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Sergey Sapozhnikov


Sergey Sapozhnikov’s appearance on the Moscow art scene has been accompanied by the same kind of electricity that flows through his work. A graduate of a provincial university, Sapozhnikov was rapidly propelled to the most prestigious training institutes in Moscow, participating in exhibitions in Russia and abroad and curating art festivals in his home town, Rostov-on- Don. His career has reflected the dynamic whirlwinds of his photography, radiating an energy that could not, it would seem, be of worldly provenance, but from some impossible power source. This book will feature all most recent, major series of Sapozhnikov — photographs made in different years and places. Among them «Withdrawal», «Birthday», «My grandmother can make better photographs» and many others. Altogether these works build up the evolution of this young artist’s career, showing a big span of interest and at the same time the evolving of his own personal style and approach to catching the reality. The immediate physical context to the adventures of the hero of Sapozhnikov’s work might, in the Russian literary-critical tradition, be called the “foundation pit” (A. Platonov), “untouchable” (F. Sologub), the “construction dump” (I. Kabakov). That is, by various names which are associated with entropy and chaos, destroying and working into the sand all human achievements and accomplishments. At the same time, there are too few emotions for there being an existential moment here. In other words, it is not actually opposition and not actually destruction. Sergey’s work instead shows a young man in a dynamic, suspended and balanced state, in much the same way as a dolphin splashes through the waves

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