Archive for the ‘dereliction and abandoned’ Category

Empty Land, Promised Land, Forbidden Land – Rob Hornstra – Foto 8 Gallery – 15th March to 5th April 2012

Sunday, March 18th, 2012

hidrazone, konczak, art, photography, Empty Land, Promised Land, Forbidden Land, Rob Hornstra
hidrazone, konczak, art, photography, Empty Land, Promised Land, Forbidden Land, Rob Hornstra
hidrazone, konczak, art, photography, Empty Land, Promised Land, Forbidden Land, Rob Hornstra
hidrazone, konczak, art, photography, Empty Land, Promised Land, Forbidden Land, Rob Hornstra
hidrazone, konczak, art, photography, Empty Land, Promised Land, Forbidden Land, Rob Hornstra
hidrazone, konczak, art, photography, Empty Land, Promised Land, Forbidden Land, Rob Hornstra
hidrazone, konczak, art, photography, Empty Land, Promised Land, Forbidden Land, Rob Hornstra
hidrazone, konczak, art, photography, Empty Land, Promised Land, Forbidden Land, Rob Hornstra

 

 http://www.foto8.com

We knew almost nothing about Abkhazia when we visited for the first time in 2006. During our virtual travels through the country across maps on the internet, we discovered a fascinating landscape of mountains and rivers, with the majority of the towns spread out along the Black Sea. We read about snowy mountains of dizzying height that rise straight out of the sea, about endless beaches and lush gardens full of palms, tea bushes and citrus trees. We put the place names Sukhumi and Gagra in our mouths and savoured them like exotic morsels.

This coastal strip on the Black Sea was once the Riviera of the Soviet Union. Stalin had two dachas there. His successor, Khrushchev, swam in Pitsunda’s warm waters when the Communist Party in Moscow ousted him to make way for the party mastodon Brezhnev. In the literature and Soviet guidebooks, Abkhazia sounds like a dream, a subtropical oasis on the Black Sea, a promised land.

The more we read about it, the more it enticed us, like a fairy tale; but a fairy tale tinged with black. On the flip side are the ruins, the pot-holed roads along which only the overgrown, concrete stairs of houses still stand, the rusted gates and car wrecks, the twisted remains of the horrific civil war that erupted here in the early ’90s. It reminded us of areas such as Transnistria, Nagorno-Karabakh, South Ossetia and Kosovo, all small, violent and unviable provinces of artificially created countries. Abkhazia had been destroyed by civil war and forced into isolation, but had kept itself going for 15 years despite an international boycott and a tourism-based economy in a region without tourists.

The Abkhazians live in devastation and poverty. During the war they deported 200,000 Georgians and in so doing went from being a vacation paradise to a totally isolated country. The 200,000 refugees live in equally impoverished conditions and are filled with nostalgia for their lost paradise. This cynical parallel was the reason for us to make four trips to Abkhazia and to record this obscure and painful conflict.




The Zone – A Sensory Journey into the Heart of Chernobyl’s Exclusion Zone

Thursday, November 24th, 2011

 

http://s1.lemde.fr/webdocs_contenu/fichiers/la_zone_va/index.html

A sensory journey into the heart of Tchernobyl’s exclusion zone – the forbidden area around the nuclear power plant. A physical and cerebral experience, 25 years after the disaster.

The Zone is an installation combining photographs, videos and sound creations. Spectators are invited to enter into a black box, and their presence inside sets off a tangible experience of the radioactive zone, ever renewed, different for each one.

Both film and subject, The Zone plays with different time frames and narrations, interlacing them so as to recreate as faithfully as possible our perception of time and space regarding a land blasted by nuclear holocaust.



Jane and Louise Wilson – John Hansard Gallery – 16 July to 10 September 2011

Thursday, September 29th, 2011

www.hansardgallery.org.uk/


Atomgrad (Nature Abhors a Vacuum), 2010 is a suite of eight photographic prints depicting deserted interiors from the abandoned town of Pripyat, situated within the 30km wide Exclusion Zone around the site of the disaster. Books remain on shelves and desks, bed frames remain intact and once-exquisite parquet flooring lies on the ground like rubble. A yardstick appears within each image and is a recurring motif throughout the exhibition. These objects of measurement – functional yet obsolete – act as a marker of scale and order, alluding to the tensions between association and analysis, memory and material fact.

Other works featured include two from the photographic series The Oddments Room, 2008-9, made in an antiquarian bookshop, alongside ready-mades Altogether, 2010 and Measure Obsolescere, 2010, through which yardsticks punctuate the gallery space, and new photographs from a recent work Face Scripting: What Did the Building See?, 2011. Jane and Louise Wilson were born in Newcastle and currently live and work in London. They began working together in 1989 and have exhibited in major galleries throughout the world. They were nominated for the Turner Prize in 1999.

Jane and Louise Wilson’s work in Chernobyl is commissioned and produced by Forma Arts and Media, in association with John Hansard Gallery, Dundee Contemporary Arts and The Whitworth Art Gallery, University of Manchester. Research has been supported by British Council Ukraine, The Center for Urban History of Central East Europe and the Visual Culture Research Center, University of Kiev.

hidrazone, konczak, art, photography, Jane and Louise Wilson

hidrazone, konczak, art, photography, Jane and Louise Wilson

hidrazone, konczak, art, photography, Jane and Louise Wilson