#Anastasia Bogomolova

[almavio]

ANASTASIA BOGOMOLOVA Periods, 2016

[buzzativ]

38 Most Beautiful Belly Dancers In The World

38 Most Beautiful Belly Dancers In The World

Belly dancers can transcend you to a mystical, magical world. These beautiful belly dancers have hypnotizing hips and sensual moves that are more than enough to entice anyone. There are many bedazzling belly dancers, and their dancing styles are as different as the number of quartz crystals in the Arabian desert.

Captivating costumes with exotically swaying bodiesare something you have to witness…

[chanarie69]

THE KIOSK OF DEMOCRACY PRESENTS "LANDSCAPE. PART I-II | 2014—2018" WORKS BY ANASTASIA BOGOMOLOVA - KAZAKHSTAN / RUSSIA THANK YOU FOR YOUR WORKS ON THE KIOSK www.facebook.com/kioskofdemocracy/

ANASTASIA BOGOMOLOVA ©

[kodd-magazine]

BACK TO THE CITY Kodd-magazine.com/editorial Photographe : Valerie Bogomolova @photographer_lerabogomolova, Stylisme : Pazderina Anastasia @anastasia_k13, Maquillage : Olga Marchenko @marchenko_makeup_, Coiffure : Svetlana Pervuhina @svetok_777, Mannequin : Anastasia Roldugina @nastyaroldugina, Marques : Versace @versace, GUESS @guess, PRADA @prada, 29studio @studio_29_, ZARA @zara, Multilook @multilook, ADIDAS @adidasrussia, Baldinini @baldininiofficial, HATS.WITH.LOVE @hats.with.love, Glamorous, Rubis,ASOS @asos, Product of imitation @product_of_imitation, H&M @hm, Carrardle, Studio EkaterinaTusheva @kat_tusheva_atelier, Modis @modis_rus, IKEA @ikea_rus, Lieu : Russie, Kurgan #koddmagazine #fashioneditorial #koddeditorial #photoshoot #fashiondesigners #allblackeverything #trotinettefreestyle #sportsphotography #ikea #hm #russia (at Kurgan) https://www.instagram.com/p/CHQrR_YnNpS/?igshid=1cgs1z7isy049

[amyusbasphotographycomponent2]

ARTIST ANALYSIS || Anastasia Bogomolova

Anastasia Bogomolova is a photographer from Kazakhstan who now lives in Russia. “Photography constantly amazes me. It is the excitement, adventure, travel. It is a way to see previously invisible and to present unpresentable.”

“As a photographer I am most interested in the personal mythology, collective and personal experience.” Through her photos she presents the theme of fragility and illusion of reality. Her project “Recall” is a personal study of human nature and memory within her family. for the past 4 years she has dug into her family history and old photos collecting old stories from relatives along the way. Her images explore the theme of identity and timelessness within memories and how these memories and stories are explored through the generations as stories and fragments from the families history is unconvered. She notes that sometimes it is down to the next generation to finish the story.  

“Still alive and mobile memory itself, until she turned to stone, there is no chance to stop this flood of memories and catch stilled in time images.

Faces of the past – gone youth, past and forgotten lives – not freeze ever. Moving away from the present, images of the past, images of entire generations of the family, repeatedly restored through our memories, relentlessly changing.

Again and again, referring to his and others’ memory, we have to build upon family history and tinker portraits own relatives. Preconceived notions about the break up and multiply them, dooming us to the cycle of remembrances.

Even with the age of the experience acquired memories analysis fails to achieve any absolute definition of family and personal memory, or at the same time impenetrable darkness of oblivion. We’re always somewhere in the middle, half way to the truth. Or maybe at the beginning of the road.”

This statement from the artist herself highlights this idea that although the stories are passed down through generations they may be altered and the details may become more distant from the event, however the memory of the person will be remembered by the stories told. She talks about how she was inspired by other artists, for example Sally Mann’s project “What Remains” which captures deep emotions regarding the nature of memory and the oblivion of death. 

The image above is one example of Bogomolova’s work within “Recall”, the use of old pictures being distorted by cracked ice is a great symbol for the memories being distorted as well as the idea that past generations are no longer with her however the stories and memory through pictures helps keep their spirit alive through the future generations of the family. The use of layering within the ice creates a depth to the image allowing the photographer to explore deeper meanings and provoke messages and meaning within her work.

https://vimeo.com/65459278

[laurayearleycomponent1]

1. Amy Friend

Dare alla Luce: Bring to the Light - ‘I dream of that day’

2. Diego Collado

Data Recovery - ‘Untitled’

3. Zelko Nedic

Lost Memories - ‘Untitled’

4. Ima Mfon

Memories of a Restless City - ‘Untitled’

5. Vanja Bucan

Anatomy of False Memories - ‘Anatomy 01′

6. Anastasia Bogomolova

Recall - ‘Untitled’

7. Roberto Spotti

Memories - ‘Alleys’

8. Helen Stead

ça a été (it has been) - ‘Untitled’

[caveartfair]

How One Museum Is Documenting All of Russia’s Art

Photo courtesy of Garage Museum of Contemporary Art.

