Danila Tkachenko
2023
Archival Pigment Print
Ed. 4 + 1 A.P.
200 x 150 cm
Ed. 9 + 1 A.P.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
2023
Archival Pigment Print
Ed. 4 + 1 A.P.
200 x 150 cm
Ed. 9 + 1 A.P.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
2023
Archival Pigment Print
Ed. 4 + 1 A.P.
200 x 150 cm
Ed. 9 + 1 A.P.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
2023
Archival Pigment Print
Ed. 4 + 1 A.P.
200 x 150 cm
Ed. 9 + 1 A.P.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
2023
Archival Pigment Print
Ed. 4 + 1 A.P.
200 x 150 cm
Ed. 9 + 1 A.P.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
2023
Archival Pigment Print
Ed. 4 + 1 A.P.
200 x 150 cm
Ed. 9 + 1 A.P.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
2023
Archival Pigment Print
Ed. 4 + 1 A.P.
200 x 150 cm
Ed. 9 + 1 A.P.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
2023
Archival Pigment Print
Ed. 4 + 1 A.P.
200 x 150 cm
Ed. 9 + 1 A.P.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
2023
Archival Pigment Print
Ed. 4 + 1 A.P.
200 x 150 cm
Ed. 9 + 1 A.P.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
2023
Archival Pigment Print
Ed. 4 + 1 A.P.
200 x 150 cm
Ed. 9 + 1 A.P.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival Pigment Print
2018
Available in 2 sizes: Ed. 4: 200 x 150 cm & Ed. 9:
(size plus photo frame) This project was commissioned by Qatar Museums as part of Qatar-Russia 2018 year of culture photographic exchange.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival Pigment Print
2018
Available in 2 sizes: Ed. 9: 130x100cm & Ed. 4:
(size plus photo frame) This project was commissioned by Qatar Museums as part of Qatar-Russia 2018 year of culture photographic exchange.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Oasis: 4
Archival Pigment Print
2018
The Middle East concentrates our ancient human history… Qatar was populated in the third millennium B.C. and since then, despite the desert environment, its population has farmed, harvested, fished and built. Like other areas of the world, over the past thirty years, Qatar has enjoyed some of the fastest economic development rates from the entire history. A small handful of new billionaires flourish on the sand dunes while poverty remains as a challenge in the whole world. The appearance of Middle East cities has been transformed rapidly, yet the rest is exactly the same as thousands of years ago. Infrastructure improved as education did with new modern roads and vast crystal skyscrapers with imposible architecture appearing on the horizon like a mirage. It seems that this conspicuous new capitalism heave does not imply much physical labour for the contemporary Qataris, since workers were invited from abroad. Perhaps, though Qatari people drinks from their ancient traditions to create a new identity in a post Neo liberal era yet to be described worldwide. In the seek of a new promised land, what is now the promise?
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival Pigment Print
2018
Available in 2 sizes: Ed. 9: 130x100cm & Ed. 4:
(size plus photo frame) This project was commissioned by Qatar Museums as part of Qatar-Russia 2018 year of culture photographic exchange.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Oasis: 2
Archival Pigment Print
2018
(size plus photo frame) This project was commissioned by Qatar Museums as part of Qatar-Russia 2018 year of culture photographic exchange.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival Pigment Print
2018
Available in 2 sizes: Ed. 9: 130x100cm & Ed. 4:
(size plus photo frame) This project was commissioned by Qatar Museums as part of Qatar-Russia 2018 year of culture photographic exchange.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival Pigment Print
2017
Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:
(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival Pigment Print
2017
Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:
(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival Pigment Print
2017
Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:
(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival Pigment Print
2017
Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:
(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival Pigment Print
2017
Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:
(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival Pigment Print
2017
Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:
(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival Pigment Print
2017
Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:
(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival Pigment Print
2017
Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:
