ميشا جوردن
Миша Гордина

source: photodiodosgr

Ο Misha Gordin γεννήθηκε το 1946 στην Λετονία. Οι γονείς του, αφού βίωσαν πολλές κακουχίες λόγω της εκκένωσης της χώρας τους κατά τον Β’ Παγκόσμιο Πόλεμο, επέστρεψαν στη Λετονία μετά τον πόλεμο. Μεγαλωμένος ανάμεσα σε ρωσόφωνους κατοίκους της Λετονίας αποκτά το ρωσικό τρόπο σκέψης. Αποφοίτησε από τεχνικό πανεπιστήμιο ως μηχανικός αεροσκαφών, επάγγελμα που δεν άσκησε ποτέ του. Αντιθέτως, έπιασε δουλειά στα κινηματογραφικά studios της Ρίγα, ως σχεδιαστής εξοπλισμού για ειδικά εφέ. Λόγω της σοβιετικής κατοχής, οι επαφές του με την τέχνη είναι ελάχιστες.

Ο Gordin ξεκίνησε να φωτογραφίζει στα 19 του, έχοντας σκοπό να δημιουργήσει ένα προσωπικό στυλ. Αρχικά, έκανε μερικά πορτρέτα και ντοκιμαντέρ, αλλά σύντομα συνειδητοποίησε ότι τα αποτελέσματα δεν ήταν ικανοποιητικά. Ξεκινά να μελετά λογοτεχνία και κινηματογράφο, ψάχνοντας έναν τρόπο να εκφραστεί μέσα από τη φωτογραφία.

Το 1972 δημιουργεί την πρώτη του εικόνα με τίτλο “Confession”, που αποτελεί το ξεκίνημα στο πασίγνωστο στυλ, που τον έχει πλέον καθιερώσει. Το 1974, απογοητευμένος από το σοβιετικό μοντέλο, καταφεύγει στις ΗΠΑ.
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source: znyata

Миша Гордин (Misha Gordin) родился в 1946 году в Риге. Окончил Латвийский технический колледж по специальности авиационный инженер, но никогда не работал по профессии. Снимать начал очень рано – в 19 лет. Вскоре Гордин покинул страну: в то время творить в СССР что-то концептуальное было практически невозможно. В 1974 году Гордин Гордин переехал в Нью-Йорк, где живет и работает по сей день.

«Должен ли я обратить свой объектив на внешний мир, который нас окружает, или внутрь себя? Должен ли я фотографировать существующую реальность или создать свой собственный мир, правдоподобный, но несуществующий?» С этим вопросом, касающимся истинной природы фотографии, Миша Гордин знакомит зрителя со своими работами.

Для Миши Гордина концептуальная фотография – это способ художественного выражения, который находится на том же уровне, что и живопись, скульптура, поэзия или музыка. Он объясняет это так: «Плохой концепт, даже при идеальном исполнении, все равно ведет к плохой, бедной фотографии».

Для Миши Гордина процесс создания фотографии похож на «написание поэмы». Он использует старые, традиционные техники изобразительного искусства для передачи изысканных темных миров и загадочных аллегорий. Через концептуальную фотографию Гордин поднимает такие важные вопросы в искусстве и жизни, как рождение, смерть и природа существования.
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source: zupicpweb0038servidorwebfacil

ra quem gosta de fotografia conceitual, Misha Gordin merece seu próprio altar. Nascido na Letônia em 1946, ele sofreu os efeitos do pós-guerra na pele, passando por experiências sociais e políticas amargas que, anos depois, viria a abordar em sua arte.

Em 1974 migrou para os Estados Unidos para fugir do regime repressivo da União Soviética, e só então passou a dedicar-se à fotografia seriamente. Seu trabalho é de uma expressividade ímpar, apostando no minimalismo e nas composições rigorosas para apresentar conceitos e temas relacionados a questões como política, sociedade e realidade.
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source: photoslaves

Misha Gordin is worldwide known conceptual photographer. For him conceptual photography is the way of artistic expression, which is on the same level as painting, sculpture, poetry or music. He explains this: “A bad concept, even if perfected, still leads to a poor, poor pictures.” For Misha Gordin the creation of photo is the same as “writing poems.” He uses the old, traditional techniques of fine art for the transmission of fine dark worlds and mysterious allegories. Through a conceptual picture Gordin raises important questions in art and life as birth, death and the nature of existence.

Misha Gordin was born in 1946 in Riga, Latvia. Growing up among the Russian speaking population of Latvia, Russian became Gordin’s root culture. He graduated from the technical college as an aviation engineer but never worked as such. Instead he joined Riga Motion Studios as a designer of equipment for special effects. At this time social realism was an official culture of the country and having little formal knowledge about art, Gordin did not care about it too much. Information about modern western art was scarcely available.

