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Farrah Karapetian 

Are you guys seeing this? The White House already commissioned this coin! 😅

How lovely to be subsumed into your conference, Friedrich and Maria, and to spend the week in happy, lively talks with people whose ideas (and many languages) have kept me on my toes... From the role of biography in evaluating contemporary photographic artwork in the Middle East to the role of Zoe Leonard’s work in the context of computational #photography to the role of Abu Ghraib in the context of the family album, the questions swirling in my head will last me through the studio intensive month that starts now. I loved combining in my improvised lecture Catherine Opie, Steven Meisel, me, William Eggleston, and like ten other people whose work is never put into the same sentence (but apparently can be, so productively.) After (Post) Photography camp: next year in St Petersburg! 🥂 #fulbright

What does the American flag look like? Some recent Russian responses... and yes they’re on tracing paper so I can photogram when I have enough I like. What do I learn here? First: With how much of the symbolic structure of a place is anybody literate? I asked a British woman to do it and she said she would only if I drew a map of the UK. Terrible rendering ensues...

Pictures from the Street Art Museum, most notably the first: Dmitry Bulnigin’s installation, Security: one enters a white room alone, and looks through a hole in the wall, where one sees a video of oneself looking through the hole, but with a phalanx of security guards behind one’s body. Of course they are not really there - or are they?

#МашаИвашинцова, #Leningrad, 1978, the year I was born. Good night, Instagram.

One of my friends here posted these images of the Maison des Esclaves built in 1776 in Dakar, Senegal: a building where humans were kept before they were ushered out through the doorway you see here that opens onto the sea, which he says is called the Door of No Return. I can’t get them out of my head. On the plane, I read Homegoing by Yaa Gyasi, which is about eight generations beginning in Ghana’s 18th century (yes, a lot to follow); the book describes Ghana’s Cape Coast Castle, and I’d imagined it darker and more English in its architecture until Iaroslav posted these pictures that describe the dungeons and the “door” in mockingly bright colors. Now I’ve looked it up to compare and it’s indeed similar, though the Cape Coast version is whitewashed. Today, apparently in the Cape Coast Castle stands a shrine to Nana Tabir, the rock god, which is maintained by a local traditional priest. The Senegalese Maison also has a memorial statue, which you can see in these pics. Sometimes I think architectures and landscapes are more “photographic” than are photographs; they hold memories differently.

Never actually seen a fireman saving a cat before...

Before me and After me. Thank you, mama, on Mother’s Day, for adding me to the mix. I love you!

Everyone has always told me I would like printmaking. As usual, everyone else is right! How fun. Thank you, Natasha. (The master just redid my print, as you see at the end, to show me that, “Молодец! слишком много чернил!” But as usual I like the mistake...) #осторожно My First Drypoint 😊

Next two fun talks (with translation) are part of the side program of the After (Post) Photography conference organized by Maria Gourieva and Friedrich Tietjen that begins on the 16th. On the 21st at #Росфото, Friedrich and I will challenge our audience as well as each other with a rap battle of objects the status of which you may or may not agree is photographic. He's committed to non-art and I'm committed to disruptive fine art practices, so come disagree with at least one of us. On the 23rd at the #музейисториифотографии, we just want to rifle through your family albums. See you soon. http://after-post.photography/en/2018-2/ #fulbright

Flea market.

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