issue

16

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 “What the photograph
reproduces to infinity
has occurred only
once: the photograph
mechanically repeats
what could never be
repeated existentially.”

ROLAND BARTHES
In Collaboration with
Andrés Marroquín Winkelmann

Andrej Krementschouk
Come bury me 4

Carlos Jiménez Cahua

Ciudad de los Reyes 26

Milagros de la Torre
Bulletproof 46

DMITRY SOKOLENKO*
Zeitgeist 60

Margo Ovcharenko*
A certain russian youth 82

Eduardo Hirose
Proyecto Pozuzo 98

olya ivanova
Gorelovka 114

Pablo Hare 136

Monumentos del Peru

Philippe Gruenberg 162

IGOR SAVCHENKO* 176

History conserved,
time brought to a standstill

* Courtesy of the RTR gallery in Paris.

 Andrej
www.krementschouk.com
Krementschouk

Come bury me
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12 Andrej Krementschouk was
born in 1973 in Gorky (Nizhny
Novgorod), Russia. After
8th grade he left school and
completed an apprenticeship
as a restorer of icons and metal
objets d’art at the School of
Art and Restoration in Suzdal.
From 1991 to 1995 he studied
at Vladimir Conservatory, in the
Faculty of Musical Ethnology,
obtaining a diploma degree as
chorus director. From 1991 to
1997 he worked as a freelance
jeweller and restorer of icons.
In 1997 he enrolled in an
introductory course in Slavonic
Studies and Art Education at
the university in Greifswald
and then changed to a diploma
degree course in Communication
Design, with photography as the
main subject at the University
of Applied Sciences, Hamburg.
He was one of the winners of the
photography competition “Good
prospects – young german
photography 2007– 2008” with
the work “No Direction Home”,
In September 2009 this work
was issued as a book of the
same name by the publishing
house Kehrerverlag. From 2009
to 2011 he was a member of
»Ostkreuz«, photographic
Agency, Berlin. Lives and works
in Leipzig.
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 Carlos
Jiménez
Cahua
Ciudad de los Reyes

www.carlosjimenezcahua.com
28 Nor is it, altogether, the
remembrance of her cathedral-
toppling earthquakes; nor the
stampedoes of her frantic seas;
nor the tearlessness of arid
skies that never rain; nor the
sight of her wide field of leaning
spires, wrenched cope-stones,
and crosses all adroop (like
canted yards of anchored fleets);
and her suburban avenues of
house-walls lying over upon
each other, as a tossed pack of
cards; — it is not these things
alone which make tearless Lima,
the strangest, saddest city thou
can’st see. For Lima has taken
the white veil; and there is a
higher horror in this whiteness
of her woe. Old as Pizarro,
this whiteness keeps her ruins
for ever new; admits not the
cheerful greenness of complete
decay; spreads over her broken
ramparts the rigid pallor of
an apoplexy that fixes its
own distortions.
Herman Melville,
Moby-Dick; or, The Whale
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Carlos Jiménez Cahua is a 35
Peruvian-American artist
working in photography. He
has exhibited in solo and group
shows across the northeastern
United States with a recent solo
show at Princeton University.
His work has been reviewed by
The New Yorker and the The Wall
Street Journal and is included in
numerous private collections.
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 Milagros
de la
Torre

Bulletproof
Sport’s Jacket
 Guayabera

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Denim

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 Lady’s Jacket

50
Black Leather

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T-shirt

Photography still intrigues me
for its potential to trigger new
codes, concepts, memories
in a particulate private way to
each viewer; for the ambiguities
of the photographic act; and,
how—through the essence of its
own technique—it destabilizes
its authority as a record or
document of the real.
Photography also fascinates
me. It is intimate and revealing,
suggestive of a concern for
recognizing not only personal,
collective memory, but the
darker side all human beings
carry within themselves. This is
done through the discovery of
clues and evidence that lead us
to observe the inevitable and
revealing of human actions.
In ‘Bulletproof’, a project
finished in 2008. I propose
a very straight forward
photographic tactic with an
austere chosen documental
approach. The garments appear
almost as if you were looking
at them, experiencing their
same size; having the detailed
sensation of almost putting
them on. The project has been
printed on cotton paper which
also gives the impression of
clothing material. The tonality
of the prints is almost black and
white, but not quite so. They
seem everyday innocent pieces
of clothing, normal and common
at first sight. Hiding their real
purpose, these garments protect
those who wear them from fire
arms attacks. The fact that the
appearances in this case are
deceptive creates a tension
between the familiar and the
unexpected, between violence
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and abrasive poetry.
These pieces of clothing reflect
the different genders, styles and
age groups we normally find in
our contemporary societies. Not
only used by politicians or the
rich and famous, bulletproof
clothing is being widely adopted
by the everyday citizens in crime
afflicted cities around the world.
Again photography seems
to take us ‘somewhere else’.
Even though we are looking at
images of clothes, inevitably
one is intrigued to wonder and
decipher the story of the person
who would wear such garments
along with the dramatic
possibility or premonition of
their destiny.
 Militar

