Yulia Spiridonova - Neither You Nor I

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

Osnova gallery presents the exhibition of Yulia Spiridonova, whose portraits of Raw series has become a quiet sensation in the non-commercial photography world. It’s hard to name Spiridonova as a photographer, she is neither a traditional documentar- ian or an artist interested in producing glossy imagery. It would be more accurate to call her a sculptor of new era. She attempts what Greek sculptors sought in their use of marble and bronze. Ultimately, Spiridonova is looking for what classical art finds ugly: the hidden perversion of a harmonious body. All the characters in her series are dear to her. Their relationship with Spiridonova allows the viewer into a strange moment of intimacy, when all bets are off.

The process of shooting is a performance, the photograph it’s documentation. Spiridonova does not capture beauty, she empha- sizes imperfections: moles, wrinkles, grimaces, hair, sweat, and ragged nails. Her works asks us to question our expectations of the photograph with imagery that casts a new mold. -- Maria Semendyaeva

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