(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival Pigment Print
2017
Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:
(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival Pigment Print
2017
Available in 2 sizes: Ed.5: 120x100cm & Ed. 7:
(size plus photo frame) The project Monuments (2017) researches the boundaries of historical memory, the area between fact and fiction. As in the case of political regimes in general, every single one of us is individually inclined to exploit images of the past to meet our current needs or future goals. We come up with new interpretations and build additional structures to manipulate images of past history. I erect on abandoned historical sites lightweight structures in abstract modernist shapes, transforming a historical ruin into a contemporary site and thereby imitating the position on history assumed by the powers that be. During the filming not a single site suffered. At the end of the work, all the decorations were dismantled.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival Pigment Print
2017
Available in 2 sizes: Ed.5: 120x100cm & Ed. 7:
(size plus photo frame) The project Monuments (2017) researches the boundaries of historical memory, the area between fact and fiction. As in the case of political regimes in general, every single one of us is individually inclined to exploit images of the past to meet our current needs or future goals. We come up with new interpretations and build additional structures to manipulate images of past history. I erect on abandoned historical sites lightweight structures in abstract modernist shapes, transforming a historical ruin into a contemporary site and thereby imitating the position on history assumed by the powers that be. During the filming not a single site suffered. At the end of the work, all the decorations were dismantled.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival pigment print
2016
Ed. 7:
Lost Horizon (Horizonte perdido), 2016. El mundo prometido por la Revolución de octubre tendría que haber sido no solo justo y próspero, sino que debía haber trascendido el planeta para colonizar el espacio exterior. El régimen socialista debía haber sido establecido no solo en el espacio, sino en el tiempo, ayudado por la tecnología que habría permitido convertir un instante en eternidad. Sin embargo, precisamente con el paso del tiempo, las fallas económicas han traído toda suerte de desilusión sobre las utopías políticas y sobre la promesa de un futuro brillante. En Lost Horizon, Tkachenko captura objetos que representan la imagen de un futuro cósmico ideal perdido. Tkachenko eligió el formato 6x6, para encapsular el estado utópico de los proyectos futuristas en la forma suprematista propuesta por su connacional Kasimir Malevich’s, fundador de las Vanguardias rusas en su célebre ‘Cuadrado negro’ de 1917, que constituyendo una pieza revolucionaria del arte, refleja la época histórica en que fue concebido.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival pigment print
2016
Ed. 7:
Lost Horizon (Horizonte perdido), 2016. El mundo prometido por la Revolución de octubre tendría que haber sido no solo justo y próspero, sino que debía haber trascendido el planeta para colonizar el espacio exterior. El régimen socialista debía haber sido establecido no solo en el espacio, sino en el tiempo, ayudado por la tecnología que habría permitido convertir un instante en eternidad. Sin embargo, precisamente con el paso del tiempo, las fallas económicas han traído toda suerte de desilusión sobre las utopías políticas y sobre la promesa de un futuro brillante. En Lost Horizon, Tkachenko captura objetos que representan la imagen de un futuro cósmico ideal perdido. Tkachenko eligió el formato 6x6, para encapsular el estado utópico de los proyectos futuristas en la forma suprematista propuesta por su connacional Kasimir Malevich’s, fundador de las Vanguardias rusas en su célebre ‘Cuadrado negro’ de 1917, que constituyendo una pieza revolucionaria del arte, refleja la época histórica en que fue concebido.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival pigment print
2016
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
2016
Archival Pigment Print
Ed. of 7 + 2 A.P
