MOÑ theatre venue closes the season — RealnoeVremya.com

What Cartier-Bresson has to do with it

The challenge was conceived by Alexandra Davydova, PR supervisor of the Living City Foundation, MOÑ theatre venue, and a photographer. The start line for her was the reflection of Henri Cartier-Bresson, a traditional of documentary images. When the Louvre determined to arrange its first images exhibition in 1954, it was this creator’s works that had been on show.

Interestingly, Cartier-Bresson himself didn’t develop the movie or print the pictures. He often defined it this manner: you must click on the shutter on the “decisive moment.” According to him, images is “instant recognition, in a split second, of the significance of what is happening and, at the same time, the precise organization of forms, which gives this event the expression that corresponds to it.”

Davydova opened the decision for functions on 18 June, accompanying it with the next textual content: “The focus is on the extreme point. The moment in which everything becomes more acute: form, gesture, pause. Not just a frame, but a state. Peak, vulnerable, filled. When the story reaches its limit, and you release the shutter. That is when the photograph ceases to be just an image and becomes a statement.

This is not about a beautiful angle or an effective composition. The context is important here — what is really happening. A lonely woman with a cigarette on the beach is not a pose, but a story. About fatigue, loneliness, and the inner landscape.

The exhibition is presented on the walls of the MOÑ theater venue — a space where contemporary Tatar culture is explored. It is important for us that the photographs are about this: about how people in Tatarstan live, feel, are silent, and look.”

Applications had been accepted till 25 June, and 10 pictures had been chosen from 150.

Photographers say

“It seemed to us that they best convey the context of Tatarstan, the context in which the people of Tatarstan live,” explains Davylova. “Here are the people themselves, and what they are looking at, a still life or, for example, hay. Each photograph is accompanied by an audio description. I asked to voice each author independently, because it seemed to me that this way you can be even closer to the author and to the story. And we also made a voiceover in the Tatar language.

The recordings were clearly made on built-in voice recorders, so the authors are really close, they speak differently. Here Maria Norden explains in detail: “2018. The football championship between Iran and Spain at the World Cup. A football fan or a former football player himself enthusiastically follows the match. There are no limits for a true fan.”

Sofia Khapina notes: The Bird Market is a magical house that’s inconceivable to disregard: “When you just go to the market, magic occurs and everything happens by itself, you don’t even have to intrude into the space. The market is such a living and breathing place, for a photographer this is, of course, significant.”

Dinara Sayetova briefly shares: “The photograph shows an August still life with the harvest, on which my grandfather worked all year.” “It seems to me that if a person just wants to finish thinking, he has such an option,” says Davydova. Or you possibly can take heed to what the creator of this photograph actually wished to convey.

For somebody, it is going to be only a photograph of a grandmother making pies, and somebody who listens to the audio information will already know the true story.

Some photographs of the contributors of the exhibition Extreme Point

How to select from 150

Out of 150 pictures, 10 had been chosen by Davydova herself, explaining that she tried to gather the images right into a single idea, so that every complemented the opposite, and in addition observing a sure parity ratio of individuals within the body and simply the character of Tatarstan.

“Instantly, I think I eliminated about 40%,” says Alexandra. “It was not because the photographs were bad, but because they simply did not fit conceptually into this exhibition. There was an ideal picture, there were models, and this exhibition is not about ideality, but on the contrary, about chance, about a moment caught by chance. The rest was eliminated during immersion in the material, during reading the description.”

I had a small precept of taking not solely photographers, however unusual individuals who caught some cool second and confirmed it. Among the professionals listed below are Sergey Uskov, Maria Norden, Bulat Arslanov. The relaxation, for probably the most half, are newbie images.

In addition to the above-mentioned authors, Pavel Pyshkin, Leysan Gilmetdinova, Aliya Latypova, and Elizaveta Kuzmina are collaborating.

An vital reminder: all pictures had been taken on movie. According to Davydova, this subject is gaining momentum once more now, because of the retro development, and movie is only one of them, extra individuals are getting concerned.

“Mostly people just take pictures of themselves and their friends. But there are those who take pictures of what is already happening around them,” says Davydova. “This is not a grant story, but simply my initiative. The only place where the exhibition could be held was the wall of our theatre.»

Film photography is a story with different budgets, notes photography master Timur Khadeнev:

Interest in movie images started to develop within the late 2010s, reached a sure degree and has been maintained for a number of years, notes Khadeyev.

“Many take film on vacation, in the summer a lot of people try to shoot. Someone even starts printing manually — this is a separate topic. Film has gradually been pushed aside by the fashion for retro-digital point-and-shoot cameras, but film is still an important part of the photo life for many.”

The exhibition will run till 4 August.

Radif Kashapov

Tatarstan