Kharkiv School of Photography

1195: 931:, or printing them onto color photo paper. It created the opportunity to use a number of different photo combinations with clean, accurate detailing. Another Mikhailov invention, the concept of "bad photography," focused on creating defective black-and-white photos, often out of focus or with low contrast (mostly due to the lack of professional quality photo equipment). It was created in opposition to the "optimistic narrative" of the Soviet Union, as a way to critique Soviet ideas of portraying real life. Later, some critics called this concept "the first example of 308:, the artistic life developed through the private initiatives of the photographers. For example, the first venue for contemporary art in Kharkiv, the "Up/Down" gallery, was opened and existed under leadership of Sergey Bratkov, Boris Mikhailov, Sergiy Solonsky, Igor Manko, and Igor Chursin from 1993 to 1997. Another institution, which played a significant role in the cultural development of Kharkiv in the late 1990s – early 2000s, was the Palitra gallery, organized by Andriy Avdeyenko in 1996 and over the years hosting multiple influential art exhibitions. 135:, older artistic traditions were disallowed, and photographers were forced to document fictitious Soviet reality. Portraying any reality other than perfection, and taking photos of certain places, events, and objects, was restricted. Forbidden subjects included nudity, smoking, drinking, and illness, among others. In general, Soviet photography served its ideology and "utopian concepts." Official photography was produced and distributed under supervision of the 1038:(1975) montage by Oleksandr Suprun, where the same flower fragment was used 51 times. Later, Evgeniy Pavlov mastered the art of photomontage using black-and-white photos with manual coloring and scratching. Another Kharkiv technique widely discussed by critics from abroad was the "blind spots" method, which was used to cover authors' sharp statements and in opposition to the "see-through aesthetics" promoted by country's officials. 4498: 293:, where Maslov and later Starko worked. In 1986, the group hosted an exhibition there, and Starko was fired. Sergey Bratkov and Kostiantyn Melnyk joined the group sometime later. A group photo was taken in front of the historical Gosprom building in Kharkiv, and the name of the group changed from Kontakty to Gosprom. The new generation used the methods of their predecessors as well as creating their own. 770:, one of the representatives of KSOP, the aesthetic of Kharkiv photographers largely depended on the artists' confrontation with the well-established rules of that time, challenging the government's desire to censor and control artistic activity. In search of new artistic expression, they showed behind-the-scenes glimpses of the Soviet "ideological facade" created by commonplace socialist realism. 870: 762:. Propagandistic influence on artists from different artistic fields promoted a modified representation of reality (or "oversimplified and quasioptimistic depiction and glorification of the Soviet reality"). Due to socialist realism tenets and the government's severe censorship, Soviet photographers had a very narrow range of expression, depicting only "beautiful" aspects of Soviet reality. 1336:

large crowds of people exploring post-Soviet society. This tendency was clearly traceable in a number of his projects including "Chapiteau Moscow" in 2012. Another work that explored and analyzed Soviet and post-Soviet reality, as well as the question of identity was the photo series "Empire of Dreams" created in 1988 and re-invented in 2016–2017. In 2017, the series was nominated for the

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which uses a shocking element to make a strong photographic statement. Another advance was the concept of "bad photography," which critics called the first example of conceptualism of Soviet photography. Some KSOP works are considered one-of-a-kind experiments in photography in the Soviet Union as well as the start of an aesthetic revolution in Ukrainian photography.

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common for painters, musicians, and writers; photographers, on the other hand, had only official photography clubs to serve as "professional unions." New approved-by-government photo clubs developed rapidly in Kharkiv. These clubs were an integral part of professional and democratic movements developing in the city's culture, and made photographic art legitimate.

903:, and others), Kharkiv photographers came up with the techniques, methods, and principles that today are considered their signature inventions. One of the first generation's key innovations, "blow theory" (or "the theory of stroke"), implied that photography needed to convey a strong statement, and a shocking element was the only way to make an artistic impact. 105:, but today it is considered the strongest Ukrainian school of photography both during and after Soviet times. In 2018, the Museum of the Kharkiv School of Photography opened, including a publishing house. The museum, managed by Sergiy Lebedynskyy, collects and preserves works from all KSOP generations as well as other Ukrainian and international artists. 852:'s (and a number of other artists of their generation) avant-garde artistic activity in the beginning of the 20th century. They passed their experience on to new generations of artists, who used avant-garde methods and rules from 1950 to 1990. One of their students, Volodymyr Grygorov, supervised some of the key creators of the first KSOP artistic union. 74:, Oleg Maliovany, Gennadiy Tubalev, Oleksandr Suprun, Oleksandr Sitnichenko, and Anatoliy Makiyenko. In 1975, the Vremia Group members joined the board of the Kharkiv Regional Photo Club and in 1975 or 1976, due to their radical artistic activity, the Photo Club was shut down. Nevertheless, the group continued unofficially, and the members kept in touch. 348:

presentation of KSOP work, but also on collecting photos of new generations of Kharkiv photographers and other Ukrainian and international artists. The museum founder and director is photographer Sergiy Lebedynskyy. Museum staff, including Oleksandra Osadcha and Nadiia Bernard-Kovalchuk, publish research on photography.

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to ideology or propaganda under more subtle layers, the younger generation, put their sharp statements on the surface, with more "naive" subjects underneath. Their work is largely based on Kharkiv and its artists, including photographers of previous generations and has strong social and political contexts.

363:, by father and son Viktor and Sergiy Kochetov, representatives of KSOP. The book was printed as a collection of photographs with color drawings plus Viktor Kochetov's memories of his career from 1970s to the 2000s. As of 2020, the first full-length analysis of the school's activity is being published: a 1167:

The group made their projects more intense and straightforward in terms of context, color texture, and dialogue with the viewer. Members of the Shilo Group retained the "dualism" of their predecessors' art, but reversed it: while "blind spots" covered the first generation's sharp statements in regard

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With the decline of Soviet ideology in the 1970s and expanded freedom of expression in the late 1980s, Kharkiv photography started to appear more publicly and gain international recognition. However, despite its strong local specificity, Kharkiv photography success wasn't attributed to the city or to

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In 1975, the Vremia Group members joined the board of the Regional Photo Club. The government didn't like their avant-garde tendencies, labeled their activity "wrong," and eventually shut down the club in 1975 or 1976. Nevertheless, the group continued as a community of like-minded artists. According

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The expression "artistic photography" didn't exist in the way we know it now, and the phrase could only be seen on the windows of salons where passport or memorial photographs were made. At the time, photography was considered a hobby rather than an art; photographers who didn't follow the rules — or

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As the first generation of Kharkiv photographers reaches their elder years, museum staff works to capture their history and activity while it is still possible to gather their firsthand memories, experiences, and works. MOKSOP launched a project aimed at creating and publishing a collection of photo

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Part of the Museum of Kharkiv School of Photography (MOKSOP) was opened to the public in 2018. As of 2020, the museum's main building is still under construction, but it does have an official website and an archive of collections. Despite the name, the museum focuses not only on the preservation and

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traditions and brought socialist realism dogmas into play. They are known for extreme experimentations with photography techniques and methods and are credited for inventing and developing a number of them. One of their signature aesthetic inventions is the "blow theory" (or "the theory of stroke"),

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Bratkov never limited his subjects, taking photos of female soldiers, businessmen, sailors, drunks and prostitutes, and other people of any age, gender, or social status. In late 2000s, from photographing separate heroes, as he referred to them, Bratkov transferred his attention to group photos and

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Bound by socialist realism dogmas, the first Kharkiv School of Photography members (the Vremia Group) sometimes fought against them and sometimes tinkered with them, incorporating them into their art; but instead of showing a paradisiacal reality, they focused on changing photography. They tried to

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Sergey Bratkov, one of Mikhailov's "disciples" was known as "one of the most promising" Kharkiv School representatives during its formative years and later became one of the best-known photography classics of Ukraine and Russia with his works exhibiting in Belgium, USA, Switzerland, Spain, France,

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The Shilo Group was also inspired by the legacy of Boris Mikhailov, close communication with the authors of different generations and tradition of collaborative action in Kharkiv photography, presented by the Vremia Group, the Gosprom Group, and the Fast Reaction Group. They elaborated the Gosprom

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movement of the 1920s, sparked a "new wave" art that resulted in radical artistic actions. The two artists and their pedagogical activity in connection with the art studio of Olesiy Shcheglov also played a key role in connecting the avant-garde traditions of the 1920s to the younger artists of the

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started fighting to establish new forms and expressions of reality in art, bringing back avant-garde traditions. The success and longevity of artistic movements depended completely on the alternative unions and artistic "clubs" of that time, so they appeared rapidly across the country. Unions were

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One member of the Gosprom Group, Volodymyr Starko, worked exclusively on black-and-white photography and avoided cropping his images. Another member, Misha Pedan, developed further the group's documentary style in his 2011 "Stereo_types" project, in which he combined paired images. His colleague,

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1987–1991: the Ukrainian experimental art union "Panorama" was in operation, with Boris Mikhailov in charge of the photography department. Members of the union were Kharkiv photographers Mikhailov, Pavlov, Solonsky, Pyatkovka, Kochetov, Bratkov, Manko, Starko, and a number of painters. The union

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During the era of the Vremia Group, the "Kharkiv School of Photography" was considered a simple "figure of speech," but today it has become accepted as more than a Ukrainian photography "myth." Today, KSOP is considered "the strongest photographic school in Ukraine, both during and after Soviet

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photos became Mikhailov's signature work, exhibited multiple times in progressive international museums and galleries, and Mikhailov's work in general is considered a classic of world photography. However, Ukrainian society still doesn't really understand or appreciate his art, and rejects it.

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KSOP kept gaining new members, such as Bella Logachyova, Igor Chekachkov, Roman Minin. One of the best-known representatives for contemporary KSOP was the founding trio of the Shilo Group (founded in 2010): Sergiy Lebedynskyy, Vladyslav Krasnoshchok, and Vadym Trykoz. Its members also included

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group, despite strong restrictions in photography methods different from the standard, a number of places, items and subjects prohibited for photographing, and frequent government searches of private and public spaces. On the other hand, KSOP member Misha Pedan stated that even while creating

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onto a glass plaque and printed the photo while the glue was corroding the film, producing a new visual effect. Another non-aligned artist, Viktor Kochetov developed the technique of photographs hand coloring through a "brutal and uncompromised approach," applying color to his originally

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2019: The Kyiv Photo Book Festival, the first photo book festival in Ukraine history, was held. Local and international photographers, publishers, and galleries, as well as Museum of Kharkiv School of Photography and Rodovid Press, took part in the event. KSOP was represented by the book

331:(1984–1985) and a singular tribute to the history of the Kharkiv School of Photography. The Shilo Group interviewed the circle of Kharkiv photographers, including Mikhailov, and used his book for their new project. The Shilo Group is known for its criticism towards social processes in 158:

and propaganda slowly started to surface in Soviet society. Starting with this period, new sources of information showed people that the Soviet Union was not as perfect as was pictured, and strongly influenced further the development of society as a whole and of art in particular.

