Today the Portfolio Review Russia opens at the Garage Center for Contemporary Art in Moscow. Over the course of five days visitors will have the opportunity to see the works of 185 photographers from Russia, Ukraine and Belarus selected by and international jury. This is the first time that a photography exhibition of this scope and scale is being held in Russia, but the organizers hope it will be a big success and turn into a regular event. Just as similar events in the United States, where the project was initially launched, and in many countries throughout Europe.
In addition to the Garage Center, the event is also being supported by RIA Novosti, Dasha Zhukova’s Iris Foundation and the renowned Fotofest in Houston.
The Portfolio Review greatly differs from the traditional photography exhibition format. It is a meeting place for award-winning photographers and reviewers (representatives of photography institutions in Russia and abroad). The review organizers give both well known and novice photographers a chance to participate – all are well come to submit a selection of 20 photographers for consideration. The portfolio review is a place where photographers and new opportunities meet, said Fred Baldwin, head of Fotofest.
The project is unique not for its format alone but also for the fact that it is taking place for the first time in Russia. In many countries such review-festivals have been taking place since the late-1970 – early-1980s, and now this global trend has come to Russia. And although the event was nominally held for Russian photographers, the organizers were gracious and also accepted entries from Ukraine and Belarus. During a video conference between Moscow and Houston dedicated to the event, curator of the project Evgeny Berezner noted that the organizers simply could not turn down applicants from neighboring countries, who as it turned out applied in large numbers. Also of note is the fact that participation in the portfolio review was free of charge, unlike analogous reviews in other countries. “We couldn’t make people pay for something that they know nothing about,” said Berezner, who pointed out that few in Russia understand the opportunities opened up by such shows. The opportunity to meet face to face with potential future employers – representatives of fashion galleries, collectors, curators, etc. – is no small thing.
The aim of the organizers is not just to select works of high artistic merit and discover new names in photography. They aspire to more – Portfolio Review Russia should have a serious impact on Russian photography. Ultimately, they want to create a fully fledged photography society that is engaged n the international artistic process. As another of the curators, Irina Chmyreva, noted, the portfolio review will among other things help Russian participants understand how to navigate the art world and understand international art infrastructure. And a substantial number of photographers responded to this challenge – more than 2396 photographers’ entries were received.
The exhibition of the selected works at the portfolio review promises to an interesting event. The accepted works represent a wide array of genre – from photojournalism to composition pieces. The organizers are confident that they have succeeded in discovering a few names that were previously unknown, some of whom live far off in the Russian countryside. Another outcome of this event will be the inclusion of Russian photography as a separate phenomenon on the world stage – in 2012 the biannual Fotofest in Houston will be dedicated to Russian photography.
As the organizers spoke of their project, they often described it as a unique opportunity for photographers from Russia. Fotofest curator and co-founder Wendy Watriss even spoke about the great opportunity that the United States provides other countries. But here arises a few questions. Of course, this isn’t about cloaked cultural ramrodding. The portfolio review truly is a great chance for many photographers from Russia. Above all else, it is a professional and career chance for photojournalists. However, the situation is a little different for artistic photography. “Integration” into the global photographic process could imply some degree of unification, which is devastating for true art. For some, meetings at the portfolio review could open broad new horizons and perhaps over time even bring global recognition, but could such success also bring with it an end to originality? This is merely a question that is hanging in the air. But for now all who so desire can come and assess the selection of the international jury and the state of photographic art in Russia. As Fred Baldwin noted, we have “a very talented country…”
Boris Serov