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Suede

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 Light Leather

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Corduroy

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58 Milagros de la Torre was born in
Lima, Peru. She studied at the
University of Lima and received
a B.A. (Hons) in Photography at
the London College of Printing.
She has been working with
photography since 1993, her
first solo exhibition curated by
Robert Delpire was presented
at the Palais de Tokyo, Centre
National de la Photographie,
Paris with the ‘Under the Black
Sun’ project. An important
monograph designed by Toluca
Editions, Paris will be published
by RM Editores, Mexico/
Barcelona in 2011. A solo
exhibition of her work will be
presented at Americas Society,
New York in February 2012.
She has recently received the
Guggenheim Fellowship Award
in Creative Arts, Photography.
She received the International
Photography Romeo
Martinez Prize and the Young
Iberoamerican Creators Prize
for her series ‘The Lost Steps’,
1996. She worked as a curatorial
assistant to Francoise Reynaud
in the Photography Department
of the Musee Carnavalet, Paris.
In 2003, she published the
artist’s book ‘Troubles de la Vue’
with Toluca Editions, Paris.
Her project ‘Bulletproof’ was part
of the ‘DRESS CODES’, the Third
Triennial at the International
Center of Photography, New York
in 2009-2010 and her work was
featured in ‘Changing the Focus,
Latin American Photography
1990-2005’ exhibition at the
Museum of Latin American Art,
Los Angeles (2010).
She has given artist lectures London.
at the New York University with
She has given artist lectures
Kristen Lubben and Miriam
at El Museo del Barrio,
Basilio; The Getty Research
N.Y., ‘Conversations with
Institute, Los Angeles; El Museo
Contemporary Artists’, a panel
del Barrio, N.Y. Museo de Arte
discussion between Luis
Moderno, Mexico City; Itau
Camnitzer and Karlos Carcamo,
Cultural, Sao Paulo; Cultural
moderated by Jose Luis Falconi;
Center for Contemporary
Artist talk at Hunter College, N.Y.
Studies, University of Barcelona,
invited by Estrellita Brodsky; ‘In
Spain; Spanish Cultural Center,
love and in War’, artist talk at
Lima, Peru; Dynamic School for
Dumbo Arts Center during New
Writers, Mexico City directed by
York Photo Festival in 2011; at
Mario Bellatin.
the New York University with
Her work has been exhibited in Kristen Lubben and Miriam
institutions as The International Basilio; The Getty Research
Center of Photography, New Institute, Los Angeles; Museo
York; El Museo del Barrio, de Arte Moderno, Mexico
New York; The Art Institute of City; Itau Cultural, Sao Paulo;
Chicago, Illinois; Museum of Cultural Center for Contemporary
Fine Arts, Houston; Museo Studies, University of Barcelona,
Nacional Centro de Arte Reina Spain; Spanish Cultural Center,
Sofia, Madrid; Fundacion la Lima, Peru; Dynamic School for
Caixa, Barcelona; Museo de Arte Writers, Mexico City directed by
Carrillo Gil, Mexico City; Museum Mario Bellatin.
of Modern Art, Mexico City;
She lives and works in New York.
MARCO Museum, Monterrey;
Phoenix Art Museum, Arizona;
Palau de Virreina, Barcelona;
Itau Cultural, Sao Paulo; Centro
de la Imagen, Mexico City;
Museo de Arte Sofia Imber,
Caracas; Koldo Mitxelena, San
Sebastian; Casa de America,
Madrid; Fotobienal de Vigo,
Spain; Art Museum of the
Americas, Washington D.C.;
Kunstforeningen, Denmark;
Museo de Arte de Lima, Peru;
Centro Cultural Recoleta, Buenos
Aires; Museum of Contemporary
Art, San Diego; II Johanesbourg
Biennale, South Africa; VI
Bienal de La Habana, Cuba; The
University of Salamanca, Spain;
Institute of Contemporary Art,
Jacket

