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Russia’s city of shadows Alexey Titarenko’s photos use long exposure to capture the ‘infernal’ atmosphere of 1990s St. Petersburg

Source: Meduza

This fall, an exhibition by Soviet-American photographer Alexey Titarenko opened in the Italian city of Monopoli as part of the PhEST photography and art festival. Around the same time, the U.S. publisher Nailya Alexander Gallery released the second edition of his book, which brings together his projects “City of Shadows,” “The Black and White Magic of St. Petersburg,” and “Frozen Time.”

Taken between 1992 and 2000, these photos depict a city steeped in grayness, scarcity, and poverty. The decade was a time when Russia’s second city had been transformed into an almost infernal place where, as Titarenko put it, “people begin to resemble shadows.” To capture the atmosphere of the era, the artist employs ultra-long exposure — a technique rarely used in street photography. Meduza shares some of his photos along with his own commentary from the exhibition’s opening.

The “City of Shadows” exhibition covers my work from 1991 through the late 1990s. I took the first photographs in 1991, although the idea itself — why and how I should create this project — came to me a bit earlier.
Alexey Titarenko / Nailya Alexander Gallery
When the Soviet Union began to collapse (which was already clearly happening by the late 1980s), I was still working on my project “Nomenclature of Signs.” This series was about how the communist regime turned citizens into mere symbols — and how the same thing happened to everything else, even to life itself. Life became a symbol, food became a symbol.
Alexey Titarenko / Nailya Alexander Gallery
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Alexey Titarenko / Nailya Alexander Gallery
Alexey Titarenko / Nailya Alexander Gallery
There were no real products in the stores, no medicine in the pharmacies — only nice-looking displays with labels and pictures of things that didn’t actually exist on the shelves.
Alexey Titarenko / Nailya Alexander Gallery
By 1991, after the August coup, life began to deteriorate rapidly. Food disappeared from the stores, and so did medicine. The city authorities introduced ration cards. People started to look like shadows. This struck me most deeply when I walked past the main metro station on Vasilievsky Island, where my mother lived.
Alexey Titarenko / Nailya Alexander Gallery
When I walked past this station, I saw a huge crowd of people trying to get inside. It looked like a mountain river sweeping everything in its path. People were literally carried away by the flow — they were losing their clothes and shoes, as you can see in one of the photographs. It looked like a scene from hell.
Alexey Titarenko / Nailya Alexander Gallery
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People’s clothing was mostly dark, and so were their faces — they were exhausted, and the city, lying almost beyond the Arctic Circle, lived in dim light. That’s when the image of a “city of shadows” took shape in my mind. I decided to use that metaphor as the foundation for a new project.
Alexey Titarenko / Nailya Alexander Gallery
When I was a kid, I loved photographing fireworks. I’d set the camera on a tripod, open the shutter, and get these beautiful shots. That was back in the 1970s. So I already knew what a long exposure looked like, and I told myself, this is how I should do this project.
Alexey Titarenko / Nailya Alexander Gallery
In my view, the main thing that defines human beings is love. Without love, we’re not human. So everything we send out or show ought to be connected to human love. Art is love as well — it’s an expression of human love: for a woman, for one’s home, for people, for one’s country.
Alexey Titarenko / Nailya Alexander Gallery
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