Kirill SAVCHENKOV (photos, design), Book Design: Ivan SHPAK

Atlas. Photographs 2012-2015

HC (no dust jacket, as issued), 17,5 x 24,5
x 2 cm, digital printed color ills., text language: English - Ltd. to 27 numbered copies.
Self published in 2015.
ISBN n.a

nicht verfügbar


"These work are dedicated to the ideal soviet suburbs of the 80th which never existed. Precisely it did, as an idea, and some parts of this idea were realized in different cities in the USSR (Kiev, Yalta, St. Petersburg, Moscow and etc.) This architectural project had quite a certain utopian perception about the structure of multi-flat house for the new citizen of the soviet country; and it made the massive construction of panel buildings to be a distinctive feature of the postsoviet suburbs." (© Kirill SAVCHENKOV)

"The 'Atlas' book is a part of a project dedicated to the impossible ideal post soviet district, that is located in memories. The districts existing today, influenced by changes in the country, became the ruins of the idea. Different part of the impossible district was realized in the different location of USSR - Moscow, Kiev, Yalta, Saint Petersburg.
The idea which made this architectural project appeal to the future, colonization of new worlds, generation of the new society, however in the end reality appeared to be just an echo of this idea.
Let’s imagine that this futuristic message has become a scenery to the new middle ages, where Conan the Barbarian has built the new alternative reality on the ruins of the rationalistic, functionalist ideas.

"For Moscow-based artist Kirill SAVCHENKOV, the suburbs are a place both mythical and real, existing in utopian visions and childhood memories. In his Polaroid series Atlas, he merges snapshots from real cities — Kiev, Yalta, St Petersburg and Moscow — to create an idealised picture of Soviet sleeping quarters from the 1980s. The project consists of more than 100 polaroids and a book so far.
'I tried to gather together what could be that ideal district as I saw it in my memories and dreams from when I was young,' he says. Communist- and post-Soviet-era suburbs, with their monolithic blocks of flats are a central theme in SAVCHENKOV's work.

A recent performance piece took place in the Moscow suburb of Yasenevo where he gave a walking tour to a group of visitors — connecting personal stories with the geography and history of the site.
'The place where I was born was near to a forest and a river, and the underground station was surrounded by blocks-of-flats standing in a wide field like megaliths,' Kirill SAVCHENKOV says. 'I’m gradually getting closer to bringing to life the memories in my head'." (© Anastasiia Federova, 'Far away so close: polaroid scenes from a would-be utopia', in: The Calvert Journal, April, 28th, 2014 - source:

"This work is not only a photobook; Kirill SAVCHENKOV exhibited this project 2014 by Installation, two channel audio, 3d animation, toughened glass, perforated vinyl inkjet print, black granite, spray paint, ready-made book and comics. Stella Art Foundation, Moscow, Russia
Audio track tells about memory of the man grow up in imaginary district, which was constructed as an experiment in mountains. This district is an image of unreleased ideas of modern suburbs." (© Richard G. SPORLEDER)

SAVCHENKOVs Projekt beschäftigt sich mit den sowjetischen Muster-Vororten - Hochbauten für die neuen sowjetischen Bürger - der 80er Jahre; ein Ideal, das nie Wirklichkeit wurde. Der junge russische Fotograf greift in künstlerischer Form diese Idee auf: Naturaufnahmen wechseln sich mit Interieur und aus der Distanz aufgenommenen Hochhäusern ab.
S. stellte seine Arbeit in einem eigenen Ausstellungsformat, u.a. mit Tonaufnahmen und 3D-Bildern, in verschiedenen Städten Russlands aus, so in Kiev, Yalta, St.Petersburg, Moskau etc.).

Schon in 'Iceberg' utzte SAVCHENKOV die zu den Sujets prima passende Unschärfe in den Bildern; er benutzt eine Polaroid-Kamera!

Bereits sein erstes Buch, 'Iceberg', fand große Beachtung; es stand auf der shortlist des MACK-First Book Award 2014!

Da 27 Exemplare - wie bei anderen Publikationen russischer FotografInnen - bei weitem zu wenig sind, hoffe ich auf eine Trade-Edition, um das Buch einem größeren Publikum zugänglich zu machen.