The project of the Auschwitz: Reflections, a French photographer, one of the authors of the Magnum Photos agency and film director Antoine d'Agat, was first shown to a Russian audience. He visited Auschwitz in 2002 and wrote about his impressions in the book Désordre (“Disorder”).
The disturbing and “raw” photographs do not strive to be a historical document, but are the personal impression of the author.
“I create these images because there is a feeling of guilt, this is the fault of shared responsibility,” writes d'Agata. “What I know has a detrimental effect on what I see.” Since my arrival in Poland, the same feeling of absence, a feeling of a fait accompli, has been preserved. The photographs I take on the outskirts of the camp are marked by this disappointment. ”
The project, completely opposite in concept, was presented by the Brazilian artist Marina Amaral, who worked in conjunction with the Auschwitz-Birkenau State Museum. Marina takes historical documents - photo portraits of prisoners of the Auschwitz concentration camp - and gives them life in color.
“This project is a tribute to the victims of Nazi Germany who went through Auschwitz or died in the camp. Coloring black and white photographs allows us not only rationally, but also on a deeper, emotional level to understand how the Holocaust has affected people, ”says Marina.
Each prisoner has his own story. We tried to tell her.
On January 27, on the International Holocaust Remembrance Day, on #Pobedy Victory, the premiere of the Auschwitz Lessons project will take place. This is a joint VR project with artist Denis Semenov, Phygitalism studio, musician Pyotr Theremin and students of School 548 Tsaritsyno.
The essence of the project is to tell the new generation, the first, which has no direct connection with the Great Patriotic War, about the exploit of their ancestors.
“In the lessons of history, these children, of course, learned that the war claimed millions of lives, destroyed half of Europe, but for them these are just numbers and photos in the textbook. We decided to show them one of the worst surviving memories of that war - the Polish concentration camp Auschwitz, which was liberated by the Soviet army on January 27, 1945. No articles and films can be compared with living evidence of the most massive genocide: destroyed furnaces, camp huts, personal belongings of prisoners, ”says VR artist Denis Semenov.
After visiting the Auschwitz Museum, students tried to express their emotions from what they saw in VR. Many of them are not artists. It was important for us to show how this excursion influenced their perception of life.
The author’s project by Sergey Serov, professor of RANEPA, candidate of art history, vice president of the Academy of Graphic Design, president of the Golden Bee Global Biennale of Graphic Design (Golden Bee Global Biennale of Graphic Design) is also presented on Facebook. Sergey will tell about the history and features of the Soviet poster design during the war, and we will show these posters in 3D.
“War is evil. To win it, you need anger. Hatred. Fury. But the first words then were: “noble rage”, “popular war”, “holy war”. They highlighted the meaning of the war of the domestic, great world battle with the brown plague. They elevated him to a height that requires dedication, sacrifice, heroism, ”writes Sergey.
The language of war is simple, it divides everything into black and white - therefore the poster is so in demand during the war years, Serov explains. Kukryniksy and other poster artists were on the list of personal enemies of Adolf Hitler - they were "formidable weapons."
During the war years there was a massive mobilization of art, and not only poster artists, but also painters, easel and book graphics, illustrators of children's books began to work on posters, writes Serov. “All this made the wartime poster a unique, unique artistic phenomenon.”
Another author’s project is called “Revitalized Personnel”. Digital artist Aleksey Zakharov “enlivens” photographs from World War II, creating animated mini-stories that immerse the viewer in the context and atmosphere of photographs.
“Victory photographs are an essential part of our historical heritage. The animation of these images (from Latin anima - soul, animation) is not just an attempt to refresh the contemporary’s view of history, to see famous photographs in a different form. This is primarily a way to engage the viewer in the events of those difficult years, a way to show life in all its multifaceted form. Modern multimedia technology is a powerful immersive tool that can be not only entertainment. I hope we can show this, ”says Alexey Zakharov.
Launched in January 2020, the Victory Pages project tells the history of World War II through the prism of new media and digital art. The project is published on five platforms with unique content for each - on Twitter, Instagram, YouTube and VKontakte and Facebook.