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Together with Mikhailov, Pavlov helped make the Kharkiv School of Photography into a phenomenon of contemporary art. His work has been exhibited in the US, Germany, France, and Japan. Pavlov liked old photography technologies more than modern ones; as of 2018, he had never tried

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ideas of the beginning of 20th century. Avant-garde traditions are still clearly traceable in the art of the newest generation of Kharkiv artists in the 2000s, who keep experimenting and use social media platforms to bring the connection between image and text to a new level.

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artist, started an artistic studio of photography which was attended by some of the key members of KSOP's first generation. Inspired by the rapid formation of clubs the Kharkiv School of Photography was established, making Kharkiv the capital of revived Ukrainian photography.

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to one article, their fellowship lasted 10 years after the Photo Club closed. Another article stated that the Vremia Group stopped working as an art union in 1979. After the Vremia Group stopped its work as a union, the Kharkiv art space fell quiet until the mid-1980s.

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was also widely used by different artists in the 1920s through the 1960s, and although this method wasn't the invention of Kharkiv photographers, they did master it and add their own tricks. One well-known example was the "Springtime in the Forest (Lilies of the

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project combined those techniques. In a span of four years (1990–1994), Pavlov created 100 photos for the project. Later, Pavlov studied the painting of photographs and worked with a painter, Volodymyr Shaposhnikov. According to Pavlov, their last joint work,

1285:(2000). Among his other awards are the Coutts Contemporary Art Foundation Award (1996), the Citibank Private Bank Photography Prize (2001), the Generalsatellite Corporation art prize (2003), and the Kaiser prize (2015). In 2008, he became a member of the 77:

Later, the artists of the next generation joined the movement. The Gosprom Group (initially called Kontakty Group: Misha Pedan, Sergey Bratkov, Volodymyr Starko, Igor Manko, Guennadi Maslov, Leonid Pesin, Kostiantyn Melnyk, and Boris Redko) worked on

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Bratkov started his artistic journey in the early 1980s, combining many artistic genres in particular photography and painting, and later added cinema to the mix. He started to paint professionally in 1989 and at the same time worked on photo

250:, Gennadiy Tubalev, Oleksandr Suprun, and Oleksandr Sitnichenko; 18 months later, they were joined by Anatoliy Makiyenko. Painter Oleksandr Mishchan and writer Vasyl Mishchan, whose surrealistic books were an example of the unique Kharkiv " 122:

movement, and photographic activity in general, developed in the 1920s within the highly esteemed circle of photographers. However, in the 1930s, political and social events brought any experimentations in photography to a close. In 1934,

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Not all KSOP methods were completely new; some of them were reinvented old techniques. For example, black-and-white-image hand-coloring existed in the 1920s for coloring postcards, and Soviet Union studio photographs were hand-colored or

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1994: Boris and Vita Mikhailov, Sergey Bratkov and Sergiy Solonsky co-founded the Fast Reaction Group to participate in the "actual art" movement. They worked at the intersection of art intervention, performance art, and installation

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Mikhailov's photography started to appear abroad in 1980s, and soon the Kharkiv School of Photography was known on an international level. During the 1960s through 1980s, Mikhailov created several well-known photo projects, such as

285:, Sergiy Solonsky, Andriy Avdeyenko, and Leonid Konstantinov. They were joined by Igor Chursin, Igor Karpenko, and Oleksandr Papakitsa, who did not belong to any particular photography group and worked on staged studio photography. 93:

The latest generation of KSOP includes the Shilo Group (Sergiy Lebedynskyy, Vladyslav Krasnoshchok, and Vadym Trykoz, as well as Vasylysa Nezabarom and Yuliia Drozdek who later became members of the BOBA Group), Bella Logachyova,

1217:. A representative of the Vremia Group, Mikhailov is credited for creating a "whole period in photography history" and generating multiple new methods and ideas for the new photography aesthetic. He was closely watched by the 855:

Small details indicated that KSOP artists were avant-gardists, such as a symbol of an owl (a sign that is connected to the Kharkiv avant-garde history and used by the Vremia Group); or new photography methods, that referenced

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In the mid-1990s, interest in KSOP grew rapidly. There were a number of articles about Kharkiv artists, including reviews of their exhibitions and projects. Articles about Maliovany and Suprun were printed in a revived

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artwork for their novelty and grotesque, dramatic effects. Their colleague, Sergiy Solonsky, who widely used photomontage in 1980s and 90s, is considered to have begun an aesthetic revolution in Ukrainian photography.

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Despite the fact that the members of KSOP believed their artistic photography did not rely on any history or tradition, today their work is considered an extension of the avant-garde style widely popular in the 1920s.

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tradition. For example, the city's artistic school, which later turned into an institute, was considered "the last refuge of Soviet avant-garde." The Kharkiv manor "Krasnaya polyana" was perceived as the center of

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Other KSOP photographers started to gather into new photo groups. The group called Kontakty (Misa Pedan, Volodymyr Starko, Igor Manko, Leonid Pesin, Boris Redko, and Guennadi Maslov) first gathered in the Builders

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In the middle of the 1990s, KSOP members such as Boris Mikhailov and Evgeniy Pavlov experimented with mixing photography and painting. They found that combining two art forms enabled more artistic freedom.

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1983: The Vremia Group organized their first ever official exhibition in Kharkiv, where they introduced the Vremia Group's art and shared their unique aesthetic principles with the artistic circles of the

713:, by former railway conductress Julie Poly, was published. This book was the result of her education in the Ukrainian State Academy of Railway Transport and her studies of the KSOP traditions and methods. 521:

1996: Andriy Avdeyenko opened the Palitra art gallery. The gallery hosted exhibitions for a number of significant art projects and spurred the development of art photography in Kharkiv. It closed in 2005.

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1993–1997: A Kharkiv underground "Up/Down" gallery became a center of non-conformist art under leadership of Sergey Bratkov, Boris Mikhailov, Sergey Bratkov, Sergiy Solonsky, Igor Manko, and Igor Chursin.

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magazine. The Center of Modern Art in Kyiv was opened, and discussions and research between local and international specialists resulted in references of "the new Kharkiv photography" as modern art.

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movements. They showed people's personal lives, illnesses, relationships, family secrets, and other subjects uncommon to art at the time. The books also illustrated a variety of aspects of Kharkiv

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2012: KSOP members Boris Mikhailov, Sergey Bratkov, Viktor Kochetov, Evgeniy Pavlov, Roman Pyatkovka, Vladyslav Krasnoshchok, and Vasylisa Nezabarom participated in the Fotofest 2012 Biennial in

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In 1965, the Regional Photo Club was opened and the Vremia Group formed within their non-conformist artistic movement inside the club, making it one of the most important art centers in Kharkiv.

1010:. The concept of "new documentary" was presented by Mikhailov as a new artistic method of "quiet adjustment" and implied that new photographs should look old from the moment they were taken. 1101:

The Gosprom Group (named after one of Kharkiv's historical buildings) was inspired by their predecessors and developed Kharkiv photography into different genres. The Gosprom Group developed

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presented works of 42 artists (students of the academy) from Ukraine and abroad, and discussions were held in regard to new photography techniques and the history of Kharkiv photography.

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books by Ukrainian photographers. To achieve this, a publishing house was established within the museum. The project was called "one of the most intriguing events of 2018 in the entire

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2020: The Kharkiv Photo Forum was held in a successful attempt to unite global scientific and cultural institutions for research and development of the Kharkiv School of Photography.

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By the beginning of the 1990s, almost every member of the group had experienced drastic life changes: a change in artistic style, a new profession, or even a move away from Kharkiv.

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2010: Misha Pedan founded the Ukrainian Photographic Alternative union, which united Ukrainian artists who applied innovative ideas in photography instead of traditional practices.

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and included works of the best-known Kharkiv School photographers, Mikhailov and Bratkov, as well as other 1990s photographers from the New Wave and Odesa Conceptualism Schools.

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Although Mikhailov emigrated to Germany, he often visits Ukraine on personal and public matters, such as working on projects, giving lectures, or participating in exhibitions.

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The Vremia Group's Oleg Maliovany became a member whose photomontages were noticed abroad. Mikhailov's "overlays" and Suprun's photomontages were also considered one-of-a-kind

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practices. KSOP became known across the world represented by a number of Ukrainian artists who gained global recognition on the same level as many international professionals.

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and remained loyal to the film process. Pavlov left photography for some time to pursue his interest in cinema but returned to photography in 1981. In 1988, he presented the

1277:(St. Petersburg), Japanese National Museum of Art (Osaka), and many other modern art museums in Amsterdam, Hanover, Paris, Venice, Boston, Krakow, Munich, etc. In 2018, the 1057:, in works of the Fast Reaction Group (made up of Boris and Vita Mikhailov, Sergiy Solonsky, and Sergey Bratkov), and in works by Evgeniy Pavlov and Volodymyr Shaposhnikov. 1400:

Photographer of the Year at Sony World Forum 2013. Some of Pyatkovka's works are a part of collections in the Museum of Modern Photography (Chicago, USA), Museum Ken Dame (

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Sergey Bratkov, worked on photos connecting "brutality and tenderness, comedy and tragedy," which are often considered main characteristics of Kharkiv School. In his work

630:), a study of the preceding 100 years of Kharkiv visual art, was held in Kyiv. Works by several Kharkiv photographers, including Mikhailov, Pavlov, Bratkov, Kochetov, and 1029:

until the 1960s or 1970s. Nevertheless, black-and-white photography hand-coloring became widely known as another new conceptual decision of the photography of the 1970s.

4503: 1121:, creating new, surreal images with layered meanings. He often ignored common photography rules, such as using a central focus or paying attention to light and shadows. 892:

dogmas, members of the Vremia Group invented their own visual language and used irony in their art — the latter considered an important component of the Kharkiv school.

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to work in a Kharkiv factory's photography workshop inspired by Maliovany, Mikhailov and Pavlov. As of 2020, Pyatkovka is a Professor of Media Communications in the

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movement was denoted by the establishment of a group by Kharkiv photographers named the Vremia Group 1971; its foundation is considered the sign of the revival of

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The Vremia Group searched for new aesthetics. They experimented with themes and printing techniques, trying to fight the conservative, "gray" state of life in

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From the 1940s on, Soviet artists were isolated from European and American art, and the only "decent" artwork Kharkiv photographers could see was presented at

1396:, a co-founder of the National Union of Ukrainian Photographers and a coordinator of the artistic union Ukrainian Photographic Alternative. He was named Best 1332:. In 2007, he represented Ukraine at the Venice Biennale and in 2010, Bratkov received Russia's "Innovation" contemporary art award for a video installation. 4548: 4553: 3647:["We needed official permission to shoot above the third floor": we are publishing an excerpt from a book about the Kharkiv School of Photography], 155: 1073:

The next generation of KSOP worked as separate artists or gathered in new groups developing further and diversifying photography subjects and techniques.

977:, in particular, was considered an artistic challenge. His books became new aesthetic setters and a place to present the manifesto of Kharkiv artistic 4092: 504: 446:

magazine. Several Kharkiv photographers, including Suprun and Pavlov, were mentioned in a monograph called "Photographic poetry," published in Moscow.

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One trend established by Kharkiv photographers was "multi-authored" art, superimposing works of different photographers. It was used in Mikhailov's

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photography arena," by Alnis Stakle, a Latvian photographer, curator of Riga Photomonth, and Professor of Photography in Rigas Stradins University.

