Below is a review I wrote as a response to an exhibition at Host Gallery in 2012, and also forms part of my submission to The Critic on Ideas Tap – this time with images. I’ve posted about this project before, but I do find it an inspiring, well conceived and above all brilliantly executed piece.
In Abkhazia, a forgotten corner of Russia’s vast landmass, emptiness and decay are everywhere. Two-thirds of the population of Sochi a resort town on the Black Sea have been driven over the border to Georgia. Landscapes are battered, pock marked and strewn with abandoned buildings. Empty interiors are as welcoming as mausoleums and cracks are crudely filled with mortar – but there are no attempts to hide the scars. People are unsmiling and melancholic behind their resolute faces. In this current exhibition of the work of photographer Rob Hornstra, we see the hidden cost of recent Russian history etched into every image.
Pictures representing deceased war veterans evidence the cost of independence to this fragmented state. Family portraits are tacked onto floral walls, or occupy their own reverential space in vernacular wooden frames as formal reminders of their sacrifice. By including these images, Hornstra has handed the role of narrator back to the Abkhazian people. One can only applaud this decision as it connects the viewer on a deeply personal level to the deceased, and their relations who covet their chemical imprint.
Such intimate pictures contrast starkly with more formal portraits of bureaucrats, slotted between pine desks and pine-paneled walls. They seem imprisoned like marionettes in their wooden worlds. Behind one desk bound official a painting of a sinking ship lurks like a premonition. Behind another a tiger’s head emerges. Danger, it seems, is never far away in the Caucuses.
This exhibition is a poignant and sensitive portrayal of a largely unrepresented community. Aptly, Hornstra’s sympathetic, nuanced approach – re-enforced by the looming presence of the 2014 Winter Olympics – allows the complexities of the subject to emerge, justifying this long form style of photojournalism and the project’s beguiling array of printed and digital media.
All images ©Rob Hornstra/Institute