Gordin started to photograph when he was nineteen, driven by his desire to create a personal style and vision. He was involved in portraiture and did some documentary shots, but soon realized the results were unsatisfactory. Putting his camera aside, Gordin concentrated on reading and cinematography. He was constantly looking for the right way to express personal feelings and thoughts using photography. One year later it came to him clearly and simply. Gordin decided to photograph “concepts” rather than the literal capturing of a moment on film. In 1972, Gordin created his first, and most important image, Confession. Instantly recognizing the potential possibilities of his conceptual approach and the knowledge acquired from creating this image, Confession become the backbone for the work he has since produced.

In 1974, after years of disgust with communist authorities, Gordin left Latvia and immigrated to New York, USA. Where he residing and working and now.

Misha Gordin’s photography was exhibited all over the world, photographs can be found in many public and private collections.

Artist’s statment:

Do I point my camera outwards to the existing world, or turn it inward towards my soul? Am I taking photographs of existing reality, or creating my own world, so real but non-existent?

Results from these two opposite approaches are notably different and, in my opinion, conceptual photography is a higher form of artistic expression that places photography on the level of painting, poetry, music and sculpture. It employs the special talent of intuitive vision. By translating the personal concepts into the language of photography, it reflects the possible answers to major questions of being: birth, death and life. Creating an idea and transforming it into reality is an essential process of conceptual photography .

Today’s conventional approach, with a few exceptions, completely dominates Art Photography. But introduction of digital photography will change this balance. The ease of producing altered realities will bring a new wave of talented artists who will use it to express their special world of visions, with all its meanings, symbols and mystery.

In a world of high technology will you still believe in truthfulness of a photograph? And does it matter?

To me it matters. In all these years of creating conceptual images, I tried to make them as realistic as possible. My technical abilities have improved, allowing me to broaden horizons for my ideas. But this is not the most important part of the process. The poor concept, perfectly executed, still makes a poor photograph. Therefore, the most important ingredient of the powerful image is a concept. The blend of a talent to create a concept and the skill to deliver it — those are two major building blocks of creating a convincing conceptual photograph.

It is not a new idea to manipulate photographic images. As a matter of fact all images are manipulated to a certain degree. The real power of photography emerges when altered reality is presented as existent and is expected to be perceived as such. An obviously manipulated image is a trick that shows a lack of understanding of the unique power of photography — the belief engraved in our subconscious that what was captured by the camera has to exist. In the best examples of successfully manipulated images the question “Is it real?” does not arise.

My first introduction to digital manipulations showed me how similar analog and digital techniques are. Each has it’s bright and dark spots. At this moment I don’t see any reason to switch to digital. I still prefer the glowing quality of original print and the laborious process to achieve it. Yet, I believe that it is only matter of time before digital approach replaces the analog and conceptual transcends the conventional. I also want to believe that, many years from now, artists will continue to develop the language of photography, understanding and preserving its unique power.
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source: freeyorkorg

Misha Gordin was born in 1946, the first year after World War II ended. Having survived the hardships of evacuation, Gordin’s parents returned back home to Riga, Latvia, after the war which was then under Soviet occupation. Growing up among the Russian speaking population of Latvia, Russian became Gordin’s root culture. He graduated from the technical college as an aviation engineer but never worked as such. Instead he joined Riga Motion Studios as a designer of equipment for special effects. At this time social realism was an official culture of the country and having little formal knowledge about art, Gordin did not care about it too much. Information about modern western art was scarcely available.
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source: cultonnet

“Apunto mi cámara hacia afuera, hacia el mundo existente, o la giro hacia mi alma. Estoy tomando fotografías de la realidad que existe, o creando mi propio mundo, tan real pero inexistente.” Estas palabras se encuentran en la página de Misha Gordin, un fotógrafo originario de Letonia que se dedica a la fotografía conceptual.

Los resultados de su trabajo vienen de estos dos abordamientos opuestos. Por un lado la fotografía, por el otro eso de crear mundos que nacen de su propia subjetividad para expresar algo. “…la fotografía conceptual es una forma más elevada de expresión artística que coloca a la fotografía al nivel de la pintura, la poesía, la música o la escultura.” Se trata de traducir conceptos personales al lenguaje fotográfico, cuyo objetivo es responder a las grandes preguntas del ser: el nacimiento, la vida y la muerte.