One hundred years have passed since the Russian Revolution, and several decades since the end of the Cold War. For many people today, however, Russia remains the same, the “riddle, wrapped in a mystery, inside an enigma” that Winston Churchill declared it to be in 1939.

But the Garage Museum of Contemporary Art in Moscow is on a mission to paint a clear picture of at least one reality of Russian life—the art that is being made across the country.

The museum’s most recent initiatives are also its most ambitious: the museum’s first Triennial of Russian Contemporary Art and a massive digital archive (currently under construction) that will document the country’s contemporary art. In the absence of a broad spectrum of arts institutions in Russia, and amid widespread censorship, the archive will fill a gap in the country’s cultural landscape.

On view through May 14, 2017, the Triennial fills Garage’s 65,000-square foot home—a long-derelict modernist structure built as a massive restaurant in Moscow’s Gorky Park in 1968 and redesigned by Dutch architect Rem Koolhaas in 2012—with works by 68 Russian artists and collectives made since 2012.

The exhibition’s launch in March was purposely timed to coincide with the centennial anniversary of the Russian Revolution.

“Just as the Russian Revolution spurred the first avant-garde,” writes Garage Chief Curator Kate Fowle in the exhibition catalog, “the Garage is hoping to spur the next.”

Part and parcel to that mission is expanding the field of vision outside St. Petersburg and Moscow to include all eight of Russia’s federal districts, from the Caucasus and Crimea in the southwest, to the post-industrial Urals in the country’s center and Siberia’s far-eastern Pacific coast.

Monstration, Novosibirsk, May 1, 2016. Organized by Artyom Loskutov. Photo by Sergei Mordvinov. Courtesy of Artyom Loskutov.

A hot pink banner with gold Russian lettering by Artem Loskutov, a 31-year-old artist from the Siberian city of Novosibirsk, just about sums it up. It translates to: “Here is not your Moscow.” (The banner was first used last year in Novosibirsk in a Monstration—a protest performance that takes place each May Day, spearheaded by Loskutov in 2004 and not looked on kindly by Putin’s government.)

“Some of the curators wanted to use that as the title for the show,” says Fowle, who was insistent that her curators visit towns far off the beaten path while researching the Triennial.

The process “sent each member of the team to unimaginable places—the kind you visit once in a lifetime by some sort of divine mistake,” writes one of the curators, Katya Inozemtseva, in the diary each member of the team was asked to keep of their journeys. (The curatorial diaries are available on the Garage website and are worth a read.)  

“Sometimes we were told, ‘We don’t have any contemporary artists here,’” says the British-born Fowle, who divides her time between Moscow and New York. “But we know that where there is life, there is art, so I told the team of curators that they had to go anyway.”

While they did visit some places with little, if any, infrastructure or resources to support contemporary art—places like Simferopol, in Crimea—many still reported back about ambitious local curators and artists transforming abandoned buildings into art spaces, or building communities through art centers that don’t rely on state support.

Installation view of Garage Triennial of Russian Contemporary Art, Garage Museum of Contemporary Art, Moscow, 2017. Photo by Yuri Palmin. © Garage Museum of Contemporary Art.

One such space is the National Center for Contemporary Art (NCCA), an independent organization with several active branches in towns like Kaliningrad, on the Baltic near Poland, or Yekaterinburg, around 1,100 miles east of Moscow.

There are also quite a few artists included in the Triennial who have had access to a more robust, “unofficial” arts infrastructure in Moscow and St. Petersburg, through galleries, museums, and art schools.

But even in a country “that is so disparate and access to resources is so contrasted,” says Fowle, “there are artists thinking similarly—common threads.” The curators homed in on those threads, selecting seven “vectors” as the organizing principle of the Triennial.

“Master Figure,” for instance, features work by more established artists, like Kaliningrad’s Dmitry Bulatov, known for merging art and science, who has experimented with augmented reality for the Triennial. “Fidelity to Place” brings together artists whose work is inseparable from their surroundings, like Anastasia Bogomolova, whose contribution consists of photography and video performances that draw attention to Russia’s history of forced labor in the post-industrial Urals, where she lives.

“Art in Action” includes the ongoing performance 12-Hour Workday by the Shvemy Sewing Cooperative, whose artist-members work at sewing machines in the Garage all day to highlight the co-dependence of consumerism and hard labor conditions.

For the “Street Morphology” section, Garage commissioned works throughout Gorky Park, including a monumental mural on an administrative building by Kirill Lebedev (Kto) and a video-game projection by the ZLYE art group, which has been under government surveillance since 2010 for an intervention in Yekaterinburg for which they replaced green traffic lights with marijuana leaves.

Installation view of mural by Kirill Lebedev as a part of Garage Triennial of Russian Contemporary Art, Garage Museum of Contemporary Art, Moscow, 2017. Photo by Yuri Palmin. © Garage Museum of Contemporary Art.

Street art, a popular and important form of expression among Russian contemporary artists, yet also an ephemeral one, is one medium in particular that will be given a longer life by the digital archive. The 68 artists of the inaugural Triennial, plus around 130 or more who didn’t make the final cut, compose the core of the archive, which lives on the Garage’s site and is continuously updated.