Lost Horizon (Horizonte perdido), 2016. El mundo prometido por la Revolución de octubre tendría que haber sido no solo justo y próspero, sino que debía haber trascendido el planeta para colonizar el espacio exterior. El régimen socialista debía haber sido establecido no solo en el espacio, sino en el tiempo, ayudado por la tecnología que habría permitido convertir un instante en eternidad. Sin embargo, precisamente con el paso del tiempo, las fallas económicas han traído toda suerte de desilusión sobre las utopías políticas y sobre la promesa de un futuro brillante. En Lost Horizon, Tkachenko captura objetos que representan la imagen de un futuro cósmico ideal perdido. Tkachenko eligió el formato 6x6, para encapsular el estado utópico de los proyectos futuristas en la forma suprematista propuesta por su connacional Kasimir Malevich’s, fundador de las Vanguardias rusas en su célebre ‘Cuadrado negro’ de 1917, que constituyendo una pieza revolucionaria del arte, refleja la época histórica en que fue concebido.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival pigment print
2016
Ed. 7:
Lost Horizon (Horizonte perdido), 2016. El mundo prometido por la Revolución de octubre tendría que haber sido no solo justo y próspero, sino que debía haber trascendido el planeta para colonizar el espacio exterior. El régimen socialista debía haber sido establecido no solo en el espacio, sino en el tiempo, ayudado por la tecnología que habría permitido convertir un instante en eternidad. Sin embargo, precisamente con el paso del tiempo, las fallas económicas han traído toda suerte de desilusión sobre las utopías políticas y sobre la promesa de un futuro brillante. En Lost Horizon, Tkachenko captura objetos que representan la imagen de un futuro cósmico ideal perdido. Tkachenko eligió el formato 6x6, para encapsular el estado utópico de los proyectos futuristas en la forma suprematista propuesta por su connacional Kasimir Malevich’s, fundador de las Vanguardias rusas en su célebre ‘Cuadrado negro’ de 1917, que constituyendo una pieza revolucionaria del arte, refleja la época histórica en que fue concebido.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival pigment print
2016
Ed. 7:
Lost Horizon (Horizonte perdido), 2016. El mundo prometido por la Revolución de octubre tendría que haber sido no solo justo y próspero, sino que debía haber trascendido el planeta para colonizar el espacio exterior. El régimen socialista debía haber sido establecido no solo en el espacio, sino en el tiempo, ayudado por la tecnología que habría permitido convertir un instante en eternidad. Sin embargo, precisamente con el paso del tiempo, las fallas económicas han traído toda suerte de desilusión sobre las utopías políticas y sobre la promesa de un futuro brillante. En Lost Horizon, Tkachenko captura objetos que representan la imagen de un futuro cósmico ideal perdido. Tkachenko eligió el formato 6x6, para encapsular el estado utópico de los proyectos futuristas en la forma suprematista propuesta por su connacional Kasimir Malevich’s, fundador de las Vanguardias rusas en su célebre ‘Cuadrado negro’ de 1917, que constituyendo una pieza revolucionaria del arte, refleja la época histórica en que fue concebido.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival pigment print
2015
Ed. 6:
Restricted Areas (‘Zonas Restringidas’) ‘Áreas restringidas’ (2015), es una aproximación del impulso humano por la utopía y sobre nuestra búsqueda de la perfección a través del progreso tecnológico. Para realizar la serie, Tkachenko viajó a través de diversos países de la antigua URSS, en busca de lugares que utilizan para mantener una gran importancia a la idea de progreso tecnológico que ahora yacen desiertos. Han perdido su significado, junto con su ideología utópica, que hoy es obsoleta.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival pigment print
2015
Ed. 6:
Restricted Areas (‘Zonas Restringidas’) ‘Áreas restringidas’ (2015), es una aproximación del impulso humano por la utopía y sobre nuestra búsqueda de la perfección a través del progreso tecnológico. Para realizar la serie, Tkachenko viajó a través de diversos países de la antigua URSS, en busca de lugares que utilizan para mantener una gran importancia a la idea de progreso tecnológico que ahora yacen desiertos. Han perdido su significado, junto con su ideología utópica, que hoy es obsoleta.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival pigment print
2015
Ed. 6:
Restricted Areas (‘Zonas Restringidas’) ‘Áreas restringidas’ (2015), es una aproximación del impulso humano por la utopía y sobre nuestra búsqueda de la perfección a través del progreso tecnológico. Para realizar la serie, Tkachenko viajó a través de diversos países de la antigua URSS, en busca de lugares que utilizan para mantener una gran importancia a la idea de progreso tecnológico que ahora yacen desiertos. Han perdido su significado, junto con su ideología utópica, que hoy es obsoleta.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival pigment print
2014
Ed. 24:
The Last Resident (‘El último residente’) (2014) es un estudio que hace referencia a las utopías de la exploración del espacio y su entorno social que narra la desaparición de las aldeas. En Rusia, como en otras partes del mundo, cada año perecen cientos, incluso miles de poblados cuyos habitantes emigran a otros lugares. De 1993 a 2004, en el vasto territorio ruso 23000 pueblos fueron oficialmente cerrados, mientras que la población de las ciudades está en constante crecimiento. La estética del proyecto se inspira en la pintura, donde se utiliza la luz para iluminar el paisaje nocturno, como lo hacía el pintor ruso de ascendencia griega, Arkhip Kuindzhi.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival pigment print
2014
Ed. 24:
The Last Resident (‘El último residente’) (2014) es un estudio que hace referencia a las utopías de la exploración del espacio y su entorno social que narra la desaparición de las aldeas. En Rusia, como en otras partes del mundo, cada año perecen cientos, incluso miles de poblados cuyos habitantes emigran a otros lugares. De 1993 a 2004, en el vasto territorio ruso 23000 pueblos fueron oficialmente cerrados, mientras que la población de las ciudades está en constante crecimiento. La estética del proyecto se inspira en la pintura, donde se utiliza la luz para iluminar el paisaje nocturno, como lo hacía el pintor ruso de ascendencia griega, Arkhip Kuindzhi.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Archival pigment print
2014
Ed. 24:
The Last Resident (‘El último residente’) (2014) es un estudio que hace referencia a las utopías de la exploración del espacio y su entorno social que narra la desaparición de las aldeas. En Rusia, como en otras partes del mundo, cada año perecen cientos, incluso miles de poblados cuyos habitantes emigran a otros lugares. De 1993 a 2004, en el vasto territorio ruso 23000 pueblos fueron oficialmente cerrados, mientras que la población de las ciudades está en constante crecimiento. La estética del proyecto se inspira en la pintura, donde se utiliza la luz para iluminar el paisaje nocturno, como lo hacía el pintor ruso de ascendencia griega, Arkhip Kuindzhi.
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Duo show with Mara Sánchez-Renero "The Big Unknown"
2017
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Duo show with Mara Sánchez-Renero "The Big Unknown"
2017
Approximate view with unframed print. Ask for exact available dimensions
Approximate view with unframed print. Ask for exact available dimensions
Danila Tkachenko
Rusia, 1989.
Vive y trabaja en Moscú.
Graduado en 2014 de la Escuela Rodchenko de Fotografía y Multimedia de Moscú bajo la supervisión del reconocido académico Valeri Nistratov, Tkachenko es uno de los más premiados jóvenes artistas visuales que trabaja con la fotografía documental.
Ganador del World Press Photo y del Lens Culture Expo con su proyecto ‘Escape’ en el que trabajó durante 3 años. En marzo de 2015, concluyó el proyecto Restricted Areas (‘Zonas Restringidas’) que ha recibido numerosos premios internacionales y generosa crítica especializada alrededor del mundo, incluyendo el Premio Europeo de Editores para la fotografía, el World Press Photo Netherlands (1ro lugar en categoría Staged Portraits 9), el LensCulture Exposure (1ro lugar en categoría Series), el Voices Off Festival Arles, la Beca Burn Magazine, y se incluye en la publicación holandesa Foam Talents; lo que le ha permitido exhibir en exhibiciones especializadas de más de quince países en tan solo un año.
La serie Restricted Areas que ha atraído a la prensa de todo el mundo, ha sido reseñada en medios de más de treinta países, que incluyen BBC Cultura, El País, The Guardian, IMA Magazine, Revista GUP, British Journal of Photography entre muchos otros. En 2017, ALMANAQUE presentó un exitoso tríptico de esa serie para la exposición Ultimate Auction de PHILLIPS en Londres.
En Septiembre 2018, ALMANAQUE fotográfica orgullosamente presentó su primera exposición individual en las Américas: Danila Tkachenko, Rusia 1989.
Obra disponible:
Fragmentos: Para esta serie (presentada por Almanaque en primicia para Zona Maco) Tkachenko escogió una conjunto de pinturas antiguas—en sus palabras: del período pre-digital—que describen tragedias con protagonistas femeninas que luego reprografió y recortó en fragmentos, construyendo enormes instalaciones en los salares de Uyuni, Bolivia para ser fotografiadas.
En sus escenificaciones, Tkachenko borra el contexto de las obras pintadas por maestros de los siglos XVII y XIX, para redimir a las retratadas: Florinda y sus compañeras se salvan de la conspiración, las hijas de Leucipo son rescatadas del rapto de Cástor y Pólux, mientras que Sardanápulo es sustraído del cuadro que representa su deseo tiránico de destruir su imperio al saber que moriría. Así, en las reinterpretaciones de la historia mitológica según Tkachenko, las sobrevivientes son finalmente las mujeres.
