Yulia Spiridonova | CV.pdf | Catalogue.pdf | Exhibitions | Artworks

The photos are incredibly revealing – but far beyond just capturing the naked body. They are emotionally raw and intense, as if the vulnerable sides only exposed during sex were suddenly put in the spotlight. The revealing moment which happens between the photographer and the model is crucial for Spiridonova. “I photograph strangers or people who I barely know. I am interested in working with ordinary people who are curious about the new experience of shooting. I hardly ever work with the same person more than two or three times. I am interested in the psychological moment of exposing, shyness and trust. After a few shoots it passes and I’m not that interested anymore. The shoot is a performance on both sides of the camera. Just like in chess, you need to plan your actions: a few in advance to get your model to the state you would like to see them in. I never tell my models about my plans, as according to my experience, it never works.”

When it comes to working on such sensitive topics in Russia, Spiridonova is convinced that there is freedom – maybe just hidden beyond the surface. “I don’t feel any limitation connected to Russian society getting more conservative. I don’t think in Russia we’ve got very strong restrictions,” she says. “I was shooting in Boston for two years and society there was super conservative and more religious. It was very hard there to find people who would agree to have sex in the park, for example.

12.09.2017 - 15.10.2017

14 Sept 2016 – 10 Oct 2016
Osnova Gallery is pleased to announce A Great Sum (In Parts), curated by Yulia Spiridonova and co­organized by the creators of A New Nothing, Ben Alper and Nat Ward.

10.VI - 5.VII
Osnova Gallery is pleased to announce Yulia Spiridonova: Neither You Nor I, curated by Kirill Adibekov.

Double denial – of self and of other - leaves nothing but empty space. There is no place for feelings (love, compassion, sympa- thy), gestures (carving the temper), or the will to act. Only a refusal. The models in these photographs are alone (You and Me – do not form Us). Their lack of will, a byproduct of the photographic process, is a result of subordination before the photographer. In each case, the only evidence of free will is expressed in vain attempts to escape, to avoid the camera. And when there are two bodies in the frame, they are just two bodies; neither models, nor humans. And they play out a drama – not a drama of passion, but - of violence.
All photos of Yulia Spiridonova are self-portraits. The author’s cruelty is ruthless when her eye is trained on herself. Hers is a double refusal: of herself, of her own body. And of love: of the presence of other inside this same body. -- Kirill Adibekov