Exhibition of well known St.-Petersburg photographer, historian of photography and curator in the St.-Petersburg A-Ya Society exhibition hall
Alexander Kitaev spoke of his trip to Paris in autumn 2006 as of “small model of death”. “I left the familiar and beloved St.-Petersburg for a strange, new and unknown space”. The well-known St.-Petersburg photographer, historian of photography and curator was invited to Cite Internationale des Arts, the House on the Embankment, as it is often called. In his letter from Paris Kitaev writes:
“There is endless downpour outside the window, and I can not complete my mission of landscape photographer <…> All I have made is just one exposure. Allright, it was really two exposures, excluding doubles. With thousands of photographs made around me within the same moment <…> Everything has been photographed, everything is familiar. I want to just enjoy the views and the atmosphere <…> What can we say of Paris if even in St.-Petersburg there are pits left by tripods at the shooting points in front of each architectural monument. It is here, in Daguerre’s motherland, that everything had started”.
Surrounded by the Babylonian mix of languages of the artistic inhabitants of the “House on the Embankment” of Seine, Kitaev dedicated most of his time to the writing of his text about Boris Smelov and to remembering of what had been experienced on the banks of the Neva. The photographs that comprise the series about the French capital, were made towards the end of his stay.
Kitaev’s Paris combines ivied ancient firewalls, narrow passages, bridge silhouettes, ramps on the embankments of the Seine, birds circling above the city. It is inhabited by the deliberately strolling nameless characters, couples of lovers, clochards roosting under the vaults of passage galleries. It is not the official façade of the city, nor is it its seamy side. The well known sites – from Notre Dame de Paris to Pompidou Centre – were not left without the author's attention. Kitaev's images have nothing in common with the mouth soring postcard views, the well known buildings become natural part of the whole, interlaced and equalized with the surrounding, more modest «inhabitants» of the city. Archway in the basement of the Eiffel Tower frames the Jena Bridge sculptural group, apse fragment of Notre Dame de Paris looks through the naked tree branches, Maillol's nymphe in the garden of Tuileries covers her face with hand from the dazzling light of sun rising in the distance, above the Louvre. Sculptures come alive, man and architecture are equally important in this city portrait lacking any tinge of happening.
Alexander Kitaev’s manner is classical and rather austere. The historian of photography pursuing in his works the St.-Petersburg photography school traditions, continues the development of old masters' visual language in his photographs included in the present exhibition.
"An artist’s task is to localize the space. To compress it to his own, or to completely subdue it. I am tired of subdueing!", Kitaev wrote in autumn 2006. "But I do not want to be banal, either!"
There was, perhaps, a deal of fib in the photographer's words of «going to Paris not to shoot but to write». With his extensive experience of perception and artistic re-evaluation of St.-Petersburg in its semiotic richness, the photographer gave himself time to get adjusted to his new character’s rhythm, mood and special qualities hidden behind the façade of primary significance.
Maria Gavrilchik
Kitayev Alexander Alexandrovich born 23 November 1952 in Leningrad. In 1970, worked at the Leningrad Electromechanical Plant Zarya (Dawn), where he became engaged with photography. In 1971, he enrolled at the North-Western Polytechnic Institute as an extramural student, quit the institute in 1974. From 1972 until 1979, he was a member of the Vyborgsky Palace of Culture VDK photo club. From 1975 until 1979, he was a member of the Okno (Window) art group. From 1975 until 1977, Kitayev studied at the Department of Photojournalism of the People’s Public Service Professions University at the Leningrad House of Journalists. In 1978, he secured a job at the photographic laboratory of the Leningrad Admiralty Association. In 1979, together with a few other amateur photographers, he left the VDK club and founded the Druzhba (Friendship) photo club at the House of Friendship with the Peoples of Foreign Countries. In 1987, he began attending the Zerkalo club meetings at the Karl Marx DK. In summer of 1988, he participated in the 8th Exhibition of Zerkalo’s Achievements, but soon after that quit the club. 1988–1989, he attended the meetings of the Obshchina Photokhudozhnikov (Community of Photo Artists) group and participated in the exhibitions held by the Fototsentr (Photo Center) association at the Ilyich House of Culture. In 1992, he became a member of the Photopostscriptum association. He has been a freelance artist since 1999, and a curator and publisher since the early 2000s. Kitayev is also a writer and historian of photography.
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