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2018–2019: MOKSOP held several exhibitions by Sergiy and Viktor Kochetov, Oleksandr Suprun, and Sergiy Solonsky in the COME IN gallery in Kharkiv.

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filter, but in the 1970s, it required a complicated technical process and skilled manual work to achieve "'unphotographic' reality in a photo".

518:. This was considered his official step into international fame, after multiple exhibitions in Berlin, Amsterdam, Paris, and other major cities. 4558: 3151: 973:

Mikhailov's photography books, which appeared in the 1980s, were another significant contribution to the conceptual art of that time. His 1985

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exhibition was held in the Kyiv art space SET. Some of Pavlov's works were exhibited for the first time, along with well-known works such as

3642:""Chtoby snimat' vyshe tret'ego jetazha, nuzhno bylo oficial'noe razreshenie": Publikuem fragment iz knigi o Har'kovskoj shkole fotografii" 3319:"Misha Pedan: All the Fears at the End of the Soviet Era Were Connected with the Fact that It Was Unclear Where the Danger Was Coming from" 3228: 192:

1960s, and in handing on avant-garde principles to new generations of Kharkiv artists, such as Vagrich Bakhchanyan and Volodymyr Grygorov.

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1989: The Kharkiv School of Photography and its members were mentioned in an article about Soviet avant-garde photography in the French

136: 1306:, hand-coloring and other photo transformation techniques. In 1993, co-founded and actively worked within the Fast Reaction Group with 1042:

The combination of several techniques was common for several Kharkiv photographers. Evgeniy Pavlov experimented with this for his 1994

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was held in Kharkiv with Pyatkovka and Igor Chekachkov, photographer and the founder of the Chekachkov Photo Academy, as the curators.

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For a long time, Kharkiv photography wasn't attributed to the city or Ukraine, and was known only as "different Soviet photography" in

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The third wave of KSOP artists was the Shilo Group, formed in 2010. The group wrote itself into KSOP history by remaking Mikhailov's

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2018: KSOP was the subject of research for Halyna Hleba's 2018 lecture, "Kharkiv School of Photography: between politics and erotic."

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created exhibitions in Kharkiv and Moscow as well as a number of international events in Russia, Czech Republic, Finland and Germany.

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Fotomystectvo v hudozhnij kul'turi Harkova ostann'oi' tretyny XX stolittja (na materiali pejzazhnogo zhanru)(Doctoral dissertation)

3644:«Чтобы снимать выше третьего этажа, нужно было официальное разрешение»: Публикуем фрагмент из книги о Харьковской школе фотографии 216:

aesthetics which had never existed in Soviet Union or anywhere else, KSOP members still used Soviet reality as their foundation.

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In the 1990s, other KSOP methods appeared, such as the "new Ukrainian photomontage;" photography books; social art; conceptual,

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technique was the specialty of another member of the Vremia Group, Oleg Maliovany. Today this method can be achieved by using a

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art style, which reigned from 1934 until the 1980s. KSOP started to form in the 1960s when artistic photography revived in

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Sergiy Lebedynskyy, a current member of the Shilo Group, works with old equipment and old techniques. His photos from the

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Socialist realism, officially adopted as "the only true method" of Soviet art in 1934, was intended to suppress the 1920s

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Photo art in the artistic culture of Kharkiv of the last third of the XX century (on the material of the landscape genre)

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Vasylysa Nezabarom and Yuliia Drozdek who later became members of the BOBA Group. One of their most well-known works is

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and Evgeniy Pavlov within the Kharkiv Regional Photo Club and later diverged from it. The group's other members were:

3174: 615:, a younger Kharkiv photography representative, at a photo exhibition at the Odesa//Batumi Photo Days photo festival. 4191:[Sergey Bratkov: "I was surrounded by nightmares all the time. Therefore, I am probably a little gloomy "], 3257: 3200: 4538: 1270: 4069: 3615: 207:

The scope of influence of Soviet art on KSOP is debated. According to some, KSOP denied anything connected to the

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project were shot on a Soviet-made panoramic camera with outdated Soviet film and printed on Soviet photo paper.

1026: 4256: 4165:[Announcement: Lecture by Galina Gleba "Kharkiv School of Photography: Between Politics and Erotica".], 3641: 3365: 884:

School of Photography is known for extreme experimentations with photography techniques and methods. Developing

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was held in the PinchukArtCentre, with works by Boris Mikhailov and other members of different KSOP generations.

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in the US. Kharkiv photographers featured strongly on the list of Ukrainian artists mentioned in the article.

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non-conformist art phenomenon. Its artistic dogmas and methods were aimed at fighting Soviet traditions and

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in New York (2011). The New York exhibitions became a significant milestone in the history of Ukrainian art.

441: 79: 4134:"Vospominanija o Har'kovskoj shkole fotografii: Viktor Kochetov pro Mihajlova, cenzuru i sjemki na zakaz" 3550: 1281:(London) dedicated a separate exhibition hall to his work. Mikhailov is the only Ukrainian to receive the 1094: 3891: 3554: 3371:[Sergey Lebedinsky: "You get tired of a huge amount of self-reflection in modern photography"], 1437: 1432: 978: 885: 794: 789: 779: 755: 740: 571:. The Shilo Group members Sergiy Lebedynskyy and Vladyslav Krasnoshchok also photographed the Ukrainian 568: 487: 212: 200: 188: 119: 59: 48: 3915:Фотомистецтво в художній культурі Харкова останньої третини XX століття (на матеріалі пейзажного жанру) 3456: 3444: 817:

and others lived and worked there. Avant-garde style flourished in various forms in Kharkiv, including

747:, which were incorporated into photography via the photographic doctrines and methods dictated by the 3440: 3049: 3040: 1328:

In 2000, Bratkov moved to Moscow, where he soon became recognized and discussed for his photo series

818: 537: 475: 4186:"Sergej Bratkov: "Menja vsjo vremja okruzhali koshmary. Pojetomu ja, navernoe, nemnozhko mrachnyj"" 4136:Воспоминания о Харьковской школе фотографии: Виктор Кочетов про Михайлова, цензуру и съемки на заказ 3871: 3366:"Sergej Lebedinskij: "V sovremennoj fotografii ty ustaesh' ot ogromnogo kolichestva samorefleksii"" 3086: 909:, one of the leaders of Kharkiv artistic photography and one of the key photographers of the former 4102: 1350: 1313:

Combining his artistic interests in various projects and performances he created notable projects:

1046:

project; he used every technique he knew of to prove that any photograph can become a work of art.

844:

Avant-garde traditions were taught through a chain of teacher-student relationships, starting with

802: 758:

movement principles and freedom of expression in art, and was considered one of the first signs of

3753: 640:

2018: An exhibition of Evgeniy Pavlov's main projects was held in the context of Paris Photo 2018.

281:

During the 1980s, KSOP developed further and gained a new generation of members: Viktor Kochetov,

4396: 3175:""Kazn' produktov" i "Narjadnaja publika" — fotofestival' v Muzee sovremennogo iskusstva Odessy" 1362: 1106: 1093:(1995) he also invented a new technique called "negative photomontage:" he glued black-and-white 1002: 944: 798: 648: 623: 499: 400: 388: 353: 332: 83: 24: 4211: 3368:Сергей Лебединский: «В современной фотографии ты устаешь от огромного количества саморефлексии» 4465: 4449: 4422: 4414: 4406: 4372: 4282: 4274: 4266: 4237: 4229: 4221: 4114: 4106: 3980: 3970: 3810: 3783: 3775: 3767: 3707: 3576: 3568: 3558: 3525: 3297: 3266: 3237: 1427: 1388:

As a young man, Pyatkovka left his well-paid job as a lighting design director in the Kharkiv

913:, is credited for several inventions in photography. The method of overlays (sometimes called 889: 748: 290: 196: 124: 36: 4160:"Anons: Lekcija Galiny Gleby "Har'kovskaja shkola fotografii: mezhdu politikoj i jerotikoj"" 1209:

Often associated with the whole post-Soviet art wave, Mikhailov is considered the best-known

3939: 3697: 3256: 3227: 3177:«Казнь продуктов» и «Нарядная публика» — фотофестиваль в Музее современного искусства Одессы 3071: 1282: 1014: 597: 4048:[The one-day exhibition of the "Vremia" group in the Kharkiv House of Scientists], 4343: 3758: 3285: 1383: 1261:

and its influence on the life of Kharkiv society through pictures of homeless people. The

1249:

photo project, considered Mikhailov's most controversial work, was created at the edge of

1202: 1129: 1074: 1018: 986: 915: 806: 767: 647:'s "Jump" gallery. A series of exhibitions, generally known under the name "Body policy" ( 631: 529: 282: 151: 132: 95: 87: 44: 3135: 3036:"New Photography 9: Christopher Giglio, Boris Mihailov, Mark Steinmetz, and Beat Streuli" 3015: 766:

display reality as it was, including social issues and the cruelty of life. According to

671:, by Roman Pyatkovka, which contained Soviet and post-Soviet pictures of the 1980s–1990s. 4188:Сергей Братков: «Меня всё время окружали кошмары. Поэтому я, наверное, немножко мрачный» 3517: 3289: 4097: 3802: 3732:[An exhibition of the world-famous Ukrainian photographer has opened in Kyiv], 1397: 1274: 1007: 994: 932: 845: 826: 810: 479: 414:(1972), which portrayed a company of naked men at the river, was printed in the Polish 184: 4042: 3851: 3130:[An act of disobedience. Body as a protest in Kharkiv photography 1970-2010], 951:

of a picture or several pictures. It was thanks to his partnership with Moscow artist

4517: 4328: 4196: 4170: 4162:Анонс: Лекция Галины Глебы «Харьковская школа фотографии: между политикой и эротикой» 4144: 4077: 4020:

Avangard v obrazotvorchomu mystectvi Harkova ХХ stolittja (Postdoctoral dissertation)

3652: 3626: 3479: 3472:"Misha Pedan: "Taking and giving to others is the logic of working in the art world"" 3157:[Kharkiv underground photography of the 70s and 90s will be shown in Odesa], 924: 849: 814: 656: 312: 180: 102: 1317:, 1991), which consisted of photographs put inside water- or air-filled glass jars; 3295:[The uneasy relationship between art and society at the PinchukArtCentre], 1214: 1153: 1061: 1032: 952: 948: 936: 910: 896: 732: 612: 483: 258: 224: 208: 128: 596:

presented one of the biggest collections of Ukrainian art to date. It was held in

335:. The group's photo projects have been successfully exhibited all over the world. 3594:[Halyna Hleba: "Patronage is easy to turn into a tool of manipulation"], 1213:

contemporary artist/photographer, and one of the key photographers of the former

1077:, who joined the Kharkiv school in the 1980s, used common KSOP techniques in his 278:

Ukraine, becoming known only as "different Soviet photography" in Western media.

