

Andras Fekete was commissioned by a journal to photograph the ‘address plan’ of our motherland’s capital for a guidebook to the city and its historic areas. So he took pictures of the Kremlin, Ostankino television tower, the Bolshoi Theatre, St. Basil’s Cathedral, the Cathedral of Christ the Saviour, the statue of Peter the Great, Stalin’s seven sisters, and underground stations. Those things which are uniquely in Moscow, or as mathematicians put it, the sum of those and only those points. All other points in this city are either of no interest to the tourist, or are not as well known.

The directness of the young Hungarian’s photographs lies in the unification of the well-known with the general location, from which the major plan, including the people temporarily living in the city, and the built-on lifts with the appearance of large thermometers, not included in the land survey clamshell garages, white limousines, litter bins, gas pipes, post boxes and stray dogs, put together in one frame with the general plan of Moscow’s famous wonders, unexpectedly acquires a legal Moscow permit, a residence permit. And acquires it by knowing someone, and not going on the waiting list. Which for a Moscow overflowing with visitors is a great rarity. (Yu. Avvakumov)

(exhibition)

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