photo 80-90-h

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Портреты для колхозной доски почета /

The portraits for the Kolhoz board of Honour. 1980-1989

Exhibitions:

“Photo Manifesto: Contemporary Photography in the USSR”. Museum for Contemporary Art, Baltimore, Maryland. 1991

“Photo Manifesto: Photography of Perestroika”. Fine Arts Gallery & Avram Family Gallery, Long. Island University, New York. 1991

“Contemporary Photography in the USSR”. The Gallery of Contemporary Art, Dartmouth. University, North Dartmouth, Massachusetts. U.S. 1991

“Litsa”. Contemporary Portrait Photography from Russia, Byelorussia and the Ukrain, Amsterdam. Holland. 1992

The Second Exhibition of the Russian Union of Photo Artists. Central House of Artists. Moscow. 1993

International Month Photography “Photobiennale 2000”. Moscow. 2000

“Behind walls. Eastern Europe before and beyond 1989”. Fries Museum. Leeuwarden. Holland. 2008

Month of Photography 2008, Bratislava. 2008

School of Humanities and Journalism. Poznan, Poland. 2009

The FotoFest 2012 Biennial Contemporary Russian Photography: 1950s-2012. 2012

В 1980 году в Беларуси я делал заказную работу для колхоза "Красное знаменя". Я должен был сфотографировать передовиков колхоза для доски почета. Для этого я взял широкопленочный фотоаппарат «Москва» с негативом 6х9см. и фотографировал передовиков во весь рост, и потом при печати кадрировал поясной портрет, т.к. по условиям я должен представить типовой портрет. Съемки было сделано в полевых условиях. Для фона мы применили мешковину, что было под рукой.

In 1980 in Belarus I did a series of photos of leaders from collective farm "Red banner" for an honor board. The shooting was done in field conditions and I mostly depended on formatting the picture later. Later in 1992 for an exhibition in Litza in Holland this series was printed full size. Serious people in their smart clothes, some with an award for labor merits, were photographed for the honor board either near their house or at the work place.

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Веселенькое воскресенье. 1980-1989

Happy Sunday (ironically). 1980-1989

Exhibitions:

“Fotografie aus Minsk”. ifa-Galerie, Berlin. 1994

“Искусство современной фотографии. Россия, Украина, Беларусь”. ЦДХ. Москва. 1994

“Фотография из Минска”. Галерея «Шестая линия», Минск. 1995

“Застолье”. Московский Дом Фотографии. Москва. 2003

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Красная площадь. 1989

Red Square. 1989

Exhibitions:

“Белорусский авангард». Музей Кино. Москва. 1990

“Photo Manifesto: Contemporary Photography in the USSR”. Museum for Contemporary Art, Baltimore, Maryland. 1991

“Photo Manifesto: Photography of Perestroika”. Fine Arts Gallery & Avram Family Gallery, Long. Island University, New York. 1991

“Contemporary Photography in the USSR”. The Gallery of Contemporary Art, Dartmouth. University, North Dartmouth, Massachusetts. U.S. 1991

Персональная выставка с Галиной Москалевой. Дворец Культуры профсоюзов. Минск. 1992

SOTHEBY’S, A Collection of Russian and Eastern European Contemporary Photography. NY. 2013

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Эхо Молчания. к 10-летию Катастрофы Чернобыльской АЭС. 1996

Echo of Silence. 1996

Exhibitions:

«Эхо молчания». Национальный Музей истории и культуры. Минск . 1996

«Эхо молчания». Spatia Nova: VI С.- Петербургское Биеннале. Исторический Музей С.- Петербурга. С.- Петербург. 1996

“Эхо молчания”, 7th Месяц фотографии’97, Галерея Duna, Братислава. 1997

“Личная история фотографии”. Музей истории фотографии. С. Петербург. 2006

"Vladimir Shakhlevich emphasises that working on the project defined his attitude to the catastrophe, both as a personal threat and a global one for mankind. His outlook led him to use photocollage techniques which permit him to depict the destruction and development of our civilization, which is hard to imagine. Contorted biblical allusions and icon-like insinuations appear, forming from snatches of day-to-day life. They can be perceived as a forewarning, a recollection, or a call to come to our senses. It is as if his rectangular icons are asking whether humanity has strayed off the path of righteousness, the path of God, by splitting the atom. As he works in the laboratory, he sees himself as a surgeon making incisions into the living flesh of photography. The resulting substance is a new reality surrounded by an energy field, which begins to exist apart from the artist."

Vera Bagaliantz, Goethe-lnstitut Minsk, July 1996

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ARCADIA. 1988

Exhibitions:

"Белорусский авангард». Музей Кино.

Москва. 1990

“USSR- Photo”. Фотогалерея. Копенгаген. 1990

“Новая волна” Фотография России и Белоруссии. Музей Кино. Москва. 1991

Персональная выставка с Галиной Москалевой. Дворец Культуры профсоюзов. Минск. 1992

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BREST. “Gymnastic exercises”. 1989

Spring. 1st of May 1989. Day of the International Solidarity of Workers of the World. Belorussia. Brest. People, identifying themselves with ruling authority, do different body movements according to a context and a scene of action.

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TV. 1989

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Акт с портретом

Exhibitions:

"Белорусский авангард». Музей Кино.

Москва. 1990

“Nowa fotografia Bialoruska”. Panstwowa Galeria Sztuki, Sopot. 1994

“Новая волна” Фотография России и Белоруссии. Музей Кино. Москва. 1991

Серыя Уладзіміра Шахлевіча (нар. 1954) "Акт з партрэтам" падаецца адной з найбольш удалых у яго творчасьці. Мастак дасьціпна гуляе формай, балансуючы паміж прамалінейным аповядам і амаль падсьвядомай эратычнай асацыяцыяй. Міміка твару -- "міміка" цела, жэст рукі -- "жэст" пераплеценых паверхняў, узаемадзейных фактур -- гэта толькі некалькі правілаў захапляючай гульні. Колер тут прымітыўны і "фізіялагічны". І гэты факт толькі абвастрае парадаксальна-гульнявую сутнасьць гэтай серыі, вабячы гледача скрытым кантрастам непасрэднасьці і інтэлекту, вытанчанай эротыкі і грубай фізіялогіі, праўды і вымыслу.

Надзея Кароткіна. Сопот Беларуская фатаграфія:

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