3063: 3035: 1278: 4507: 4070:"Why Boris Mikhailov Is Considered a Genius Worldwide. And Not Liked Back Home" 3125:"Akt nepovinovenija. Telo kak protest v har'kovskoj fotografii 1970-2010 gg." 3105: 1417: 1161: 997: 869: 572: 533: 239: 229: 150:

exhibitions. Ukrainian photography experienced a revival in the period of the

90:, Sergiy Solonsky, Andriy Avdeyenko, Igor Chursin, Igor Karpenko, and others. 67: 4469: 4410: 4270: 4225: 4110: 3984: 3771: 3711: 3580: 3270: 3241: 1325:(1994), created as tribute to 45 Kharkiv homeless people who froze to death. 582:

2015: The Shilo Group exhibited at the Rencontres d'Arles Festival in France.

4376: 3763: 3727:"U Kyjevi vidkrylasja vystavka vsesvitn'o vidomogo ukrai'ns'kogo fotografa" 3682: 3494: 3045: 1405: 1082: 982: 928: 822: 643:

2018: A series of exhibitions with works by KSOP photographers were held in

515: 511: 364: 311:

After the Soviet Union collapsed, Ukrainian and Russian photography adopted

262: 243: 52: 4447:[Photographers glorified Kharkiv all over the world: photo facts], 4441: 4426: 4286: 4241: 4118: 3787: 3589:"Galyna Gleba: "Mecenatstvo legko peretvoryty na instrument manipuljacij"" 425:

1987–1988: Misha Pedan put together two photography exhibitions in Kharkiv

3127:Акт неповиновения. Тело как протест в харьковской фотографии 1970-2010 гг. 655:) was put together with the help of scientists and collectors Tetyana and 603:

2017: KSOP was represented by Vladyslav Krasnoshchok in his photo project

304:

Despite the deplorable social and economic situation in Ukraine after the

35:

artistic photography movement. It was created in opposition to the Soviet

3500:[Sergey Bratkov: "The topic of nastiness becomes the main one"], 1250: 1125: 990: 956: 857: 251: 168: 985:, like the concept of "new documentary," and art concepts introduced in 970:) movement. This method was revived and became recognized in the 2010s. 497:

By 1995, Ukrainian photography was known in the US and Europe. In 1995,

246:

revival in Kharkiv. The first members of the group were Oleg Maliovany,

4461: 4368: 3966: 3922: 3591:Галина Глеба: "Меценатство легко перетворити на інструмент маніпуляцій" 3211: 3206:[NotMy conversation: "Revisions" from one exhibition (photo)], 1401: 1358: 1303: 1210: 1118: 1086: 900: 881: 785: 736: 728: 644: 547: 176: 66:

This first KSOP was represented by the Vremia Group founded in 1971 by

40: 32: 4307:[The MOKSOP Museum of Photography will be opened in Kharkiv], 3852:"The Wonderful World of the Ukrainian State Railway Transport Network" 3831: 3729:У Києві відкрилася виставка всесвітньо відомого українського фотографа 3152:"V Odesі pokazhut' harkіvs'ku andegraundnu fotografіju 70‒90-h rokіv" 4043:"Ob odnodnevnoj vystavke gruppy "Vremja" v Har'kovskom Dome uchenyh" 3392: 503:

printed an overview of an exhibition of Ukrainian photography in the

147: 1221:, fired from jobs several times, and almost imprisoned for his art. 470:

1993: Boris Mikhailov's work became a part of the joint exhibition

3572: 3523:[Show time. Retrospective of Boris Mikhailov in Kharkiv], 3452: 3290:"Neprostye otnoshenija iskusstva i obshhestva v PinchukArtCentre" 3185: 1245:, which is listed among the 10 best photo books in the World. The 1193: 868: 223: 3229:"From Ukraine. The first story: Archives by Alexander Glyadyelov" 3154:В Одесі покажуть харківську андеграундну фотографію 70‒90-х років 3134:(in Russian), Moscow: Cultobzor, December 1, 2013, archived from 2630: 2628: 2626: 4418: 4339: 4327:

Teren, Tetjana (September 20, 2008), Doroshenko, Myhajlo (ed.),

4312: 4278: 4233: 4091:

Rafferty, Rebecca (January 21, 2015), Towler, Marry Anna (ed.),

4053: 4045:Об однодневной выставке группы «Время» в Харьковском Доме ученых 4030: 4003: 3815: 3779: 3737: 3696:

Krakovich, Dmitriy (March 6, 2019), Naudet, Jean Jacques (ed.),

3678: 3673:[Don't Miss: 10 Metropolitan Exhibitions in September], 3599: 3587:

Jakovlenko, Kateryna (November 7, 2018), Koshkina, Sonja (ed.),

3530: 3376: 3349: 3302: 1884: 1882: 1880: 461: 3998:[Symmetrical gesture to Mikhailov: The 'Shilo' Group], 3666:

Koval', Valerija (September 9, 2019), Sokolova, Natasha (ed.),

3226:

Akage, Anna (September 24, 2018b), Naudet, Jean Jacques (ed.),

4395:

Warner, Marigold (January 30, 2019), Bainbridge, Simon (ed.),

3255:

Akage, Anna (November 21, 2018a), Naudet, Jean Jacques (ed.),

1237:, but the two that made him a globally-recognized artist were 1218: 3518:"Pokazat' vremja. Retrospektiva Borisa Mihajlova v Har'kove" 2103: 2101: 2099: 1507: 4255:

Stakle, Alnis (December 25, 2018), Bainbridge, Simon (ed.),

3850:

Pantall, Colin (August 19, 2020), Oliverio, Giuseppe (ed.),

3516:

German, Lyzaveta (November 25, 2013), Prytula, Olena (ed.),

3364:

Bilash, Ksenija (September 8, 2020), Koshkina, Sonja (ed.),

3337:

Bilash, Ksenija (December 21, 2017), Koshkina, Sonja (ed.),

2461: 1505: 1503: 1501: 1499: 1497: 1495: 1493: 1491: 1489: 1487: 369:

Kharkiv School of Photography: playing against the apparatus

4524:

Knowledge articles incorporating text from Wenard Institute

4440:

Zelenskaja, Dar'ja (July 12, 2013), Shevchuk, Elena (ed.),

3621:[Museum of photography will be opened in Kharkiv], 3292:Непростые отношения искусства и общества в PinchukArtCentre 829:, which focused on connecting images and words in art. The 585:

2015: For the first time, Sergiy Lebedynskyy exhibited his

242:

and Evgeniy Pavlov in 1971, and showcased the start of the

4490: 4210:

Smyth, Diane (January 15, 2019), Bainbridge, Simon (ed.),

4041:

Pavlova, Tetjana (August 3, 2020b), Kalyta, Nastja (ed.),

3872:"Avanguard red and green. From "Blow theory" to "Kontact"" 2497: 1321:, where Bratkov put photographs into a concrete slab; and 797:

art in the beginning of the 20th century, as artists like

4497: 4334:[Boris Mikhailov: air came out of the photo...], 3725:

Kunycyna, Alisa (June 27, 2020), Zubanjuk, Viktor (ed.),

3520:Показать время. Ретроспектива Бориса Михайлова в Харькове 2940: 2938: 2936: 2934: 2932: 2806: 2804: 2755: 2753: 2751: 2569: 2567: 2170: 2168: 2166: 2164: 2162: 2134: 2132: 2130: 2128: 2086: 2084: 2082: 2080: 2078: 2076: 2074: 2072: 1932: 1930: 1928: 1915: 1913: 1911: 1909: 1848: 1846: 1844: 1819: 1817: 1815: 1720: 1718: 1716: 1714: 1712: 1710: 1708: 1706: 1704: 383:

1968: Boris Mikhailov started the creation of his series

167:

In the 1960s, various cultural initiatives appeared. The

4300:

Stasjuk, Iryna (November 11, 2018), Saliy, Yulia (ed.),

3991:

Pavlova, Tetjana (May 29, 2017), Baldynjuk, Vira (ed.),

2970: 2968: 2375: 2373: 2360: 2358: 2292: 2290: 1867: 1865: 1863: 1861: 1790: 1788: 1786: 1702: 1700: 1698: 1696: 1694: 1692: 1690: 1688: 1686: 1684: 1283:

Hasselblad Foundation International Award in Photography

4442:"Fotografy proslavili Har'kov na ves' mir: foto-fakty" 4023:

Aвангард в образотворчому мистецтвi Харкова ХХ столiття

3801:

Lozhkina, Alisa (July 30, 2011), Prytula, Olena (ed.),

2955: 2953: 2613: 2611: 2609: 2607: 2605: 2603: 2601: 2588: 2586: 2584: 2582: 2414: 2412: 2410: 2408: 2406: 2404: 2402: 2400: 2223: 2221: 2219: 2008: 2006: 2004: 2002: 2000: 1998: 1773: 1771: 1769: 143:

even just a person holding a camera — could be jailed.

2149: 2147: 1996: 1994: 1992: 1990: 1988: 1986: 1984: 1982: 1980: 1978: 265:

photographers, sharing each other's visual languages.

4329:"Borys Myhajlov: iz fotografii' vyjshlo povitrja..." 4302:"U Harkovi vidkryvajet'sja muzej fotografii' MOKSOP" 4027:

Avant-garde in the fine arts of Kharkiv in XX century

3495:"Sergej Bratkov: "Tema gadosti stanovitsja glavnoj"" 2518: 2516: 2514: 2512: 2510: 2508: 2506: 2485: 2433: 2431: 2429: 2427: 2345: 2343: 2341: 2265: 2263: 2261: 2248: 2246: 2244: 2242: 2240: 2238: 2236: 2035: 2033: 2031: 2029: 2027: 2025: 2023: 2021: 1953: 1951: 1949: 1947: 1945: 1640: 1638: 1636: 1634: 1462: 1460: 1458: 1456: 1454: 1452: 865:

The methodology of the Vremia Group and its aftermath

567:

2014: Boris Mikhailov photographed events during the

553:

2013: The Shilo Group presented their photo projects

4444:Фотографы прославили Харьков на весь мир: фото-факты 3421:[The Empire of Dreams series of art works], 3201:"NeMoj razgovor: "Revizii" s odnoj vystavki (foto)" 2895: 2893: 2891: 2210: 1671: 1669: 1667: 1665: 1632: 1630: 1628: 1626: 1624: 1622: 1620: 1618: 1616: 1614: 1601: 1599: 1597: 1595: 1593: 1591: 1589: 1587: 1574: 1572: 1570: 1568: 1566: 1564: 1562: 1560: 1558: 1556: 1554: 1552: 1550: 1548: 1546: 1544: 1542: 1540: 739:

School of Photography originated in the 1970s as an

4018:Pavlova, Tetjana (2018), Sokoljúk, Ljudmíla (ed.), 3910:Pavlova, Tetjana (2007), Sokoljúk, Ljudmíla (ed.), 3344:[Paradoxes of the avant-garde "City Kha"], 2882: 1538: 1536: 1534: 1532: 1530: 1528: 1526: 1524: 1522: 1520: 418:

magazine, along with an article by a Polish critic.