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 DMITRY
SOKOLENKO
Zeitgeist

www.rtrgallery.com

Zizou series / Contrapposto

62 Morphology of Red. Episode I series / 1917
Morphology of Red. Episode I series / Air + France

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64 Dmitry Sokolenko’s work can be defined
as a conceptual photo within the limits
in which an original artistic device has
developed. Outwardly, his works seem to be
a continuation in the vein of Kandinskii. Like
Kandinskii, Sokolenko also works with simple
forms, a point and a line on a plane, and
using the limited quantity of visual means.
However, there is a cardinal difference
within the deeper principles. The artist
himself characterizes his works as having
the position of a ‘reader’, emphasizing the
importance of a verbal component. The
name of the work (the verbal text defining
the concept and setting the framework of
its interpretation) and the image (the visual
text, illustrating the interpretation) act
as two parts receiving value only in unity.
Between the title and the image there are
complex semantic attitudes generating a
new message of a higher level. The problem
set by the concept could be solved by using
various techniques (painting, installation,
etc.) but by using photography to create the
artistic statement a new quality is given to
the conceptual problem. The effect created
is of one hunting for an object; meeting with
it becomes unpredictable, and the search
for concrete graphic material takes time.
The choice has a accidental and subjective
character at which irrational mechanisms of
inspiration join. It is necessary to meet the
image, set by theme and concept, and more
importantly, to identify it. The universal forms
that the spectator sees could be a photo of a
fragment of a billboard, taken by an amateur
camera, an image on a shoe box, fixed on
special scientific equipment, or an image
scanned from a pack of cigarettes – in any
case, for the spectator the origin of the image
remains unknown.
The movement of the artist to his own
creative method began with the transition
from classical photography to the use of
macro shooting used by professionals in
the field of microbiology. After gaining
experience photographing micro organisms
the artist departed from convention and
began a conceptual route, photographing
patterns on the wings of butterflies caught
by the great Russian and American writer
Vladimir Nabokov. The series involving
these images, “Nabokov’s Code”, was made
especially for the Nabokov Museum. Finally,
Sokolenko was received in the art world via a
display of his series of images representing
modern masscult through its personalities.
In this series we may see John Lennon in an
image of a white grand piano, Paris Hilton
in a glamorous pink splash and football
player Zinedin Zidan to whom the whole
series «ZIZOU» (2006) has been devoted.
In works of recent years, the artist turns
to a higher level of generalization. In the
recently completed project «LETOV» (2008),
the artist opens the consciousness of his
own generation through rock music. Here,
the textual makeup of a sign receives new
development –lines from punk rock songs
became the names of the works, each of the
quotations, besides its own meaning, draws
one’s attention to the general context of the
song, oftentimes different, appealing to the
remembrances of youth and the reasoning of
social progress by means of double coding.
A special place in the works of Sokolenko is
held by his project “XIX” (2007), devoted to
understanding the path of development of
Russian literature. Already axiomatic works of
classic Russian literature of the 19th century
(“War and Peace”, “Crime and Punishment”,
etc.), are taken by the artist and put into
chronological order, the 12 works are named,
and made into a cycle.
The reference to these major works
actualizes the key points that have become 65
corner stones of Russian mentality. Man and
society, the changing of generations, the
relationship between Russia and Europe, the
enigmatic Russian soul and state disorder,
reason and madness… The image opening
this series is a sphere which does not fit into
a unified network of square cells. This image
corresponds to the restless hero from the
play “To the Mountains from the Mind” by
Alexander Griboyedov, a Russian diplomat
who was killed in Teheran. The first picture
has a commonality with the last: Chekhov’s
inspired story about a madhouse. The
beginning and the end of the cycle become
isolated, creating the effect of circular logic
- similar to that object which portrays arrows
on a dial.

Artyom Magalashvili, Art Critic, PhD

66 XIX series / THE HISTORY OF A TOWN (SALTYKOV-SCHEDRIN)
Zizou series / Zeitgeist 67
68 Morphology of Red. Episode I series / Mouse = Leo XIX series / WAR AND PIECE (TOLSTOy)
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70 Zizou series / John Lennon
Zizou series / Signs and symbol 71
Zizou series / Great Chinese Potency
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74 XIX series / CRIME AND PUNISHMENT (DOSTOEVSKY)
Morphology of Red. Episode I series / Drop of Poet Vvedensky 75
76 Morphology of Red. Episode I series / Iconoclasm - Georgia
XIX series / Ward Number Six (Chekhov)
Morphology of Red. Episode I series / Glaube
XIX series / OBLOMOV (GONCHAROV)
Zizou series / The Gift 81
 Margo
Ovcharenko

