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

29/24: Andras Fekete - Establishing Shots

30/24: Vladimir Antoschenkov - MASONRY

31/24: Academy of Architecture - MARKhI

32/24: Igor Chepikov - Resort City

Igor Chepikov (1963) - photographer. In 1986 he graduated from the Moscow Institute of Architecture. Since 1989 he has been a member of the youth organisation of the Moscow Division of the Russian Union of Artists. He has lived in Cologne since 1991. He has participated in exhibitions since 1986. Up to 1992 this was mainly in Moscow: 17th, 18th and 19th youth exhibitions, Labyrinth, Logic of Paradox, Up to 33, Beyond Genre and others. Since 1992 he has exhibited mainly in Cologne: in the Forum Lindenthal and Juliane Bergerhof galleries, and at the FOTOKINA and Koeln Kunst festivals, among others. In the last two years he has taken part in Paris Foto.

”Come to the Crimea, and you will see pastorals of the XVIII century against a background of the architecture of the XXI century!” This was a promise of tourist brochures, and they were telling the truth.” (Vasily Aksyonov, Island of the Crimea).

A photograph has an interesting feature – beneath the visible upper layer of the image one can find other, invisible images. Beneath the portrayal of ruins stand churches and palaces, beneath sand – flourishing oases, just as behind death there is birth, and before decay there is always the dawn. As if the coloured negative film consists not of coloured layers, but historical layers in which is reflected all the previous life of whoever is photographed, and sometimes even their future. It is like this with the pictures of Igor Chepikov, who photographed the Crimea during the early autumn, the Crimea of the ancient Greeks, the Tartar Crimea, Maximilian Voloshin and James Robertson, the illustrious Crimea of Russian glory and now abandoned in favour of Turkish resorts. Whatever and whomever he photographed in the Crimea, beneath the surface of the photographic print there is a history which in one way or another manifests itself in the upper, visible layer. Provided the photographer is not deaf, and remembers something of history, or the viewer is not blind, and can see a young face behind the wrinkles. In the past or in the future.” (Yu. Avvakumov)


33/24: Alexey Naroditsky - MAR ino

34/24: Igor Lebedev - SPBaroque

35/24: Alexander Brodsky - unDeveloped

36/24: Alexander Djikia - Upper Point