By Hlynsky David
Hlynsky David, 2015
"ΠΠΈΡΡΠΈΠ½Ρ ΡΠΊΠ²ΠΎΠ·Ρ ΠΆΠ΅Π»Π΅Π·Π½ΡΠΉ Π·Π°Π½Π°Π²Π΅Ρ" ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»ΡΡΡ ΡΠΎΠ±ΠΎΠΉ ΠΊΠΎΠ»Π»Π΅ΠΊΡΠΈΡ ΠΈΠ· Π±ΠΎΠ»Π΅Π΅ ΡΠ΅ΠΌ 100 ΡΠΎΡΠΎΠ³ΡΠ°ΡΠΈΠΉ Π²ΠΈΡΡΠΈΠ½ ΠΌΠ°Π³Π°Π·ΠΈΠ½ΠΎΠ², ΡΠ΄Π΅Π»Π°Π½Π½ΡΡ ΠΡΠ²ΠΈΠ΄ΠΎΠΌ Π₯Π»ΠΈΠ½ΡΠΊΠΈ Π²ΠΎ Π²ΡΠ΅ΠΌΡ Π΅Π³ΠΎ ΠΏΡΡΠ΅ΡΠ΅ΡΡΠ²ΠΈΠΉ ΠΏΠΎ ΠΠΎΡΡΠΎΡΠ½ΠΎΠΉ ΠΠ²ΡΠΎΠΏΠ΅ Π² ΠΏΠ΅ΡΠΈΠΎΠ΄ Ρ 1986 ΠΏΠΎ 1990 Π³ΠΎΠ΄. ΠΡΠΏΠΎΠ»ΡΠ·ΡΡ ΠΊΠ°ΠΌΠ΅ΡΡ Hasselblad, Π₯Π»ΠΈΠ½ΡΠΊΠΈ Π·Π°ΠΏΠ΅ΡΠ°ΡΠ»Π΅Π» ΠΌΠΎΠΌΠ΅Π½ΡΡ ΠΏΠΎΠ²ΡΠ΅Π΄Π½Π΅Π²Π½ΠΎΠΉ ΠΆΠΈΠ·Π½ΠΈ Π½Π° ΡΠ»ΠΈΡΠ°Ρ ΠΈ Π² Π²ΠΈΡΡΠΈΠ½Π°Ρ ΠΌΠ°Π³Π°Π·ΠΈΠ½ΠΎΠ² ΡΡΡΠ°Π½, Π½Π°Ρ ΠΎΠ΄ΠΈΠ²ΡΠΈΡ ΡΡ ΠΏΠΎΠ΄ Π²Π»ΠΈΡΠ½ΠΈΠ΅ΠΌ ΠΊΠΎΠΌΠΌΡΠ½ΠΈΡΡΠΈΡΠ΅ΡΠΊΠΎΠΉ ΠΈΠ΄Π΅ΠΎΠ»ΠΎΠ³ΠΈΠΈ.
ΠΡΠΈ ΡΠ½ΠΈΠΌΠΊΠΈ ΠΎΡΡΠ°ΠΆΠ°ΡΡ ΡΡΠΎΠ»ΠΊΠ½ΠΎΠ²Π΅Π½ΠΈΠ΅ ΠΊΠΎΠΌΠΌΡΠ½ΠΈΡΡΠΈΡΠ΅ΡΠΊΠΎΠΉ ΠΈΠ΄Π΅ΠΎΠ»ΠΎΠ³ΠΈΠΈ ΠΈ ΠΊΠ°ΠΏΠΈΡΠ°Π»ΠΈΡΡΠΈΡΠ΅ΡΠΊΠΎΠ³ΠΎ ΠΈΠ½ΡΡΡΡΠΌΠ΅Π½ΡΠ° β Π²ΠΈΡΡΠΈΠ½Ρ, Π³Π΄Π΅ ΠΏΠΎΡΡΠ΅Π±ΠΈΡΠ΅Π»Ρ ΠΎΠΊΠ°Π·Π°Π»ΡΡ Π² ΡΠ΅Π½ΡΡΠ΅ Π²Π½ΠΈΠΌΠ°Π½ΠΈΡ. ΠΠΈΡΡΠΈΠ½Ρ, Π»ΠΈΡΠ΅Π½Π½ΡΠ΅ ΡΠ²Π½ΠΎΠ³ΠΎ Π±ΡΠ΅Π½Π΄ΠΈΠ½Π³Π° ΠΈ ΠΏΡΠΎΠ΄ΡΠΌΠ°Π½Π½ΠΎΠ³ΠΎ ΡΠΎΠ±Π»Π°Π·Π½Π΅Π½ΠΈΡ, ΡΠΊΡΠ°ΡΠ°Π»ΠΈΡΡ ΡΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π½ΡΠΌΠΈ, Π½ΠΎ ΠΏΠΎΡΠΎΠΉ Π½Π΅ΡΠΌΠ΅ΡΡΠ½ΡΠΌΠΈ ΡΠΈΠΌΠ²ΠΎΠ»Π°ΠΌΠΈ ΡΡΡΠ°: ΠΊΡΡΠΆΠ΅Π²Π½ΡΠΌΠΈ Π·Π°Π½Π°Π²Π΅ΡΠΊΠ°ΠΌΠΈ, Π±ΡΠΌΠ°ΠΆΠ½ΡΠΌΠΈ ΡΠ²Π΅ΡΠ°ΠΌΠΈ, Π½Π°ΡΠΈΡΠΎΠ²Π°Π½Π½ΡΠΌΠΈ Π±Π°Π±ΠΎΡΠΊΠ°ΠΌΠΈ ΠΈ ΠΈΠ·ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΡΠΌΠΈ ΡΡΠ°ΡΡΠ»ΠΈΠ²ΡΡ Π΄Π΅ΡΠ΅ΠΉ.