Monuments (2017)
En la serie fotográfica #Motherland, #Danila Tkachenko nos coloca ante la extinción de la vida humana en el campo, mediante el incendio de estructuras. "Rusia es el pais del extremo, un pais adolescente... No aprendemos de nuestros errores. Brindamos entonces por la insatisfacción! La satisfacción es la muerte!"
Motherland (2017) Como en la mayor parte del mundo, en Rusia desde hace un siglo la población rural ha disminuido abismalmente. Según los demógrafos, desde 2015 la mayoría de la población vive en ciudades. En concreto, Rusia se enfrenta a la posible desaparición casi total de sus pueblos.
En la serie fotográfica Motherland, Danila Tkachenko nos coloca ante la extinción de la vida humana en el campo, mediante el incendio de estructuras. El proyecto se llevó a cabo evitando esparcir el fuego, y los restos de las instalaciones fueron cuidadosamente desmantelados, mientras las ruinas de madera biodegradable fueron abandonadas, dejando a la naturaleza completar el proceso con el que volverán a la tierra. Así las imágenes y los atrezzos convive con el paisaje y su historia a largo plazo.
Lost Horizon (‘Horizonte perdido’), (2016). El mundo prometido por la Revolución de octubre tendría que haber sido no sólo justo y próspero, sino que debía haber trascendido al planeta para conquistar el espacio exterior.
El régimen socialista debía haber sido establecido no solo en el espacio, sino en el tiempo, ayudado por la tecnología que habría permitido convertir un instante en eternidad. Sin embargo, precisamente con el paso del tiempo, las fracturas económicas han traído toda suerte de desilusiones sobre las utopías políticas y sobre la promesa de un futuro brillante.
En Lost Horizon, Tkachenko captura objetos que representan la imagen de un porvenir cósmico ideal, ahora perdido. Tkachenko eligió el formato 6x6, para encapsular el estado utópico de los proyectos futuristas en la forma suprematista propuesta por su connacional Kasimir Malevich’s, fundador de las Vanguardias rusas en su célebre ‘Cuadro negro’ de 1917, que constituyendo una pieza revolucionaria del arte, refleja la época histórica en que fue concebido.
Restricted Areas (‘Zonas Restringidas’), (2015). “Viajó en búsqueda de lugares que solían tener una fuerte importancia en el progreso técnico y que ahora son desiertos. Esos lugares perdieron al mismo tiempo su significado y su ideología utópica que hoy resulta obsoleta. Todo progreso llegará a su fin tarde o temprano. Puede pasar por diferentes razones: guerra nuclear, crisis económica o desastres naturales. Para mí, es interesante atestiguar lo que queda después. Ciudades secretas que no podían encontrarse en los mapas, triunfos científicos olvidados y edificios de una complejidad casi inhumana abandonados: el perfecto imaginario tecnocrático de un futuro que nunca llegó.“
Danila Tkachenko
Restricted Area es una aproximación del impulso humano por la utopía y sobre nuestra búsqueda de la perfección a través del progreso tecnológico. Siempre tratando de poseer más, este deseo humano es la fuente del progreso técnico incluyendo mercancías y grandor así como las herramientas de la violencia para guardar el poder sobre el otro. Para realizar la serie, Tkachenko viajó a través de diversos países de la antigua URSS, en busca de lugares que utilizan para mantener una gran importancia a la idea de progreso tecnológico que ahora yacen desiertos. Han perdido su significado, junto con su ideología utópica, que hoy es obsoleta.
The Last Resident (‘El último residente’), (2014), es un estudio sobre las utopías del uso del espacio y su contexto social que narra la desaparición de las aldeas. En Rusia, como en otras partes del mundo, cada año perecen cientos, incluso miles de poblados cuyos habitantes emigran a otros lugares. Solo de 1993 a 2004, en el vasto territorio ruso, 23000 pueblos fueron oficialmente cerrados, mientras que la población de las ciudades está en constante crecimiento. La estética del proyecto se inspira en la pintura, donde se utiliza la luz para iluminar el paisaje nocturno, como lo hacía el pintor ruso de ascendencia griega, Arkhip Kuindzhi.