35/24: Alexander Brodsky - unDeveloped
Aleksander Brodsky was born in Moscow in 1955, and is an architect and an artist. In 1968-1969 he studied at Moscow Art School attached to the Academy of Arts. From 1972-1978 he studied at Moscow Institute of Architecture under M. A. Turkus, M. O. Barshch and B. G. Barkhin. From 1972-1992 he worked in cooperation with Ilya Utkin. He has participated in exhibitions since 1975.
He has taken part in more than 50 group exhibitions of architecture and the fine arts. He is a prizewinner of numerous international and Russian competitions and architectural shows. In 2001 he was awarded the Grand Prix at the exhibition of modern European art held in Milan.
Collections: State Museum of Architecture, Moscow, Deutches Architecturmuseum, Frankfurt am Main, Bayly Art Museum, University of Virginia, Charlottesville, Virginia Des Moines Art Center, Des Moines, Iowa Duke University Museum of Art, Durham, North Carolina Institute of Contemporary Art, Boston, Massachusetts Museum of Art, University of Arizona, Tucson, Arizona Museum of Modern Art, New York, New York Portland Art Museum, Portland Oregon San Diego Museum of Contemporary Art, San Diego, California San Diego State University Art Gallery, San Diego, California The Hirshhorn Museum and Sculpture Garden, Washington, D.C. Wellington Art Gallery, Wellington, New Zealand
"Aleksander Brodsky’s work “Undeveloped” has no connection either with the outlines of the philosophy of photography or with the philosophy of the physical vacuum, nor with the philosophy of Hinduism. It is tempting to write a foreword about the fact that ‘photography destroys memory’ or that ‘nothing’ exists as undeveloped existence – in the form of a physical vacuum’ or about ‘the undeveloped as the heart of all paths’ ...
The story of this exhibition is much simpler. Over the course of several years the architect Brodsky photographed whatever and wherever, stored the exposed films in a big box and then forgot to develop them. One can suggest that the process, or if you like, the ritual of taking photographs occupied the ‘operator’ more than the result. Nevertheless, in accumulating, the unexposed films lived an independent life, being charged with their own energy, until they reached 100 cassettes, which became a critical mass for this amateur. At this point in the story curiosity won out, and the unexposed was exposed. It is this unexposed film (a certain amount of it) which is offered to the attention of the curious who are interested in the philosophy of creativity, and as a private event, the reaction of transforming the potential life into physical reality, which we are granted to experience by a particular artist." (Yu. Avvakumov)