ΠΡ ΡΠΊΡΠΎΠΌΠ½ΡΡ ΠΏΡΠ΅Π΄Π»ΠΎΠΆΠ΅Π½ΠΈΠΉ Ρ Π»Π΅Π±Π° ΠΈ ΠΊΠΎΠ½ΡΠ΅ΡΠ²ΠΎΠ² Π΄ΠΎ ΠΏΡΠΈΡΡΠ΄Π»ΠΈΠ²ΡΡ Ρ ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΡΡ ΠΈΠ½ΡΡΠ°Π»Π»ΡΡΠΈΠΉ, ΡΠ°ΠΊΠΈΡ ΠΊΠ°ΠΊ ΠΌΠΎΠ΄ΡΠ»ΡΠ½Π°Ρ Π΄Π΅ΠΌΠΎΠ½ΡΡΡΠ°ΡΠΈΡ Π²ΠΎΠ΅Π½Π½ΡΡ ΡΡΠ±Π°ΡΠ΅ΠΊ Π² ΠΌΠΎΡΠΊΠΎΠ²ΡΠΊΠΎΠΌ ΠΌΠ°Π³Π°Π·ΠΈΠ½Π΅, ΡΡΠΈ Π²ΠΈΡΡΠΈΠ½Ρ ΠΎΡΡΠ°ΠΆΠ°Π»ΠΈ ΠΊΠ°ΠΊ ΡΠΊΡΠΎΠΌΠ½ΠΎΡΡΡ, ΡΠ°ΠΊ ΠΈ ΠΏΡΠΎΡΠ΅ΡΡΠΈΠΎΠ½Π°Π»ΡΠ½ΡΡ Π³ΠΎΡΠ΄ΠΎΡΡΡ, ΠΊΠ°ΠΊ, Π½Π°ΠΏΡΠΈΠΌΠ΅Ρ, Π²ΡΠ²Π΅ΡΠΊΠ° Π² ΠΏΡΠ°ΠΆΡΠΊΠΎΠΌ ΡΠ°Π»ΠΎΠ½Π΅ ΠΊΡΠ°ΡΠΎΡΡ, ΠΈΠ·ΠΎΠ±ΡΠ°ΠΆΠ°ΡΡΠ°Ρ ΠΏΠ΅Π΄ΠΈΠΊΡΡΡΡ, Π·Π»ΠΎΡΠ°Π΄Π½ΠΎ ΡΠ»ΡΠ±Π°ΡΡΡΡΡΡ Π½Π°Π΄ Π½Π΅ΡΠΎΠ²Π΅ΡΡΠ΅Π½Π½ΠΎΠΉ ΡΡΠΎΠΏΠΎΠΉ. ΠΠ½ΠΈΠ³Π° Π²ΠΊΠ»ΡΡΠ°Π΅Ρ ΡΡΡΠ΅ ΠΈΡΠΊΡΡΡΡΠ²ΠΎΠ²Π΅Π΄Π° ΠΠ°ΡΡΡ ΠΡΠ½Π³ΡΠΎΡΠ΄ ΠΈ ΡΠΏΠ΅ΡΠΈΠ°Π»ΠΈΡΡΠ° ΠΏΠΎ ΠΊΡΠ»ΡΡΡΡΠΎΠ»ΠΎΠ³ΠΈΠΈ ΠΠΆΠΎΠ΄ΠΈ ΠΠ΅ΡΠ»Π°Π½Π΄, Π° ΡΠ°ΠΊΠΆΠ΅ ΡΠ°ΡΡΠΊΠ°Π· ΡΠ°ΠΌΠΎΠ³ΠΎ Π₯Π»ΠΈΠ½ΡΠΊΠΈ ΠΎ Π΅Π³ΠΎ Π²ΡΠ΅ΠΌΠ΅Π½ΠΈ Π² ΠΊΠ°ΡΠ΅ΡΡΠ²Π΅ ΡΠ»Π°Π½Π΅ΡΠ° Π½Π° ΡΠΎΡΠ³ΠΎΠ²ΡΡ ΠΏΠ»ΠΎΡΠ°Π΄ΡΡ ΡΡΡΠ°ΡΠ΅ΠΉΡΡ ΡΠΎΠ²Π΅ΡΡΠΊΠΎΠΉ ΠΈΠΌΠΏΠ΅ΡΠΈΠΈ.
Hlynsky David, 2015
"Window Shopping Through the Iron Curtain" presents a curated selection of over 100 images capturing shop windows across Eastern Europe between 1986 and 1990. David Hlynsky, armed with his Hasselblad camera, documented the unscripted moments of daily life unfolding on the streets and within the storefronts of countries under Communist rule.
These images reveal the intersection of Communist ideology and the quintessentially Capitalist tool: the shop window, with the consumer caught in the middle. Devoid of overt branding or calculated seduction, these windows were often adorned with traditional, yet incongruous, symbols of cheer: lace curtains, paper flowers, painted butterflies, and pictures of smiling children.
From humble displays of bread and tinned fish to zanily artistic arrangements, such as a modular display of military shirts in Moscow, these windows reflected both austerity and professional pride. A Prague beauty salon sign depicting a pedicurist gleefully attending to an imperfect sole exemplifies this. The book features essays by art historian Martha Langford and cultural studies specialist Jody Berland, alongside Hlynsky's personal account of his time as a flΓ’neur amidst the shopping plazas of the collapsing Soviet empire.