Max Sher – Palimpsests, Copyright 2018
Photographer: Max Sher, born St Petersburg (then Leningrad), resides Moscow (RU)
Published by Ad Marginem with support from Heinrich Böll Foundation (Germany/Russia), 2018
Essays: Kate Bush, Maxim Trudolyubov, Nuria Fatykhova
Text: Russian, English
Hardcover book, embossed cloth over boards, sewn binding, four-color lithography, printed by IPK Pareto-Print, Russia
Photobook designer: Veronika Tsimfer
Notes: This is a study of the current urban landscape of modern Russia, now called a post -Soviet period that reveals the underlying layers of the older Russian architecture driven by its economy and social order. The book’s title, Palimpsests, is a very old term for recycling, dating back when precious parchment writing materials were scraped off to create a new writing surface, yet contain faint traces of the older writing. Likewise Sher documents the new “modern” post-Soviet architecture sitting on the bones of the Soviet era brutalism, while yet traces of the earlier Romanov-era layer are still slightly visible.
As a topographic study of this immense region, Sher uses a slightly elevated view point similar to a few of those included in New Topographics; Photographs of a Man-Altered Landscape and other contemporary social-landscape photographers such as Robert Adams and Simon Roberts. One aspect of the visual subtly of Sher’s urban landscape study is that until recently many of his subjects were strictly forbidden landscape topics; bridges, harbors, certain restricted cities and even an elevated view point. These are subjects that one did not document or photograph as it related to the “security” of the government.
Frequently Sher creates a juxtaposition with his image paring throughout his book; on one side is an earlier Soviet/Romanov mash-up while contrasting on the facing page spread is a shiny, bright new modern structure, that has all of the visual trappings of European and America commercialization. Sprinkled throughout are traces of a vaguely familiar mint-green or a green shade of turquoise, another visual trace of the earlier Soviet decor.
We become a witness to the older Soviet era architecture that appears to contain a sense of design that might be characterized as Soviet-Communistic. This architecture was meant to be a no-nonsense, basic to needs, utilitarian, inexpensive (the relator code word for “cheap”) and quickly constructed structures for the common-man. In other words; dreadfully boring, on the verge of in-human and barely inhabitable.
The “new Soviet order” appears to sit on top of the previous urban structures of the Romanov period, which are agrarian, religious, crude, rustic, individualized, and private within the confines of what was acceptable to the czar. It is this architectural mashup that Sher investigates as symbolic of the underlying social, economic and political turbulence within Russia. Similar to Simon Roberts continuing attempts to capture the essence of the British, Sher creates a similar indirect portrait to take a pulse of this broad expense known as Russian, his homeland.
Max Sher’s photobook A Remote Barely Audible Evening Waltz was previously reviewed on TPBJ.
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