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

Aleksei Naroditsky (1974) - photographer. In 1986 he completed his studies at Stroganov College. He has been a member of the Union of Artists since 2000. To date he has had two personal exhibitions: Murder, at Art-Manezh in 1999, and Egg Magazine, at the OGI Gallery in 2000. He does a lot of work for architectural and interior design journals.

“So I am not going to dwell on the negative. As my guru Harry Cohen Baba used to say, "Life is like photography ... we use the negative to develop." So let us look at the bright side. Like technological advances, for example”. (Swami Beyondananda).

For a commission by the journal Project Russia, Aleksei Naroditsky has been photographing Mar'ino, a residential district planned in the Soviet period but constructed in the era of New Russia. He took the photographs on slides. He then scanned the slides, digitalised them, and printed them. All stages in this process, both architectural and photographic, are completely positive. There is the sun, nature in the form of a newly laid- out park, the white, rose and light green panels of housing blocks, the red bricks of the so-called domestic service enterprises*, the electricity transmission cables falling away into the perspective lines, and the gas flare on the Lyublino oil refining plant, like a distant beacon. Mar'ino is a satellite town attached to the city by the underground railway. It is a town with a cloudless future, which we can already predict today. Like photographs, which come to life through light and fear light, in practice do not last for more than 100 years, these buildings made of large prefabricated panels are similarly not long-lasting. Photography today is the most widespread technique, and only very few photographs find their way into museum collections and under special conditions are preserved for longer. The rest rapidly fade, and are almost painlessly discarded when people move from one flat to another. The same laws operate in building construction – architectural monuments are few, and there is never enough for everyone. Mar'ino is not categorised as a museum exhibit, for its price is the cost of automatic developing in a Kodak laboratory, multiplied by millions of amateur photographers.” (Yu. Avvakumov)

*A small building on Soviet residential estates offering the services of dry-cleaners, laundry, hairdressers, and rental of small domestic appliances.

(exhibition)

34/24: Igor Lebedev - SPBaroque

35/24: Alexander Brodsky - unDeveloped

36/24: Alexander Djikia - Upper Point