4502:This article is based on the text donated by the 4397:"Painting Photography: Victor and Sergey Kochetov" 4093:""Arabat Spit/Healing Muds" by Sergiy Lebedynskyy" 3325:, Kharkiv: Museum of Kharkiv School of Photography 3093:, Kharkiv: Museum of Kharkiv School of Photography 3022:, Kharkiv: Museum of Kharkiv School of Photography 2634: 1269:Mikhailov's works are on permanent exhibit at the 873:One of the best-known members of the Vremia Group 659:and curated by Halyna Hleba and Viktoria Bavykina. 380:1965: Oleg Maliovany exhibited for the first time. 254:" technique, were both close to the Vremia Group. 3808:[Severe diagnosis from Boris Mikhailov], 3668:"Ne propusty: 10 stolychnyh vystavok sentjabrja" 3497:Сергей Братков: «Тема гадости становится главной» 3203:НеМой разговор: "Ревизии" с одной выставки (фото) 1888: 723:Formation and relationship with socialist realism 3993:"Cymmetrychnyj zhest Myhajlovu: Gruppa "Shylo"" 727:Considered one of the most notable movements of 187:, the well-known representatives of the Kharkiv 47:. KSOP's official formation as a non-conformist 4491:Museum of Kharkiv School of Photography website 4331:Борис Михайлов: із фотографії вийшло повітря... 4304:У Харкові відкривається музей фотографії MOKSOP 3963:Artists of the Ukrainian avant-garde in Kharkiv 3830:Manko, Igor (2015), Muffoletto, Roberto (ed.), 127:was accepted as the main artistic style in the 16:Underground artistic movement in Soviet Ukraine 1511: 1148:(2013). Art historian Tetiana Pavlova defined 927:frames and projecting them onto a screen as a 4257:"Best of 2018: Alnis Stakle, Riga Photomonth" 3317:Bernard-Kovalchuk, Nadiia (August 10, 2019), 1105:and the method of "straight photography" (or 8: 3832:"The Kharkiv School of Fine Art Photography" 453:exhibition at the "Up/Down" gallery opening. 211:, sought artistic freedom, and worked as an 3754:"Wrecked: Boris Mikhailov's "Case History"" 3670:Не пропусти: 10 столичных выставок сентября 3616:"V Har'kove otkryvaetsja muzej fotografii" 3258:"From Ukraine: The Time of Yevgeniy Pavlov" 2986: 410:1973: Evgeniy Pavlov's first photo series, 300:Post-Soviet photography (1990s–present day) 86:). Other artists included Viktor Kochetov, 3995:Cимметричный жест Михайлову: Группа «Шило» 3925:: Academy of Design and Arts KSADA Kharkiv 3890:Pavlova, Tetjana, Szilagyi, Sandor (ed.), 3870:Pavlova, Tetjana, Szilagyi, Sandor (ed.), 3173:Konstantinov, Oleg, ed. (April 20, 2017), 2944: 2573: 2546: 2473: 1724: 955:and the Ermitazh union that photographic " 607:, by Sergiy Lebedynskyy in his exhibition 199:, Volodymyr Grygorov, a watercolorist and 154:(mid 1950s–mid1960s), when the details of 4212:"The first-ever Kyiv Photo Book festival" 3398:[What is a post-Soviet person?], 3112:, Berlin: Photography-Now, March 16, 2012 2974: 2534: 2296: 2281: 1871: 1374:, "summed up" their Soviet career paths. 575:; those photos were published in a book, 163:Artistic revival in Kharkiv (1950s–1960s) 4359:"The barefaced cheek of Boris Mikhailov" 4184:Sergackova, Ekaterina (March 25, 2016), 3956:Mystci ukrai'ns'kogo avangardu v Harkovi 3932:""Finished dissertation" by Shilo Group" 3803:"Zhestokij diagnoz ot Borisa Mihajlova" 3699:"Kyiv Photo Book International Festival" 3402:(in Russian), Moscow: Ovcharenko Gallery 2959: 2617: 2592: 2418: 2320: 2227: 514:in honor of Boris Mikhailov came out in 3959:Мистці українського авангарду в Харкові 3618:В Харькове открывается музей фотографии 3150:Lozhkina, Alisa, ed. (April 14, 2017), 2998: 2923: 2911: 2870: 2858: 2846: 2834: 2822: 2810: 2795: 2783: 2771: 2759: 2742: 2730: 2718: 2706: 2694: 2682: 2670: 2658: 2646: 2379: 2364: 2332: 2308: 2198: 2186: 2174: 2153: 2138: 2119: 2107: 2090: 2063: 2012: 1969: 1936: 1919: 1900: 1852: 1835: 1823: 1806: 1794: 1777: 1760: 1748: 1736: 1656: 1478: 1466: 1448: 1136:The third wave of Kharkiv photographers 359:The first book published by MOKSOP was 343:Museum of Kharkiv School of Photography 4132:Sanduljak, Alina (November 21, 2018), 4105:: WMT Publications, Inc., p. 18, 3640:Kas'janova, Dar'ja (August 17, 2020), 3614:Kalach, Stanislav (November 9, 2018), 2522: 2449: 2437: 2349: 2269: 2252: 2051: 2039: 1957: 1675: 1644: 1605: 1160:Group's method and added the usage of 962:Their collaboration also launched the 528:photo collection was exhibited in the 179:that photographic art "broke bright." 3547:The world atlas of street photography 3393:"Chto takoe postsovetskij chelovek?" 2899: 2558: 1578: 1310:and Vita Mikhailov, Sergiy Solonsky. 7: 3805:Жестокий диагноз от Бориса Михайлова 3504:(in Russian), Moscow: ArtMedia Group 2391: 667:, published by MOKSOP, and the book 367:by Nadiia Bernard-Kovalchuk, called 228:The co-founder of the Vremia Group, 4549:Ukrainian Soviet Socialist Republic 4068:Pozdeeva, Anna (January 31, 2020), 3493:Djogot', Ekaterina (July 3, 2008), 3470:Chuzha, Julia (November 30, 2015), 1315:The Cupboard (We All Eat Each Other 1144:art book project naming their book 4357:Toomey, Christine (June 3, 2007), 4158:Savchenko, Gleb (April 20, 2018), 3391:Bojarinov, Denis (June 30, 2014), 1241:(published as a book in 1999) and 821:represented by the globally-known 14: 3706:, Paris: The Eye of Photography, 3339:"Paradoksy avangardu "Mista HA"" 3284:Balashova, Ol'ga (May 31, 2015), 3265:, Paris: The Eye of Photography, 3236:, Paris: The Eye of Photography, 3161:(in Ukrainian), Kyiv: ART UKRAINE 2462:photography-now.com; Mar 16, 2012 888:principles and navigating around 478:, in New York alongside works by 4496: 3395:Что такое постсоветский человек? 947:, enlarging, hand-coloring, and 923:) involved overlaying two color 238:The Vremia Group was founded by 3427:Taras Shevchenko National Prize 3416:"Serіja robіt "Іmperіja snіv"" 2498:artukraine.com.ua; Apr 14, 2017 1117:, Bratkov fused photographs in 939:." Mikhailov also utilized the 718:Artistic principles and methods 4554:History of Ukraine (1918–1991) 4402:British Journal of Photography 4338:(in Ukrainian), no. 176, 4262:British Journal of Photography 4217:British Journal of Photography 3752:Little, Myles (May 31, 2011), 3341:Парадокси авангарду «Міста ХА» 1423:Boris Mikhailov (photographer) 1394:National University of Kharkiv 1190:Boris Mikhailov (photographer) 1179:Examples of KSOP photographers 895:Expanding on older practices ( 760:repression in the Soviet Union 524:2002, 2011: Boris Mikhailov's 273:Next generations (1980s–1990s) 195:In 1964, in Kharkiv Builders' 1: 4559:History of Ukraine since 1991 4101:, vol. 44, no. 20, 4035:Lviv National Academy of Arts 3836:Journal on Images and Culture 1069:Next generations' methodology 21:Kharkiv School of Photography 3087:"Kharkiv regional photoclub" 1357:project. Pavlov worked with 819:architectural constructivism 628:Місто Ха. Харків авангардний 536:in New York (2011); and the 407:) using the overlays method. 58:The Vremia Group built upon 3838:, Los Angeles: VASA Project 1152:as an "objets trouvés," or 592:2015: An exhibition called 82:("straightphotography," or 29:Харківська Школа Фотографії 4590: 4564:Ukrainian contemporary art 3418:Серія робіт «Імперія снів» 2486:dumskaya.net; Apr 20, 2017 1381: 1271:Metropolitan Museum of Art 1187: 1081:project, dedicated to the 1068: 943:technique, which included 777: 131:. With the development of 3954:Pavlova, Tetjana (2014), 3930:Pavlova, Tetjana (2012), 3704:loeildelaphotographie.com 3263:loeildelaphotographie.com 3234:loeildelaphotographie.com 3034:Peiffer, Prudence (ed.), 2211:cultobzor.ru; Dec 1, 2013 1659:, pp. 337, 343, 353. 1390:Young Spectator's Theatre 1338:Shevchenko National Prize 1132:photography, and others. 1083:Great Famine of 1932–1933 1000:concept) and in the book 652: 627: 587:Arabart Spit/Healing Muds 404: 392: 43:during the period of the 28: 4544:Soviet Nonconformist Art 4453: 4443: 4330: 4303: 4195:(in Russian), New York: 4187: 4169:(in Russian), New York: 4161: 4143:(in Russian), New York: 4135: 4044: 4022: 3994: 3958: 3914: 3804: 3728: 3669: 3651:(in Russian), New York: 3643: 3625:(in Russian), New York: 3617: 3590: 3545:Higgins, Jackie (2014), 3519: 3496: 3478:(in Russian), New York: 3417: 3414:Bratkov, Sergіj (2017), 3394: 3367: 3340: 3291: 3202: 3176: 3153: 3126: 3106:"Fotofest 2012 Biennial" 2883:cargocollective.com 2020 2721:, pp. 367, 369–370. 