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Previews
(Рус) Творческая встреча с Сергеем Корзюком. Проект Мобилография. Финисаж выставки. Тема встречи: «Может ли мобилография конкурировать с фотоцифрой и аналогом".
31 Jan 2018
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20160526_121037-iloveimg-compressed
Current exhibition
(Рус) Творческая встреча с Сергеем Корзюком. Проект Мобилография. Финисаж выставки. Тема встречи: «Может ли мобилография конкурировать с фотоцифрой и аналогом".
31 Jan 2018
Read more ...

Penson Max

Max Penson

Max Penson – a photographer from a galaxy of luminaries of Soviet photography of the 20-30s, who was forcibly ousted from the profession in the forties of last century, and triumphantly returned to exhibitions, galleries and museums all over the world in the nineties.
Max Penson was born in 1893. He studied at art schools in Velizh and Vilna. During the First World War he lived in Uzbekistan. Since that moment, he didn’t leave this country till his death in 1959. He lived in Tashkent. From 1926 till 1949 he was working as a full-time photographer in “Pravda Vostoka” newspaper. His photos were published in “Sovestky photo” magazine and in “USSR in Construction”, which was in the legendary magazine in the early 30-ies. Moreover, one of the issues (№ 10, 1933) consisted of his photos only. Max Penson’s photos also been published in the journals “Soviet Union” and “Ogonyok”. In 1938 he was awarded a gold medal at the World Exhibition in Paris for the photograph “Uzbek Madonna”. The high level of Penson’s photographic thinking was determined by the artistic skills and flair obtained in his childhood. He made photos using a wide range of techniques: from the pictorial to the vanguard photography. Penson’s aesthetics was a combination of the monumental image and light primitivism. Due to the persistent search of optimal aesthetic form some of his photos has transformed into the artistic metaphor. Max Penson shot photos from which seems to be uncomfortable spot and unexpected perspective. He applied diagonal composition in crowd scenes, convincingly reflected the pathos and power of the collective volitional effort. Sergei Eisenstein wrote about ubiquitous Penson, as a man, “came through the whole of Uzbekistan, whose glorious biography can be recreated page after page via the Penson’s boundless photographic archive…”.

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