While this part of the archive will have the “Garage voice,” explains Fowle, it will also have a crowd-sourced platform where artists can upload their own information and photos via a template.

“The aim is to find a way that you or I or anyone around the world can go onto this website to learn about the different practices that artists have in different places around the country, and it comes from those artists rather than being mediated through some kind of institutional voice,” she says.

As if that project weren’t daunting enough, Garage is also working on a separate digital archive of its traveling exhibitions of Russian art collectives. It’s an extension of the museum’s physical archive, a collection of thousands of items—catalogs, letters, newspaper articles, and other documents—related to Russian art since the 1950s, culled together from acquisitions and gifts from artists, galleries, and collectors.

To manage such a massive undertaking, Garage is working with two other institutional archives in the process of being digitized—the Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union at the Zimmerli Art Museum at Rutgers University, and Bremen University’s collection of underground materials from the Soviet Union and the Eastern Bloc—to create what’s being called the Russian Art Archive Network (RAAN).

“In the next few years you’ll be able to sit anywhere and access those three archives,” says Fowle. “We’re basically trying to make a history of Russian contemporary art, because there are so many art objects that might have disappeared or are less available.”

—Meredith Mendelsohn

from Artsy News

[rbrittainphoto-blog]

#6 International Photography Festivals - Focus

Focus Festival, Mumbai, India

This festival is held every two years, starting in 2013. The purpose of the festival is to make photography accessible by utilizing multiple spaces to present work; galleries, museums, cafes, and city streets. The festival revolves around a theme, 2017′s theme was memory. The entries are juried by curators and directors from multiple countries and the festival organizers strive to showcase of variety of perspectives and styles every show. 

http://www.focusfestivalmumbai.com/

Artists:

Tsutomu Yamagata

http://tsutomuyamagata.com/web/

Anastasia Bogomolova 

https://anabogomolova.viewbook.com/

Galleries:

http://tarq.in/

http://www.bdlmuseum.org/

[theangrybat]

Anastasia Bogomolova - Lookbook

author: http://anabogomolova.viewbook.com/

publisher: self published

video: https://vimeo.com/183273304

[edicyones]

Lookbook Anastasia Bogomolova

Date of publication: 2016 21 cm x 28,5 cm 40 pages + 32 pages of inserts Language: English and Russian First edition of 90 signed and hand numbered copies Designer: Julia Borissova www.anastasiabogomolova.com

«Lookbook, where I use my mother’s old clothes, 1990s’ cosmetics and grandmother’s fabrics as a background, has grown out of a desire to restore the images of women of elder generations in the family. But eventually it has turned into a story about the search for my own femininity and sexuality, my first idea of which was formed by Soviet fashion magazines. Working on this project, I reconstructed a girl’s ritual of fitting her mother’s dresses, trying to rethink childish experience already in adulthood, when I’m approaching the age when my mother gave birth to me».

[natasha-from-russia]

Anastasia Bogomolova — Lookbook, Self-published, 2016 Design by Julia Borissova https://vimeo.com/152699269

http://anabogomolova.viewbook.com/works/lookbook

[molkolsdal]

Anastasia Bogomolova: Lookbook

I’m pulling out of the closet a suitcase with shoes to find a pair of her unprocurable Yugoslav sandals bought back in the 1980s.

I’m turning over a pile of boxes in the family barn to find all of my mother’s former clothes and my elder sister’s costumes. Mostly colorful dresses acquired in the soviet department stores and stitched in some atelier or at home.

When I was 7-8 years old I was doing the same thing. Every time I was left home alone, I was just climbing into the closet, to try on every outfit and then posed in front of the mirror, trying to find something adult in myself. These days I’m approaching the age when my mother gave birth to me, and I’m taking out all those dresses, useless now, to wear them without fear of being caught up.

[fotoroom]

Kazakh photographer Anastasia Bogomolova took portraits of herself wearing her mother's old outfits from the Soviet era. 

See more images on Fotografia Magazine.

[archivium]

Anastasia Bogomolova

[zinesofthezone]

RECALL Anastasia Bogomolova April 2013, Kalsi, Russia, 30 copies 48+16 pages, 15 x 22 cm

website / email

[naturaeproject]

Anastasia Bogomolova (b. 1985, Kostanay, Kazakhstan)

Under the dome

In February 2013 I was one of the eyewitnesses of the meteorite “Chelyabinsk”, which is recognized as the largest of the known celestial bodies fell to the Earth after the Tunguska meteorite, 1908. Astronomers have qualified it as a historic event, given the amount of video and photographic evidences about it. These multiple visual documents are the contribution into the mythology of the event and into the collective memory. But what memories about the outer guest will persist beyond media environment? Can the landscape lock the memory of what had happened?

Work with archives made me goes on a journey in the Chelyabinsk region, Russia, in search of places where have been cases of the falling meteorites in the last hundred years. The project "Under the Dome", which fixes nine of these areas, is an attempt to reclaim the memory of the space, which often lies not so much in the material trails, but in their absence. It’s an occasion to examine the nature of oblivion and a break with the past.