1838:, pp. 13, 353, 385. 1404:, Italy), and Artothek ( 1173:Arabat Spit/Healing Muds 1098:black-and-white images. 788:is known for its strong 589:photo project in the US. 220:The Vremia Group (1970s) 114:Soviet art (1920s–1950s) 3214:: Glavnoe, July 9, 2020 2635:glavnoe.ua; Jul 9, 2020 1255:documentary photography 1243:Unfinished Dissertation 1142:Unfinished Dissertation 1103:documentary photography 975:Unfinished Dissertation 831:Unfinished Dissertation 677:2019: Evgeniy Pavlov's 375:Significant KSOP events 329:Unfinished Dissertation 80:documentary photography 4534:Photography in Ukraine 4405:, London: 1854 Media, 4265:, London: 1854 Media, 4220:, London: 1854 Media, 4029:] (in Ukrainian), 3969:: Drukarnja «Madryd», 3965:] (in Ukrainian), 3921:] (in Ukrainian), 3898:, Vienna: VASA Project 3878:, Vienna: VASA Project 3425:(in Ukrainian), Kyiv: 1889:Bernard-Kovalchuk 2019 1287:Academy of Visual Arts 1206: 935:in photography in the 877: 774:Avant-garde traditions 532:in London (2002); the 232: 4569:Ukrainian avant-garde 4369:Times Newspapers Ltd. 4364:Sunday Times Magazine 3555:Yale University Press 3441:Candrowicz, Krzysztof 3138:on September 11, 2019 1438:Ukrainian underground 1433:Ukrainian avant-garde 1323:The Frozen Landscapes 1201:'s exhibition in the 1197: 1150:Finished Dissertation 1146:Finished Dissertation 989:'s interpretation of 872: 780:Ukrainian avant-garde 695:2020: The exhibition 688:2019: The exhibition 594:Borderline. 1985–2004 333:post-Soviet countries 321:Finished Dissertation 306:Soviet Union collapse 227: 4574:Soviet photographers 4460:] (in Russian), 3449:rencontres-arles.com 3050:Museum of Modern Art 2685:, pp. 368, 385. 2673:, pp. 385, 392. 1809:, pp. 378, 385. 1763:, pp. 354, 374. 1751:, pp. 341, 367. 1227:Yesterday's Sandwich 1205:in Hanover, Germany. 569:Ukrainian revolution 555:Timoschenko's Escape 538:Museum of Modern Art 476:Museum of Modern Art 323:(2012), a remake of 3936:cargocollective.com 3110:photography-now.com 3068:cargocollective.com 2873:, pp. 222–224. 2825:, pp. 366–367. 2774:, pp. 371–372. 2733:, pp. 375–376. 2311:, pp. 73, 369. 2110:, pp. 369–370. 1481:, pp. 73, 318. 1351:digital photography 1091:The Games of Libido 803:Vladimir Mayakovsky 620:Avant-garde Kharkiv 98:, and Roman Minin. 4529:Culture of Ukraine 4383:on October 7, 2008 4056:: Support Your Art 3892:"Andrey Avdeyenko" 3858:, London: PHmuseum 3457:Rencontres d'Arles 1257:. It portrays the 1207: 1079:Fantoms of the 30s 878: 799:Velimir Khlebnikov 500:The New York Times 488:Christopher Giglio 233: 4539:Socialist realism 4450:Vecherniy Kharkov 4309:hmarochos.kiev.ua 3976:978-617-7050-49-9 3811:Ukrayinska Pravda 3564:978-0-300-20716-3 3526:Ukrayinska Pravda 3298:Ukrayinska Pravda 3159:artukraine.com.ua 3016:"Sergiy Solonsky" 2837:, pp. 13–14. 2335:, pp. 73–74. 2122:, pp. 5, 20. 1428:Socialist realism 1372:The Second Heaven 1367:Total Photography 1044:Total Photography 890:socialist realism 749:socialist realism 745:common propaganda 634:, were presented. 472:New Photography 9 449:1993: Solonsky's 291:Palace of Culture 197:Palace of Culture 169:Sixtiers Movement 125:socialist realism 37:socialist realism 4581: 4504:Wenard Institute 4500: 4479: 4478: 4476: 4454:Вечерний Харьков 4436: 4435: 4433: 4391: 4390: 4388: 4379:, archived from 4353: 4352: 4350: 4323: 4322: 4320: 4311:(in Ukrainian), 4296: 4295: 4293: 4251: 4250: 4248: 4206: 4205: 4203: 4180: 4179: 4177: 4154: 4153: 4151: 4128: 4127: 4125: 4087: 4086: 4084: 4064: 4063: 4061: 4037: 4014: 4013: 4011: 4006:: CCA Foundation 3987: 3950: 3949: 3947: 3926: 3906: 3905: 3903: 3886: 3885: 3883: 3866: 3865: 3863: 3846: 3845: 3843: 3826: 3825: 3823: 3797: 3796: 3794: 3748: 3747: 3745: 3736:(in Ukrainian), 3721: 3720: 3718: 3701: 3692: 3691: 3689: 3662: 3661: 3659: 3636: 3635: 3633: 3610: 3609: 3607: 3598:(in Ukrainian), 3583: 3541: 3540: 3538: 3512: 3511: 3509: 3489: 3488: 3486: 3466: 3465: 3463: 3443:(July 6, 2015), 3436: 3435: 3433: 3410: 3409: 3407: 3387: 3386: 3384: 3360: 3359: 3357: 3348:(in Ukrainian), 3333: 3332: 3330: 3313: 3312: 3310: 3286:Musayeva, Sevgil 3280: 3279: 3277: 3260: 3251: 3250: 3248: 3231: 3222: 3221: 3219: 3196: 3195: 3193: 3169: 3168: 3166: 3146: 3145: 3143: 3120: 3119: 3117: 3101: 3100: 3098: 3082: 3081: 3079: 3059: 3058: 3056: 3030: 3029: 3027: 3008:Literature cited 3002: 2996: 2990: 2984: 2978: 2972: 2963: 2957: 2948: 2942: 2927: 2921: 2915: 2909: 2903: 2897: 2886: 2880: 2874: 2868: 2862: 2856: 2850: 2844: 2838: 2832: 2826: 2820: 2814: 2808: 2799: 2793: 2787: 2781: 2775: 2769: 2763: 2757: 2746: 2740: 2734: 2728: 2722: 2716: 2710: 2704: 2698: 2692: 2686: 2680: 2674: 2668: 2662: 2656: 2650: 2644: 2638: 2632: 2621: 2615: 2596: 2590: 2577: 2571: 2562: 2556: 2550: 2544: 2538: 2532: 2526: 2520: 2501: 2495: 2489: 2483: 2477: 2471: 2465: 2459: 2453: 2447: 2441: 2435: 2422: 2416: 2395: 2389: 2383: 2377: 2368: 2362: 2353: 2347: 2336: 2330: 2324: 2318: 2312: 2306: 2300: 2294: 2285: 2279: 2273: 2267: 2256: 2250: 2231: 2225: 2214: 2208: 2202: 2196: 2190: 2184: 2178: 2172: 2157: 2151: 2142: 2136: 2123: 2117: 2111: 2105: 2094: 2088: 2067: 2061: 2055: 2049: 2043: 2037: 2016: 2010: 1973: 1967: 1961: 1955: 1940: 1934: 1923: 1917: 1904: 1898: 1892: 1886: 1875: 1869: 1856: 1850: 1839: 1833: 1827: 1821: 1810: 1804: 1798: 1792: 1781: 1775: 1764: 1758: 1752: 1746: 1740: 1734: 1728: 1722: 1679: 1673: 1660: 1654: 1648: 1642: 1609: 1603: 1582: 1576: 1515: 1509: 1482: 1476: 1470: 1464: 1115:Chapiteau Moscow 1027:chemically toned 1015:equidensitometry 916:superimpositions 654: 629: 598:PinchukArtCentre 465:Light and Shadow 406: 394: 55:art in Kharkiv. 30: 4589: 4588: 4584: 4583: 4582: 4580: 4579: 4578: 4514: 4513: 4487: 4482: 4474: 4472: 4458:Evening Kharkiv 4455: 4445: 4439: 4431: 4429: 4394: 4386: 4384: 4356: 4348: 4346: 4344:Ukrayina Moloda 4336:umoloda.kyiv.ua 4332: 4326: 4318: 4316: 4305: 4299: 4291: 4289: 4254: 4246: 4244: 4209: 4201: 4199: 4189: 4183: 4175: 4173: 4163: 4157: 4149: 4147: 4137: 4131: 4123: 4121: 4090: 4082: 4080: 4067: 4059: 4057: 4046: 4040: 4024: 4017: 4009: 4007: 3996: 3990: 3977: 3960: 3953: 3945: 3943: 3929: 3916: 3909: 3901: 3899: 3889: 3881: 3879: 3869: 3861: 3859: 3849: 3841: 3839: 3829: 3821: 3819: 3818:: Kyiv MediaHub 3806: 3800: 3792: 3790: 3751: 3743: 3741: 3730: 3724: 3716: 3714: 3695: 3687: 3685: 3671: 3665: 3657: 3655: 3645: 3639: 3631: 3629: 3619: 3613: 3605: 3603: 3592: 3586: 3565: 3544: 3536: 3534: 3533:: Kyiv MediaHub 3521: 3515: 3507: 3505: 3498: 3492: 3484: 3482: 3469: 3461: 3459: 3439: 3431: 3429: 3419: 3413: 3405: 3403: 3396: 3390: 3382: 3380: 3369: 3363: 3355: 3353: 3342: 3336: 3328: 3326: 3316: 3308: 3306: 3305:: Kyiv MediaHub 3293: 3283: 3275: 3273: 3254: 3246: 3244: 3225: 3217: 3215: 3204: 3199: 3191: 3189: 3178: 3172: 3164: 3162: 3155: 3149: 3141: 3139: 3128: 3123: 3115: 3113: 3104: 3096: 3094: 3085: 3077: 3075: 3062: 3054: 3052: 3033: 3025: 3023: 3014: 3010: 3005: 2997: 2993: 2985: 2981: 2973: 2966: 2958: 2951: 2945:Sergackova 2016 2943: 2930: 2922: 2918: 2910: 2906: 2898: 2889: 2881: 2877: 2869: 2865: 2857: 2853: 2845: 2841: 2833: 2829: 2821: 2817: 2809: 2802: 2794: 2790: 2782: 2778: 2770: 2766: 2758: 2749: 2741: 2737: 2729: 2725: 2717: 2713: 2705: 2701: 2693: 2689: 2681: 2677: 2669: 2665: 2657: 2653: 2645: 2641: 2633: 2624: 2616: 2599: 2591: 2580: 2572: 2565: 2557: 2553: 2547:Jakovlenko 2018 2545: 2541: 2533: 2529: 2521: 2504: 2496: 2492: 2484: 2480: 2474:Candrowicz 2015 2472: 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776: 768:Roman Pyatkovka 731:art during the 725: 720: 690:Forbidden Image 530:Saatchi gallery 505:Zimmerli Museum 377: 345: 325:Boris Mikhailov 302: 283:Roman Pyatkovka 275: 248:Boris Mikhailov 222: 165: 156:Stalin's regime 152:Khrushchev Thaw 137:Communist party 133:totalitarianism 116: 111: 96:Igor Chekachkov 88:Roman Pyatkovka 72:Boris Mikhailov 45:Khrushchev Thaw 17: 12: 11: 5: 4587: 4585: 4577: 4576: 4571: 4566: 4561: 4556: 4551: 4546: 4541: 4536: 4531: 4526: 4516: 4515: 4494: 4493: 4486: 4485:External links 4483: 4481: 4480: 4437: 4392: 4354: 4324: 4297: 4252: 4207: 4193:Bird In Flight 4181: 4167:Bird In Flight 4155: 4141:Bird In Flight 4129: 4098:City Newspaper 4088: 4074:Bird In Flight 4065: 4052:(in Russian), 4038: 4015: 4002:(in Russian), 3988: 3975: 3951: 3927: 3907: 3887: 3867: 3847: 3827: 3814:(in Russian), 3798: 3749: 3722: 3693: 3677:(in Russian), 3663: 3649:Bird In Flight 3637: 3623:Bird In Flight 3611: 3584: 3563: 3542: 3529:(in Russian), 3513: 3490: 3476:Bird In Flight 3467: 3437: 3411: 3400:ovcharenko.art 3388: 3375:(in Russian), 3361: 3334: 3314: 3301:(in Russian), 3281: 3252: 3223: 3210:(in Russian), 3197: 3184:(in Russian), 3170: 3147: 3121: 3102: 3083: 3060: 3031: 3011: 3009: 3006: 3004: 3003: 2991: 2979: 2975:Bojarinov 2014 2964: 2949: 2928: 2926:, p. 232. 