Alexander Gronsky

gronsky_08_0Born in Tallinn, Estonia (1980). Lives in Moscow. Publications in the magazines “Esquire”, “Afisha MIR”, “Wallpaper” (UK), “Newsweek” (US), “Art+Auction” (US), “Conde Nast Traveller” (US), “Le Monde 2”, “Geo”, “Economist”, “Business Week” (US), “Vanity Fair” (Germany), “Stern”, “Spiegel”, “Bolshoi Gorod”, “AD”, “Ojode Pez”, “Intelligent Life” (UK). Frequent winner of the All-Russian Competition “Press Photo of Russia” (2000-2003). Ran the master class of n. a. Joupe Svart of the World Press Photo Fund (The Netherlands, 2003). Finalist of the “Observer” Award (2004).

The project Landscapes

man and empire
Russia is a big country. Alexander Gronsky is one of those photographers who help to realize its real scale. But apart from this the geography of travelling, his works are defined by the notion of psycho-geography. Gronsky’s main hero is the average man on the background of an endless empire. Russia — is it Europe or Asia? The key question of many political disputes over the last two centuries. For Gronsky the answer is obvious: he admits that he can work only in two countries — Russia and China. There he finds a world in which man looks like a pawn.
man and city
There he finds a world in which man looks like a pawn. The personage is so remote, that it is often hardly noticeable. Putting people in the space of the frame, Gronsky becomes a truly architectural photographer, but in the somewhat gloomy meaning of the word. On projects of residential buildings and trade centres it is expected that human figures and small cars are drawn — as a result we get the idealized picture of what it will look like when inhabited. Here it is almost the same, only this time real, live people become an element of the landscape and are de-humanised. They are all perceived as part of the design, as if specially placed to make the empty and dull landscape livelier. One of Gronsky’s eternal themes is dissociation and the divergence of directions.<…>

Vladimir Dudchenko

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