After World War II, Minsk needed to develop further and form a new development path. Its image as a City of Sun was shaped in the 1950s. It was deliberately designed and maintained by the government, architects, writers, and others.
The space acquired territorial characteristics through human intervention.
My project was based on two components: a space with the signs of human presence as a fact of intervention and introduction of changes to the natural landscape, and portraits of people who were only present in the modeled landscapes without doing anything specific. The landscapes are reflections about two stereotypic images—local patriotism and utopianism. The results are presented in the form of a visualized survey of city residents in the street and as a collection of urban images.
Shown during the Group Show Silent City, Gallery Y (Minsk, Belarus).