2916: 2914:, p. 231. 2904: 2887: 2875: 2863: 2851: 2849:, p. 376. 2839: 2827: 2815: 2813:, p. 373. 2800: 2798:, p. 374. 2788: 2786:, p. 371. 2776: 2764: 2762:, p. 370. 2747: 2745:, p. 353. 2735: 2723: 2711: 2709:, p. 368. 2699: 2687: 2675: 2663: 2661:, p. 371. 2651: 2639: 2622: 2597: 2578: 2563: 2551: 2539: 2535:Savchenko 2018 2527: 2502: 2490: 2478: 2466: 2454: 2442: 2423: 2396: 2384: 2369: 2354: 2337: 2325: 2313: 2301: 2297:Krakovich 2019 2286: 2282:Sanduljak 2018 2274: 2257: 2232: 2215: 2203: 2191: 2179: 2177:, p. 222. 2158: 2143: 2141:, p. 413. 2124: 2112: 2095: 2093:, p. 369. 2068: 2066:, p. 213. 2056: 2044: 2017: 1974: 1972:, p. 394. 1962: 1941: 1939:, p. 412. 1924: 1922:, p. 367. 1905: 1893: 1876: 1872:Balashova 2015 1857: 1855:, p. 342. 1840: 1828: 1826:, p. 373. 1811: 1799: 1782: 1765: 1753: 1741: 1739:, p. 324. 1729: 1680: 1661: 1649: 1610: 1583: 1516: 1483: 1471: 1447: 1445: 1442: 1441: 1440: 1435: 1430: 1425: 1420: 1413: 1410: 1379: 1376: 1355:Archive Series 1345: 1344:Evgeniy Pavlov 1342: 1294: 1293:Sergey Bratkov 1291: 1275:Russian Museum 1185: 1182: 1180: 1177: 1137: 1134: 1070: 1067: 1008:Roland Barthes 968:artistic books 964:livre d'artist 866: 863: 846:Vasyl Yermylov 811:Vasyl Yermylov 775: 772: 724: 721: 719: 716: 715: 714: 711:Ukrzaliznytsia 707: 704: 693: 686: 679:Freedom Street 675: 672: 660: 641: 638: 635: 616: 601: 590: 583: 580: 565: 551: 548:Houston, Texas 544: 541: 522: 519: 508: 495: 491: 480:Mark Steinmetz 468: 457: 454: 447: 438: 434: 423: 419: 408: 381: 376: 373: 344: 341: 301: 298: 274: 271: 221: 218: 185:Vasyl Yermylov 164: 161: 118:The Ukrainian 115: 112: 110: 107: 15: 13: 10: 9: 6: 4: 3: 2: 4586: 4575: 4572: 4570: 4567: 4565: 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2397: 2393: 2388: 2385: 2382:, p. 74. 2381: 2376: 2374: 2370: 2367:, p. 75. 2366: 2361: 2359: 2355: 2351: 2346: 2344: 2342: 2338: 2334: 2329: 2326: 2322: 2321:Pavlova 2020b 2317: 2314: 2310: 2305: 2302: 2298: 2293: 2291: 2287: 2283: 2278: 2275: 2271: 2266: 2264: 2262: 2258: 2254: 2249: 2247: 2245: 2243: 2241: 2239: 2237: 2233: 2229: 2228:Rafferty 2015 2224: 2222: 2220: 2216: 2212: 2207: 2204: 2200: 2195: 2192: 2188: 2183: 2180: 2176: 2171: 2169: 2167: 2165: 2163: 2159: 2155: 2150: 2148: 2144: 2140: 2135: 2133: 2131: 2129: 2125: 2121: 2116: 2113: 2109: 2104: 2102: 2100: 2096: 2092: 2087: 2085: 2083: 2081: 2079: 2077: 2075: 2073: 2069: 2065: 2060: 2057: 2053: 2048: 2045: 2041: 2036: 2034: 2032: 2030: 2028: 2026: 2024: 2022: 2018: 2014: 2009: 2007: 2005: 2003: 2001: 1999: 1997: 1995: 1993: 1991: 1989: 1987: 1985: 1983: 1981: 1979: 1975: 1971: 1966: 1963: 1959: 1954: 1952: 1950: 1948: 1946: 1942: 1938: 1933: 1931: 1929: 1925: 1921: 1916: 1914: 1912: 1910: 1906: 1903:, p. 20. 1902: 1897: 1894: 1890: 1885: 1883: 1881: 1877: 1873: 1868: 1866: 1864: 1862: 1858: 1854: 1849: 1847: 1845: 1841: 1837: 1832: 1829: 1825: 1820: 1818: 1816: 1812: 1808: 1803: 1800: 1797:, p. 13. 1796: 1791: 1789: 1787: 1783: 1779: 1774: 1772: 1770: 1766: 1762: 1757: 1754: 1750: 1745: 1742: 1738: 1733: 1730: 1726: 1721: 1719: 1717: 1715: 1713: 1711: 1709: 1707: 1705: 1703: 1701: 1699: 1697: 1695: 1693: 1691: 1689: 1687: 1685: 1681: 1677: 1672: 1670: 1668: 1666: 1662: 1658: 1653: 1650: 1646: 1641: 1639: 1637: 1635: 1633: 1631: 1629: 1627: 1625: 1623: 1621: 1619: 1617: 1615: 1611: 1607: 1602: 1600: 1598: 1596: 1594: 1592: 1590: 1588: 1584: 1580: 1575: 1573: 1571: 1569: 1567: 1565: 1563: 1561: 1559: 1557: 1555: 1553: 1551: 1549: 1547: 1545: 1543: 1541: 1539: 1537: 1535: 1533: 1531: 1529: 1527: 1525: 1523: 1521: 1517: 1513: 1508: 1506: 1504: 1502: 1500: 1498: 1496: 1494: 1492: 1490: 1488: 1484: 1480: 1475: 1472: 1468: 1463: 1461: 1459: 1457: 1455: 1453: 1449: 1443: 1439: 1436: 1434: 1431: 1429: 1426: 1424: 1421: 1419: 1416: 1415: 1411: 1409: 1407: 1403: 1399: 1395: 1391: 1385: 1377: 1375: 1373: 1368: 1364: 1360: 1356: 1352: 1343: 1341: 1339: 1333: 1331: 1326: 1324: 1320: 1316: 1311: 1309: 1305: 1299: 1298:and Germany. 1292: 1290: 1288: 1284: 1280: 1276: 1272: 1267: 1264: 1260: 1259:USSR collapse 1256: 1252: 1248: 1244: 1240: 1236: 1232: 1228: 1222: 1220: 1216: 1212: 1204: 1200: 1196: 1191: 1183: 1178: 1176: 1174: 1169: 1165: 1163: 1157: 1155: 1151: 1147: 1143: 1135: 1133: 1131: 1130:neo-primitive 1127: 1122: 1120: 1116: 1110: 1108: 1107:candid photos 1104: 1099: 1096: 1092: 1088: 1084: 1080: 1076: 1066: 1063: 1058: 1056: 1051: 1047: 1045: 1040: 1039: 1034: 1030: 1028: 1022: 1020: 1016: 1011: 1009: 1005: 1004: 999: 998:philosophical 996: 995:ancient Greek 992: 988: 984: 980: 976: 971: 969: 965: 960: 958: 954: 950: 946: 942: 938: 934: 933:conceptualism 930: 926: 922: 918: 917: 912: 908: 904: 902: 898: 893: 891: 887: 883: 876: 871: 864: 862: 859: 853: 851: 850:Boris Kosarev 847: 842: 838: 836: 832: 828: 827:conceptualism 825:building and 824: 820: 816: 815:Boris Kosarev 812: 808: 804: 800: 796: 791: 787: 781: 773: 771: 769: 763: 761: 757: 752: 750: 746: 742: 738: 734: 730: 722: 717: 712: 708: 705: 702: 698: 694: 691: 687: 684: 680: 676: 673: 670: 666: 661: 658: 657:Borys Grynyov 653:Політика тіла 650: 646: 642: 639: 636: 633: 625: 621: 617: 614: 610: 606: 602: 599: 595: 591: 588: 584: 581: 578: 574: 570: 566: 563: 561: 556: 552: 549: 545: 542: 539: 535: 531: 527: 523: 520: 517: 513: 509: 506: 502: 501: 496: 492: 489: 485: 481: 477: 473: 469: 466: 463: 458: 455: 452: 448: 445: 444: 439: 435: 432: 428: 424: 420: 417: 413: 409: 402: 398: 390: 386: 382: 379: 378: 374: 372: 370: 366: 362: 357: 355: 349: 342: 340: 336: 334: 330: 326: 322: 316: 314: 309: 307: 299: 297: 294: 292: 286: 284: 279: 272: 270: 266: 264: 260: 255: 253: 249: 245: 241: 236: 231: 226: 219: 217: 214: 210: 205: 202: 198: 193: 190: 186: 182: 181:Boris Kosarev 178: 173: 170: 162: 160: 157: 153: 149: 144: 140: 138: 134: 130: 126: 121: 113: 108: 106: 104: 103:Western media 99: 97: 91: 89: 85: 84:candid photos 81: 75: 73: 69: 64: 61: 56: 54: 50: 46: 42: 38: 34: 26: 22: 4501: 4495: 4473:, retrieved 4457: 4448: 4430:, retrieved 4400: 4385:, retrieved 4381:the original 4362: 4347:, retrieved 4335: 4317:, retrieved 4308: 4290:, retrieved 4260: 4245:, retrieved 4215: 4200:, retrieved 4192: 4174:, retrieved 4166: 4148:, retrieved 4140: 4122:, retrieved 4096: 4081:, retrieved 4076:, New York: 4073: 4058:, retrieved 4049: 4026: 4019: 4008:, retrieved 3999: 3962: 3955: 3946:December 10, 3944:, retrieved 3935: 3918: 3911: 3900:, retrieved 3895: 3882:December 10, 3880:, retrieved 3875: 3860:, retrieved 3856:phmuseum.com 3855: 3840:, retrieved 3835: 3820:, retrieved 3809: 3791:, retrieved 3762:, New York: 3757: 3742:, retrieved 3733: 3715:, retrieved 3703: 3686:, retrieved 3674: 3656:, retrieved 3648: 3630:, retrieved 3622: 3604:, retrieved 3595: 3546: 3535:, retrieved 3524: 3506:, retrieved 3501: 3483:, retrieved 3475: 3460:, retrieved 3448: 3430:, retrieved 3422: 3404:, retrieved 3399: 3381:, retrieved 3372: 3354:, retrieved 3345: 3327:, retrieved 3322: 3307:, retrieved 3296: 3274:, retrieved 3262: 3245:, retrieved 3233: 3216:, retrieved 3207: 3190:, retrieved 3182:dumskaya.net 3181: 3165:December 14, 3163:, retrieved 3158: 3140:, retrieved 3136:the original 3132:cultobzor.ru 3131: 3114:, retrieved 3109: 3095:, retrieved 3090: 3078:December 14, 3076:, retrieved 3067: 3055:December 14, 3053:, retrieved 3039: 3026:December 14, 3024:, retrieved 3019: 2999:Bratkov 2017 2994: 2987:Djogot' 2008 2982: 2924:Higgins 2014 2919: 2912:Higgins 2014 2907: 2878: 2871:Higgins 2014 2866: 2859:Pavlova 2007 2854: 2847:Pavlova 2018 2842: 2835:Pavlova 2007 2830: 2823:Pavlova 2018 2818: 2811:Pavlova 2018 2796:Pavlova 2014 2791: 2784:Pavlova 2018 2779: 2772:Pavlova 2018 2767: 2760:Pavlova 2018 2743:Pavlova 2018 2738: 2731:Pavlova 2018 2726: 2719:Pavlova 2018 2714: 2707:Pavlova 2018 2702: 2697:, p. 6. 