The Drama Machine: Pictures from a Russian Scene - Brossura

 
9788831723756: The Drama Machine: Pictures from a Russian Scene

Sinossi

The photographs by one of the emerging artists of the vibrant Russian scene. Russian photographer Sergey Sapozhnikov takes as his topic and inspiration a landmark building of Russian Constructivism, the Drama Theatre in Rostov-on-Don. Designed by architects Vladimir Shchuko and Vladimir Gelfreikh in 1930, it’s an iconic work built in the impressive shape of a tractor. Like several other buildings from the period, it underwent various transformations and only recently a poor restoration works. In this sense, it stands as the example of a heritage from Soviet times that nowadays is asking for a renewed attention. Sapozhnikov’s work offers an unusual insight of the structure as his expressionist gaze moves around a constructed scene, reminiscent of a theatrical space and responding to the looming shape of this falling giant.

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Informazioni sull?autore

Sergey Sapozhnikov is a photographer and a curator from Rostov-on-Don, Russia. In 2008, he graduated from Southern Federal University, and in 2009 from the Institute of Contemporary Art. He currently lives and works in Rostov-on-Don and in Moscow, Russia.

Irene Calderoni is curator at the Fondazione Sandretto Re Rebaudengo in Turin, Italy.

Dalla quarta di copertina

The photographs by one of the emerging artists of the vibrant Russian scene. Russian photographer Sergey Sapozhnikov takes as his topic and inspiration a landmark building of Russian Constructivism, the Drama Theatre in Rostov-on-Don. Designed by architects Vladimir Shchuko and Vladimir Gelfreikh in 1930, it’s an iconic work built in the impressive shape of a tractor. Like several other buildings from the period, it underwent various transformations and only recently a poor restoration works. In this sense, it stands as the example of a heritage from Soviet times that nowadays is asking for a renewed attention. Sapozhnikov’s work offers an unusual insight of the structure as his expressionist gaze moves around a constructed scene, reminiscent of a theatrical space and responding to the looming shape of this falling giant.

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