2021 : Cover for Czech version of Fotograf Magazine # 38 and publication

A third of the population never talks about death with their loved ones. The society of the global North has lost its natural attitude towards death. Through the ideal of infinite growth, consumer life, and the cult of eternal youth, death gradually became taboo. The presence of death has been delayed by society through a healthcare system focused on improving citizens' physical condition, thus effecting the greatest possible delay to dying – not only in practice, but also within the collective consciousness of mainstream society. The importance and depth of the process of departure is reduced. One possible result is the suppression of fears connected to the end of life, which make it impossible to experience life in the present.

For theorists of photography such as Susan Sontag and Roland Barthes, the medium of photography was itself a kind of death or its imprint. As Sontag points out: "Photographs state the innocence, the vulnerability of lives heading toward their own destruction, and this link between photography and death haunts all photographs of people." The fragile line between death and life has been the subject of art since antiquity. What are the forms taken by the topic today? It might be difficult to go through all the layers of emotion that surround our cessation, but we will try to imagine the diverse moments of encountering death and the different perspectives one might adopt, with the aim, ideally, of accepting respect and gratitude for life, allowing us to perceive it in the present. The art of accepting death at that moment can become the art of living.


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#38 death, when you think about it



Project:
Happy Death Society

Fotograf Magazine
Size: 29 x 22,5 cm
Pages: 88
2021


2021 :

Вlazar is the official companion of the cosmoscow international contemporary art fair. Unlike many other fairs, the participants in blazar are not only galleries, but also artists at the beginning of their careers, working outside the structures of galleries, as well as creative associations and educational institutions.




Вlazar art fair


Вlazar young art fair

Gallery: Syntax
Place: Museum of Moscow (2 Zubovsky boulevard, Moscow, Russia)

08/09 - 12/09/2021


27/01/2021 :

In the Minsk suburb of Novaya Borovaya, some people in green and red tracksuits are gluing stickers in the form of state flags on the windows.

You can see five people under the windows of one of the houses. They have green tracksuits with the Belarus logo on the back and the national emblem on the chest, black caps and masks in the colors of the national flag. Commentators report that such clothing is often issued to students of military departments and faculties. Also, soldiers of the military unit 3214 of the internal troops of the Ministry of Internal Affairs were noticed in similar clothes.


The Hunters in the Snow (Dutch: Jagers in de Sneeuw), also known as The Return of the Hunters, is a 1565 oil-on-wood painting by Pieter Bruegel the Elder. The Northern Renaissance work is one of a series of works, five of which still survive, that depict different times of the year. The painting is in the collection of the Kunsthistorisches Museum in Vienna, Austria. This scene is set in the depths of winter during December/January.

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The Return of the Hunters


Project:
The Belarusian Context

Digital collage
The Silence Speaks Volumes


Place: Space Third Place
(Hrodna, Belarus)

14.07 - 09.08.2020



14/07/202 - 09/08/2020: Solo Show in Hrodna, Belarus.

"… I am absolutely convinced that without hope for a miracle, life loses its reality, naturalness. Life is panting, wasting away. Instead of her, her disgusting dummy comes to the fore and is overgrown with posters, calls, monuments ... "
Monologue from the film "The Kerosene Man's Wife" (1988)

Different dictatorships give rise to similar times and spaces. Time in them turns into timelessness, the past grows into the present with a rusty fence, the living is displaced by the formal and ritual. How does it feel to live inside a modern dictatorship? How does it feel if you thicken its space to the point of tangibility?

To the question about the nature of the dictatorship, Andrey Anro offers answers that do not lie on the surface: firstly, this is a metaphysical experience, secondly, existential, and, thirdly, bodily.

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2019 :

Publication in book EEP Vol 1.
The eep Magazine is the first photography journal dedicated solely to the little known art and photography scenes of Eastern Europe. Its focus lies in uncovering the hidden nuances, dialogues and contrasts in the works of emerging and established Eastern European visual artists and photographers. We explore the absurdity of the Eastern European experience as endured by generations of artists who continuously have reflected on issues related to abrupt societal changes, war, migration and complex family history juxtaposed against the backdrop of mutually exclusive cultural legacies and political systems.

THIS ISSUE

18 Countries
41 Artists
312 Pages

Art Director: Ekaterina Shuvchinskaia
Editors: Krasimira Butseva, Ryan Morris

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EEP Vol. 1


Project:
Happy Death Society

Book
Size: 22,5 x 16,5 x (2) cm
Page: 230-138
2019