2695:Pavlova 2007 2690: 2683:Pavlova 2018 2678: 2671:Pavlova 2014 2666: 2659:Pavlova 2014 2654: 2647:Pantall 2020 2642: 2554: 2542: 2530: 2493: 2481: 2469: 2457: 2445: 2387: 2380:Pavlova 2018 2365:Pavlova 2018 2333:Pavlova 2018 2328: 2316: 2309:Pavlova 2018 2304: 2277: 2206: 2199:Pavlova 2012 2194: 2189:, p. 7. 2187:Pavlova 2007 2182: 2175:Higgins 2014 2154:Pavlova 2021 2139:Pavlova 2014 2120:Pavlova 2007 2115: 2108:Pavlova 2018 2091:Pavlova 2018 2064:Higgins 2014 2059: 2047: 2013:Pavlova 2017 1970:Pavlova 2014 1965: 1937:Pavlova 2014 1920:Pavlova 2018 1901:Pavlova 2018 1896: 1853:Pavlova 2018 1836:Pavlova 2018 1831: 1824:Pavlova 2014 1807:Pavlova 2018 1802: 1795:Pavlova 2007 1780:, p. 5. 1778:Pavlova 2007 1761:Pavlova 2014 1756: 1749:Pavlova 2018 1744: 1737:Pavlova 2018 1732: 1657:Pavlova 2014 1652: 1479:Pavlova 2018 1474: 1467:Stasjuk 2018 1408:, Germany). 1387: 1371: 1366: 1354: 1347: 1334: 1329: 1327: 1322: 1318: 1314: 1312: 1300: 1296: 1273:(New York), 1268: 1263:Case History 1262: 1247:Case History 1246: 1242: 1239:Case History 1238: 1234: 1230: 1226: 1223: 1208: 1172: 1170: 1166: 1158: 1154:found object 1149: 1145: 1141: 1139: 1123: 1114: 1111: 1100: 1090: 1078: 1072: 1059: 1054: 1052: 1048: 1043: 1041: 1037: 1033:Photomontage 1031: 1023: 1012: 1001: 974: 972: 967: 963: 961: 959:" appeared. 953:Ilya Kabakov 940: 920: 914: 911:Soviet Union 905: 894: 879: 854: 843: 839: 830: 784:The city of 783: 764: 753: 726: 710: 700: 696: 689: 682: 678: 669:Apartment 20 668: 664: 619: 613:Sasha Maslov 609:Kharkiv. 18+ 608: 604: 593: 586: 576: 558: 554: 526:Case History 525: 498: 484:Beat Streuli 471: 464: 450: 442: 430: 426: 415: 411: 396: 384: 368: 360: 358: 350: 346: 337: 328: 320: 317: 310: 303: 295: 287: 280: 276: 267: 259:Soviet Union 256: 237: 234: 209:Soviet Union 206: 194: 174: 166: 145: 141: 129:Soviet Union 117: 100: 92: 76: 65: 57: 20: 18: 4315:: Hmarochos 3462:December 3, 3423:knpu.gov.ua 3329:December 3, 3142:December 7, 3116:December 3, 2574:Koval' 2019 2523:Bilash 2017 2450:Chuzha 2015 2438:Little 2011 2350:MOKSOP 2020 2270:Stakle 2018 2253:Kalach 2018 2052:MOKSOP 2021 2040:Bilash 2020 1958:German 2013 1676:Akage 2018b 1645:Akage 2018a 1606:Toomey 2007 1289:in Berlin. 1279:Tate Modern 1164:technique. 1003:Mythologies 979:underground 886:avant-garde 795:avant-garde 790:avant-garde 756:avant-garde 751:art style. 741:underground 354:Post-Soviet 213:underground 201:avant-garde 189:avant-garde 120:avant-garde 60:avant-garde 49:underground 4518:Categories 4475:October 2, 4432:October 5, 4387:October 2, 4367:, London: 4349:October 5, 4319:October 5, 4292:October 5, 4247:October 5, 4176:October 5, 4150:October 5, 4124:October 5, 4083:October 5, 4010:October 5, 3862:October 5, 3842:October 2, 3822:October 2, 3793:October 2, 3744:October 2, 3740:: Lenta.UA 3717:October 9, 3688:October 2, 3675:vgorode.ua 3658:October 5, 3632:October 5, 3606:October 2, 3573:2014940105 3537:October 2, 3383:October 2, 3356:October 2, 3309:October 2, 3276:October 9, 3247:October 9, 3218:October 2, 3208:glavnoe.ua 3192:October 5, 3188:: Dumskaja 2900:Teren 2008 2559:Smyth 2019 1579:Manko 2015 1444:References 1418:Jury Rupin 1398:Conceptual 1382:See also: 1363:retouching 1361:and color 1319:The Parcel 1235:Red Series 1233:, and the 1188:See also: 1162:lith print 945:retouching 925:slide film 921:sandwiches 778:See also: 683:The Violin 618:2017: The 605:Karibochki 577:Euromaidan 573:Euromaidan 534:New Museum 416:Fotografia 412:The Violin 263:Lithuanian 240:Jury Rupin 230:Jury Rupin 175:It was in 68:Jury Rupin 4508:CC-BY-4.0 4470:762014020 4411:0007-1196 4271:0007-1196 4226:0007-1196 4111:1551-3262 4103:Rochester 3985:904390984 3772:0040-781X 3764:Time Inc. 3712:883801381 3683:UMH group 3581:902994387 3551:New Haven 3502:OpenSpace 3271:883801381 3242:883801381 3046:Manhattan 2392:MoMA 2020 1406:Nuremberg 1211:Ukrainian 1095:negatives 1019:Photoshop 983:modernism 929:slideshow 735:era, the 729:Ukrainian 701:Revisions 697:Revisions 649:Ukrainian 632:Pyatkovka 624:Ukrainian 622:project ( 611:, and by 562:Händehoch 516:Stuttgart 512:monograph 405:Естетська 401:Ukrainian 397:Aesthetic 389:Ukrainian 365:monograph 244:modernism 53:modernist 33:Ukrainian 25:Ukrainian 4510:license. 4419:95640364 4377:37334919 4279:95640364 4234:95640364 4202:March 5, 4060:March 5, 4050:Your Art 3940:Portland 3902:March 5, 3780:25011669 3734:lenta.ua 3508:March 5, 3485:March 5, 3432:March 5, 3406:March 5, 3097:March 5, 3072:Portland 1412:See also 1304:collages 1251:fine art 991:parergon 957:sots art 858:futurist 665:KOCHETOV 510:1995: A 361:KOCHETOV 339:times." 252:samizdat 23:(KSOP) ( 4462:Kharkiv 4427:5928805 4287:5928805 4242:5928805 4119:5685007 4000:Korydor 3967:Kharkiv 3942:: Cargo 3923:Kharkiv 3788:1767509 3602:: LB.ua 3379:: LB.ua 3352:: LB.ua 3288:(ed.), 3212:Kharkiv 3074:: Cargo 1402:Brescia 1359:collage 1156:genre. 1126:tachist 1119:collage 1087:Ukraine 1036:Valley) 949:montage 901:collage 897:montage 882:Kharkiv 848:'s and 823:Gosprom 786:Kharkiv 737:Kharkiv 645:Poltava 474:in the 451:BodyArt 393:Червона 313:Western 177:Kharkiv 109:History 41:Kharkiv 31:) is a 4506:under 4468: 4425: 4417: 4409: 4375: 4285: 4277: 4269: 4240: 4232: 4224: 4117: 4109: 3983: 3973: 3786: 3778: 3770: 3710: 3579: 3571: 3561: 3323:MOKSOP 3269: 3240: 3091:MOKSOP 3020:MOKSOP 1365:; his 1231:Luriki 1128:, and 1062:Soviet 1055:Luriki 733:Soviet 709:2020: 486:, and 395:) and 148:Moscow 4456:[ 4025:[ 3961:[ 3917:[ 3596:lb.ua 3453:Arles 3373:lb.ua 3346:lb.ua 3186:Odesa 1308:Boris 941:lurik 919:, or 833:, by 443:Photo 422:city. 4477:2020 4466:OCLC 4434:2020 4423:OCLC 4415:LCCN 4407:ISSN 4389:2020 4373:OCLC 4351:2020 4340:Kyiv 4321:2020 4313:Kyiv 4294:2020 4283:OCLC 4275:LCCN 4267:ISSN 4249:2020 4238:OCLC 4230:LCCN 4222:ISSN 4204:2021 4178:2020 4152:2020 4126:2020 4115:OCLC 4107:ISSN 4085:2020 4062:2021 4054:Kyiv 4031:Lviv 4012:2020 4004:Kyiv 3981:OCLC 3971:ISBN 3948:2020 3904:2021 3896:VASA 3884:2020 3876:VASA 3864:2020 3844:2020 3824:2020 3816:Kyiv 3795:2020 3784:OCLC 3776:LCCN 3768:ISSN 3759:Time 3746:2020 3738:Kyiv 3719:2020 3708:OCLC 3690:2020 3679:Kyiv 3660:2020 3634:2020 3608:2020 3600:Kyiv 3577:OCLC 3569:LCCN 3559:ISBN 3539:2020 3531:Kyiv 3510:2021 3487:2021 3464:2020 3434:2021 3408:2021 3385:2020 3377:Kyiv 3358:2020 3350:Kyiv 3331:2020 3311:2020 3303:Kyiv 3278:2020 3267:OCLC 3249:2020 3238:OCLC 3220:2020 3194:2020 3167:2020 3144:2020 3118:2020 3099:2021 3080:2020 3057:2020 3041:MoMA 3028:2020 1330:Kids 1253:and 1215:USSR 1013:The 966:(or 937:USSR 880:The 557:and 494:art. 462:Lviv 431:F-88 429:and 427:F-87 183:and 19:The 1219:KGB 1109:). 1085:in 1006:by 560:UIA 385:Red 327:'s 4520:: 4464:, 4421:, 4413:, 4399:, 4371:, 4361:, 4342:: 4281:, 4273:, 4259:, 4236:, 4228:, 4214:, 4113:, 4095:, 4072:, 4033:: 3979:, 3938:, 3934:, 3894:, 3874:, 3854:, 3834:, 3782:, 3774:, 3766:, 3756:, 3702:, 3681:: 3575:, 3567:, 3557:, 3553:: 3549:, 3474:, 3455:: 3451:, 3447:, 3321:, 3261:, 3232:, 3108:, 3089:, 3070:, 3066:, 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