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Alexander Gronsky exhibition

Siege of Leningrad, 2013 From the series: Reconstruction. © Alexander Gronsky

Siege of Leningrad, 2013 From the series: Reconstruction. © Alexander Gronsky.

Photo exhibition: Alexander Gronsky
Venue details: The Wapping Project Bankside, 37 Dover Street, Ely House, W1S 4NJ London | Official Website www.thewappingprojectbankside.com | Event date > from 14-04-2015 to 29-05-2015 | Opening hours: Monday – Friday – 10.30am – 6pm, Saturday – Sunday Closed 
Novye Mytischi, Suburbs of Moscow, Russia, 2010 From the series: Pastoral, © Alexander Gronsky.

Novye Mytischi, Suburbs of Moscow, Russia, 2010 From the series: Pastoral, © Alexander Gronsky.

The Wapping Project Bankside is pleased to announce Estonian photographer, Alexander Gronsky’s first exhibition with the gallery.
Gronsky’s Pastoral series of large format photographs of Moscow’s suburban areas are reminiscent of the arcadian images created by 19th century landscape painters and reconstructs them in a way that jars with the romantic representations of a bygone era. Once defining borders becomes blurred in these photographs – the divisions between urban and pastoral, utopian and dystopian and the actors within these spaces are rendered ambiguous. Gronsky’s arresting use of colour and intelligent compositions are alluring, but these layered works are a study of how people inhabit a territory and what becomes evident in these images is the effect human life has on the environment in this Apothocene age.

Strogino I, Suburbs of Moscow, Russia, 2009 From the series: Pastoral

Strogino I, Suburbs of Moscow, Russia, 2009 From the series: Pastoral, © Alexander Gronsky.

Included in the exhibition are three works from Gronsky’s Reconstruction series that documents reenactments of historic Russian battles whilst simultaneously rendering them anachronistic with the inclusion of onlookers into the frame, Constructed as triptychs, these works are filmic in nature and alludes to a panoramic view of an important battle whilst titles such as “Siege of Leningrad” are reminiscent of a Hollywood film. Continuing Gronsky’s study of perspective, in these works it appears formal whilst the colouring offers a certain flatness to the photographs.


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