Speaking In Tongues
Ëàâêà ßçûêîâ

    «Êîãäà â Òîëåäî èçîáðåëè ôîòîãðàôèþ, â ãîðîä ïðèøëè èíäåéöû è óñåëèñü ïîçèðîâàòü. Ýòî îêàçàëîñü ñàìûì èíòåðåñíûì, ÷òî ìîã ïðèäóìàòü áåëûé ÷åëîâåê çà âñå ýòè ãîäû.»

    Ãàé Äàâåíïîðò



    Æóðíàëèñò ïî îáðàçîâàíèþ, Ñâåòëàíà Ìàêîâåöêàÿ íà÷àëà ïðîôåññèîíàëüíî ðàáîòàòü â õóäîæåñòâåííîé ôîòîãðàôèè â 1995 ãîäó.  òîì æå ãîäó âî Âëàäèâîñòîêå ñîñòîÿëàñü åå ïåðâàÿ ïåðñîíàëüíàÿ âûñòàâêà. Ñ 1997 ãîäà ðàáîòû Ñâåòëàíû Ìàêîâåöêîé íåîäíîêðàòíî ýêñïîíèðîâàëèñü â ßïîíèè, à â 1999-ì åå ó÷àñòèå â ðîññèéñêîé íàöèîíàëüíîé àêöèè «Êóëüòóðíûå ãåðîè XXI âåêà», îðãàíèçîâàííîé ãàëåðåé Ìàðàòà Ãåëüìàíà, áûëî ñ ýíòóçèàçìîì îòìå÷åíî êðèòèêîé.  1999 ãîäó îíà òàêæå ïðèíèìàëà ó÷àñòèå â åæåãîäíîì Ìîñêîâñêîì Ìåæäóíàðîäíîì ôåñòèâàëå ïðîôåññèîíàëüíîé ôîòîãðàôèè «ÈíòåðÔîòî-99» (òåìàòè÷åñêàÿ âûñòàâêà «Æåíùèíà ãëàçàìè æåíùèíû»). Ñâåòëàíà Ìàêîâåöêàÿ -- ÷ëåí Ñîþçà ôîòîõóäîæíèêîâ Ðîññèè, ñîòðóäíè÷àåò ñ íåñêîëüêèìè ðîññèéñêèìè è ìåæäóíàðîäíûìè èçäàíèÿìè õóäîæåñòâåííîé ôîòîãðàôèè.
    «Èãðà Ñâåòëàíû Ìàêîâåöêîé ñ "äàâíåé èñòîðèåé" èíîãäà ñåðüåçíà, èíîãäà èðîíè÷íà èëè ãðîòåñêîâà... Ñíèìàÿ ñâîèõ ñîâðåìåííèêîâ, îíà êàê áû âêëþ÷àåò "ìàøèíó âðåìåíè" -- ñíà÷àëà â ñâîåì âíóòðåííåì õóäîæíè÷åñêîì ïðîñòðàíñòâå, à çàòåì îáëà÷àÿ ìîäåëè â îäåæäû óøåäøèõ ýïîõ... Åå îòíîøåíèÿ ñ êëàññèêîé ñâîáîäíû îò êàíîíèçèðîâàííûõ ñõåì, à óçíàâàåìîñòü åå îáðàçîâ çèæäåòñÿ ñêîðåå íà ìàòåðèàëå èçîáðàçèòåëüíîãî èñêóññòâà è îò÷àñòè -- êèíî. ...Ýòîò âçãëÿä ïðèíöèïèàëüíî ëèøåí èñòîðèçìà, ïîñòðîåí èñêëþ÷èòåëüíî íà ñîáñòâåííîì ÷óâñòâåííîì âîñïðèÿòèè âðåìåíè, ýïîõè, ìîäåëè èëè, íàêîíåö, óâèäåííîãî ïðåäìåòà, âîêðóã êîòîðîãî ñïëåòàåòñÿ èíòðèãà ñþæåòà... Íà ôîòîãðàôèÿõ Ñâåòëàíû Ìàêîâåöêîé -- êàïëè íàøåé èñòîðèè â íàñ ñàìèõ.»
    Ìàðèíà Êóëèêîâà,
       èñêóññòâîâåä




    «Íåñêîëüêî ÷àñîâ ñâåòîâîãî ïîòîêà, ëüþùåãîñÿ ñêâîçü áóëàâî÷íîå îòâåðñòèå íà îëîâÿííóþ ïëàñòèíó, êàê áû èìèòèðóÿ ìåõàíè÷åñêè òîò ñâåò, ÷òî ôîêóñèðóåòñÿ õðóñòàëèêîì ãëàçà íà ñåò÷àòêó, ðàñòâîðèëè àñôàëüò â ëàâàíäå.»

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Ôîòî: Æàí-Ôðàíñóà Ãýðè

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Ôîòî: Æàí-Ôðàíñóà Ãýðè







«When the photograph was invented in Toledo the Indians came into town and sat for their portraits. It was the only interesting thing the white man had come up with in all these years.»
Guy Davenport

With her background in journalism, Svetlana Makovetskaya started her professional career in photography in 1995. The same year Vladivostok saw her first personal art show. Since 1997, Ms. Makovetskaya's work has been exhibited in Japan at various times, and in 1999 her participation in the Russian national art event «Cultural Heroes of the 21st Century» organized by the Marat Guelman's Gallery, was enthusiastically received by critics. In 1999 she also took part in the annual International Moscow Festival of Professional Photography «InterPhoto'99» with her conceptual exhibit «A Woman Through the Woman's Eyes». Svetlana Makovetskaya is the member of the Russian Union of Creative Photographers, contributing to a number of Russian and international publications.

«Svetlana Makovetskaya's playing with "past histories" is sometimes serious and sometimes ironic or grotesque... Photographing her contemporaries, she seems to turn on her "time machine", first in her inner artistic space, then dressing her models in period clothes... Her relations with the classic are free of canonizing patterns, and the recognizability of her images stems more from visual arts and, in part, from moving pictures. ...This approach is intentionally devoid of historicism and grows solely from her own sensual perception of a period, an era, a model and, finally, an object seen, that drapes the intrigue of the plot development around itself... At the photographs by Svetlana Makovetskaya we see the droplets of our history within ourselves.»
Marina Kulikova,
Art Critic.


«Hours of lights streaming through a pinhole onto pewter soaked asphalt into lavender in mechanical imitation of light focussed on a retina by the lens of an eye.»
Guy Davenport