How Sasha Litvinov buried the gun (signed)
by Kristina Sergeeva
Photographs: Kristina Sergeeva
Publisher: Fotografika Publishing
124 pages
Year: 2020
Price: 54 €
Comments: Edition of 100, hardcover, English and Russian language, 15,5 cm x 21,8 cm, cover has handcrafted elements
My grandfather’s name is Sasha Litvinov. He died when I was 5 years old. My parents threw away almost all the things that were left of my grandfather. My first attempt to stay with someone who has been gone for a long time — a box with his things. Since then, I have been interested in the phenomenon of memory, the relationship with the past, its influence on the present. Memory tends to collect, save letters, keep diaries, and pass stories from hand to hand. A person needs to leave fragments of his life to the future generation in advance and be sure that, that someone would remember him. Post-memory is the transfer of memory to the next generation. It is inseparable from attachment to the family, roots, traditions, as it is inseparable from grief and memory of wars and conflicts. We think the past can influence our lives. Close relations with the past create new memories, reconstruct them. A person has a craving to relive something that cannot be returned. Time loses its linearity. The «celebration» of tragedies forms our loyalty to the past. Sometimes it traumatizes, clogs the consciousness between reality and fiction.
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How Sasha Litvinov buried the gun (signed)
by Kristina Sergeeva
Photographs: Kristina Sergeeva
Publisher: Fotografika Publishing
124 pages
Year: 2020
Price: 54 €
Comments: Edition of 100, hardcover, English and Russian language, 15,5 cm x 21,8 cm, cover has handcrafted elements
My grandfather’s name is Sasha Litvinov. He died when I was 5 years old. My parents threw away almost all the things that were left of my grandfather. My first attempt to stay with someone who has been gone for a long time — a box with his things. Since then, I have been interested in the phenomenon of memory, the relationship with the past, its influence on the present. Memory tends to collect, save letters, keep diaries, and pass stories from hand to hand. A person needs to leave fragments of his life to the future generation in advance and be sure that, that someone would remember him. Post-memory is the transfer of memory to the next generation. It is inseparable from attachment to the family, roots, traditions, as it is inseparable from grief and memory of wars and conflicts. We think the past can influence our lives. Close relations with the past create new memories, reconstruct them. A person has a craving to relive something that cannot be returned. Time loses its linearity. The «celebration» of tragedies forms our loyalty to the past. Sometimes it traumatizes, clogs the consciousness between reality and fiction.
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How Sasha Litvinov buried the gun (signed)
by Kristina Sergeeva
Photographs: Kristina Sergeeva
Publisher: Fotografika Publishing
124 pages
Year: 2020
Price: 54 €
Comments: Edition of 100, hardcover, English and Russian language, 15,5 cm x 21,8 cm, cover has handcrafted elements
My grandfather’s name is Sasha Litvinov. He died when I was 5 years old. My parents threw away almost all the things that were left of my grandfather. My first attempt to stay with someone who has been gone for a long time — a box with his things. Since then, I have been interested in the phenomenon of memory, the relationship with the past, its influence on the present. Memory tends to collect, save letters, keep diaries, and pass stories from hand to hand. A person needs to leave fragments of his life to the future generation in advance and be sure that, that someone would remember him. Post-memory is the transfer of memory to the next generation. It is inseparable from attachment to the family, roots, traditions, as it is inseparable from grief and memory of wars and conflicts. We think the past can influence our lives. Close relations with the past create new memories, reconstruct them. A person has a craving to relive something that cannot be returned. Time loses its linearity. The «celebration» of tragedies forms our loyalty to the past. Sometimes it traumatizes, clogs the consciousness between reality and fiction.
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