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Yana Kononova

About Yana Kononova

Yana's photography practice is motivated by her childhood experiences. She was born on the Pirallakhi island in the Caspian Sea. She spent her childhood there with her own mythology of climate and desert landscapes connected to the mainland by the rail. The midday heat, the hurricanes bringing various living creatures from the lakes – literally falling from the sky – and a host of insects eclipsing the sun determined her interest in the intimate world of solitary events, where the forces of climate and geology are crucial and symbolic.

Now she lives on the Trakhtemirovsky Peninsula, on the right bank of the Dnieper River, a place with strong geological and cultural history. Directors Parajanov, Ilyenko, Tarkovsky all worked there. As in her childhood, the local life is shaped by unique phenomena and her photography practice allows her to see in them the events of time that can become a subject or topic. She is concerned about how life events such as the October full moon, the fog on the hilltops, the acacia and elderberry flowering in May or relatives visiting her neighbor during the August drought can become the core of poetic imagination.

The most exciting for her in the photographic process is the motive defined by Gilles Deleuze as the idea of the literary practice. He writes that a literature consists in the invention of the non-existent folk. Literature as a nonsense passes through races and tribes and it awakes an illegitimate tribe rebelling against domination. This folk is written into the relief of literature as a process. Film and photography can do the same. She loves the work of the French artist Ghedalia Tazartes, born in the family of immigrants having Spanish and Turkish roots, who speaks of the folklore of non-existent countries in his songs. She rethink this motive as an opportunity to experiment with her own culture.

The Drought (2018)

I have been photographing the neighbor - a woman named Lola - for several years now. This series of portraits with her participation was shot in the summer of 2018, when there was an unusual drought for these places and she had invited her mother to visit. Later, under amazing and even dramatic circumstances, her borther Gregory appeared. he had traveled throughout the peninsula not knowing the exact address of his sister, had spent the night in the forest and had arrived with traces of beatings.

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Yana's photography practice is motivated by her childhood experiences. She was born on the Pirallakhi island in the Caspian Sea. She spent her childhood there with her own mythology of climate and desert landscapes connected to the mainland by the rail. The midday heat, the hurricanes bringing various living creatures from the lakes – literally falling from the sky – and a host of insects eclipsing the sun determined her interest in the intimate world of solitary events, where the forces of climate and geology are crucial and symbolic.

Now she lives on the Trakhtemirovsky Peninsula, on the right bank of the Dnieper River, a place with strong geological and cultural history. Directors Parajanov, Ilyenko, Tarkovsky all worked there. As in her childhood, the local life is shaped by unique phenomena and her photography practice allows her to see in them the events of time that can become a subject or topic. She is concerned about how life events such as the October full moon, the fog on the hilltops, the acacia and elderberry flowering in May or relatives visiting her neighbor during the August drought can become the core of poetic imagination.

The most exciting for her in the photographic process is the motive defined by Gilles Deleuze as the idea of the literary practice. He writes that a literature consists in the invention of the non-existent folk. Literature as a nonsense passes through races and tribes and it awakes an illegitimate tribe rebelling against domination. This folk is written into the relief of literature as a process. Film and photography can do the same. She loves the work of the French artist Ghedalia Tazartes, born in the family of immigrants having Spanish and Turkish roots, who speaks of the folklore of non-existent countries in his songs. She rethink this motive as an opportunity to experiment with her own culture.

The Drought (2018)

I have been photographing the neighbor - a woman named Lola - for several years now. This series of portraits with her participation was shot in the summer of 2018, when there was an unusual drought for these places and she had invited her mother to visit. Later, under amazing and even dramatic circumstances, her borther Gregory appeared. he had traveled throughout the peninsula not knowing the exact address of his sister, had spent the night in the forest and had arrived with traces of beatings.

CV

Website

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