A certain
russian
youth

www.rtrgallery.com
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Margo Ovcharenko photographs to his own questionning. 97
young Russians of her age,
At the age of 17, very young and yet
her close friends, the ones
well-determined, Margo explained:
who share her life, her joy, her
« Above all, I’m trying to avoid the
troubles, and whom she finds a
effect of pose. Some time ago, I
little bit of herself. Both prose
realized that nothing makes me
and poetry, her work questions
happier than this moment when
and transcribe an intimate
the model reveals himself, in
reality. Her photography can
entire, without lying. I don’t want to
be considered a mirror offered
metamorphose the person to make
to her generation or as a
him more or less attractive. As in the
dienchanted repertory of our
19th century paintings, that I always
collective experience.
admired a lot, I put the accent on
Her latest series « Hermitage light, color and silence. »
» (2010) plunge us into the
Margo Ovcharenko deals with
feeling of the Melancholia. Girls
sensitive subjects without
and boys appear overwhelmed
provocation nor brutality. She tells
with worries, dumps and a
us about the discomfort of being
fixed stare. Retreated into their
alive, of being alone and being so
thoughts, the caracters are too
many in this case. Her favourite
preoccupied to see us. And
models remain friends foremost and
yet, naked or dressed, close
her photography an act of intimacy.
or far, we feel aspired by their
She captures faces in their fullness,
fragility and the tension which
and bathes them in a morning light
fills them. Between freshness
or takes them out of the darkness. A
and depravity, tenderness and
communion. Softly.
trouble, the portaits of Margo
Ovcharenko take the spectator
Eduardo
Hirose

Proyecto
Pozuzo

www.eduardohirose.com
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 olya
ivanova

Gorelovka

www.olyaivanova.com
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128 Gorelovka is small village in the
middle of taiga in 800 km from
Novosibirsk. This place is hard
to find even in the Google Map.
That’s why it is the best place
to escape and hide. Many years
ago Christian Old Believers came
here to avoid church reform.
Then ‘kulaks’ (wealthy peasant)
chose this place to escape
from Soviet rule. Now many
‘new world antagonists’ came
here to live without passports,
internet, personal numbers and
government. They escaped
from the big world to pray, to
live modestly, never believe to
strangers and wait until the end
of the world. And the end is
coming. They promise.
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 www.pablohare.com

Monumentos
del Peru

Pablo
Hare
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154 Every public square in Peru, no
matter how big or small the town,
exhibits some kind of monument.
I have been travelling around
the country photographing these
public monuments since 2005,
trying to explore the intricate
links between identity formation
and public spaces. What
emerges is a narrative about how
Peruvian communities attempt
to represent themselves amidst
a harsh economic, social and
geographical landscape and in
front of an often indifferent State.
Behind their seemingly anarchic
character, the new monuments
that have appeared in Peru over
the past two decades seem to
materialise the social and cultural
transformations that are taking
place in the country.
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160 Pablo Hare was born in Lima,
Peru, in 1972. He studied
Media and Photography in Lima
and Cinematography at the
International Film and Television
School of San Antonio de los
Baños, Cuba. He has been a
resident at the Academy for
Media Arts, Köln, and at the Cité
Internationale des Arts in Paris;
as well as codirector of Galería
del Escusado and cofounder
of the artist run space and
collective Espacio La Culpable
(both based in Lima). In 2008
he began Toromuerto Press,
an independent publishing
house based in Bristol, with the
publication of the book Carretera
Central. He is currently preparing
its fourth instalment, the first
volume of Peruvian Monuments.
He lives with his wife and
daughter in Bristol, UK.
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Philippe
Gruenberg
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 IGOR
SAVCHENKO
History conserved,
time brought to a
standstill

www. rtrgallery.com
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186 Excerpt from “Pandora’s Box – The Handling of Things Past in Contemporary
Photo Art” by Barbara Straka, in: “1st Ars Baltica Triennial of Photographic
Art”, ed. Enno Kaufhold, Berlin, 1996, p.35-37

1. Igor Savchenko, “Ein weiterer Versuch, diesen 2. Ibid., p.28

Artikel zu schreiben” [A Further Attempt to Write
This Article], in: Fotografie aus Minsk, ifa-Galerie
Berlin, Berlin 1995, p.28
 187

3. Ibid., p.19
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 Front image Olya Ivanova Back IMAGE Margo Ovcharenko Please note no image in UYW can be reproduced
without the artists prior permission. All images are protected by copyright and belong to the artist.

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