Pero el mero hecho de hacer imágenes alteradas no es suficiente para crear fotografías poderosas, lo importante es el concepto, pues un concepto pobre hace a una imagen pobre. Así es como trabaja Gordin, quien fue criado bajo ocupación soviética Sus métodos son completamente analógicos, cada foto es producto de un arduo trabajo en el cuarto oscuro. Así este artista presenta realidades alteradas que por sobre todas las cosas deben parecer verdaderas. “Una imagen obviamente manipulada es un truco que demuestra la falta de entendimiento del poder único de la fotografía -la creencia grabada en nuestro subconsciente de que lo que fue capturado por la cámara debe existir . En los mejores ejemplos de imágenes manipuladas exitosamente, la pregunta ¿es real? no surge.” Y es verdaderamente indiscutible que su obra transmite un poder expresivo que pocos logran. Hoy, de todo esto, les traemos una modesta muestra. Que disfruten.
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source: pichaus

Misha Gordin est un photographe vivant aux USA qui, malgré les avancées technologiques, continue de travailler avec un appareil photo argentique. Explorant la place et la nature de l’Homme à travers des clichés visuellement impressionnants, découvrez ses superbes créations sans manipulation numérique dans la suite.
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source: arabiclenses

اسمحولى بتقديم هذا العبقرى الرائع وأحد أهم رواد الضوء فى هذا القرن خصوصا بما يسمى بال “FINE ART PHOTOGRAPHY” ربما الاشهر على الاطلاق وهى وجهة نظر شخصيه ” غادر هذا العبقرى “ميشا” موطنه الاصلى الاتحاد السوفييتى فى سن ال28 متوجها اللى الولايات المتحده ..تخرج كمهندس فى الملاحه الجويه ولكنه لم يعمل فى تخصصه ابدا بل سيطر عليه هاجس الضوء والفوتوغراف بدأت الهوايه فى سن ال19 وبدا بتصوير المواضيع التوثيقيه ولكن النتائج لم ترضه على حد قوله فقرر ترك الكاميرا لمدة سنه كامله واخذ بالقراءه والاطلاع حتى فى التصوير السينمائى وبعدها اتخذ قراره بتصوير الافكار التى تدور فى مخيتله ..ان عبقرية “ميشا: تكمن فى اسلوبه فى اخراج الفكره واتاحة الفرصه للمتلقى للاطلاق عنان التفكير والتأمل وربما تتمحور ايضا هذه العبقريه عندما نعرف ان جميع اعماله تمت فى الغرفه المظلمه من غير اى تدخل تقنى عن طريق الحاسوب او ما يعرف بDIGITAL DARK ROOM” اى ان ميشا استخدم الطريقه التقليديه فى انتاج هذه الابداعات الضوئيه الرائعه .
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source: angelge

ფოტოგრაფი მიშა გორდინი 1946 წელს დაიბადა, მეორე მსოფლიო ომის გაჭირვებისა და ევაკუაციის შემდეგ მისი მშობლები დაბრუნდნენ ლატვიაში,რიგაში. რუსულენოვან მოსახლებაში გაზრდილი გორდინისათვის, რუსული კულტურა მისი ხელოვნების ძირი გახდა შემდგომში. გორდინი პროფესიით ავიაინჟინერია, მაგრამ არასდროს უმუშავია თავისი პროფესიით. იგი მუდმივ ძიებაში იყო საკუთარი თავისა.

რიგიაში,სხვადასხა სტუდიებში მუშაობდა. სოციალური რეალიზმი იმდროინდელი ლატვიის კულტურის დიდი ნაწილი იყო,თანამედროვე დასავლური ხელოვნება კი მიუწვდომელი და გორდინსაც არც თუ ისე დიდი ინფორმაცია ჰქონდა მასზე.

ფოტოების გადაღება 19 წლისამ დაიწყო,სურდა შეექმნა საკუთარი სტილი და ხედვა. დაინტერესებული იყო პორტრეტებით და რამოდენიმე დოკუმენტური კადრიც აღბეჭდა მისმა ფოტოაპარატმა, მაგრამ მალევე მიხვდა რომ ეს არ აკმაყოფილებდა. კითხულობდა ბულგაკოვს, დოსტოევსკის, დაინტერესებული იყო კინემატოგრაფიის ისეთი წარმომადგენლებით, როგორებიც იყვნენ ტარკოვსკი და ფარაჯანოვი. ის ეძებდა გზებს , სწორად გადმოეცა საკუთარი განცდები და ხედვა, აღბეჭდილი ერთ კადრზე.
1972 წელს მან შექმა მისი ყველაზე ცნობილი სურათი “აღსარება” (“Confession”). ერთი შეხედვით შემზარავი , უსიამოვნო ფიგურები მნახველში გაოცებასა და აღფრთოვანებს ერთდროეულად იწვევს. მისი ფოტოები არის ნიმუში ადამიანის ხედვის,ფილოსოფიის და განცდებისა გაშეშებული ერთ წამად.
1974 წელს, კომუნისტური ხელისუფლების მიერ შეძულებული ფოტოგრაფი ამერიკის შეერთებულ შტატებში ემიგრანტად წავიდა.