interview about botanical garden

What items of art you believe to be deserving to be hung in your office?

What is your list of reading that is so representative and important that could be displayed in a frame for visitors of your office?

How do you think why people tend not to build skyscrapers in shape of closed plants, but prefer to build them in form of boxes?

Could it be said that the organization of plants by human is inspired by design in bigger degree than design by plants and flowers?

Has botanical garden been changing or it remains unchanged?

Which examples of mentions of flowers you believe to be the most beautiful?

What mention of flowers or plants in our century is the most elegant?

How do you think is it required in our days to advertise botanical garden on television?

Are you acquainted painters impressionists whose specialization is landscape painting or painting of gardens or painters whose art is equivalent in value or in effect to art that is based on depiction of landscapes or flowers whose art works you consider to be deserving of mention?

How many minutes would take an art movie about sport competitions of impressionists in botanical garden?

Could the botanical garden be described by the word impressionistic?

How do you think can the structure of botanical garden be wide in sense of its territory, for instance, items of landscape design in the botanical garden and gardens on roofs of skyscrappers with office in the skyscrapper?

Is the creation of tremendous botanical gardens which size is equal to the size of natural resorts is possible in this age and rational?

What note passage or fragment of music since your point of view remains flowers?

What are your favorite sounds in botanical garden?

Is rain required for botanical garden?

How behave rains above botanical gardens, are they special? Are they differ from other rains? Do they have something special in their essence?

Is it possible to visit botanical garden in rain?

Does it happened something in botanical garden at the edge of science fiction?

Does it happened something in botanical garden at the edge of events with multitude of meaning that is near to cinematography?

Is it permitted for women, for example, diplomats to walk in botanical garden in high heels shoes?

What achievements would inspire you to suggest to the person to walk by the grass cover in your botanical garden?

What a dream could be seen in the botanical garden by a European?

On which subject you could read a lecture in Univercity?

What is near to botanical garden in its fame?

How would look a sculpture that is the symbol of botanical garden?

What would you like to be mentioned eternally?

In what year the first photograph of botanical garden was created?

October 13, 2018

original copyright © ∞ Olga Gubanova 2018

interview about botanical garden

How in your view the breakfast in botanical garden would appear?

What the most unusual your employees have been doing in the last year?

Where else and in what else places or situations apart from botanical garden did you see flowers in philosophical sence in the last year?

What a book about flowers you can recommend and to the man of which age you would recommend it?

How scenic theater play in the garden would look since your point of view?

What scenic play you would agree to perform in botanical garden?

How botanical garden function? Are there employees of any unusual professions, for instance, cartographers, who develop the maps of botanical garden in every time of the year, employees who describe the appearance of plants in intention to reconstruct their image several thousands years later by description, designers by image of stones of alpine and rocks in botanical garden?

Would you organize engraving of verses on stones that decorate mountains in the garden?

Would it change since your point of view the quality of sound in the garden?

Are unusual poetic researches in botanical garden performed, such as songs and manner of singing of which songs of birds are appreciated by flowering trees the most. Would you like to tell about such achievements?

With how many countries do you collaborate and how do you cooperate?

What would be the exhibition that you would allow to conduct in botanical garden?

What the most gentle happened in botanical garden about what you could say to public in intention to force people not to be afraid to visit botanical garden even in most grievous situations?

Is there anything about botanical garden that almost everybody in the city knows, but isn't known abroad, for instance, there was invented the design of fabric the most appreciated by modern designers or the collection of jewels?

Who manage the direction of design of tablets? Is this person and his or her activity in botanical garden belongs to industry and field of design?

Could you every season describe botanical garden by different epithets?

In which phrases it can be described eternally?

How do you think what a book about flowers could read a statue?

How do you think what a book about flowers would like to read a cat?

Could it be said that your vision in description of plants belongs to the conception of aesthetics in landscape?

Do you collaborate with technical high schools that answer on questions about physics of plants?

How botanical garden looks in winter?

Is it being cleared out from snow in winter?

How snow in winter smell in botanical garden? Does it smell by flowers? Does it contain petals of flowers? What do you do with such snow?

Who is your favorite photographer? Could you tell us about your favorite photograph?

September 27, 2018

original copyright © ∞ Olga Gubanova 2018
application to include the interview in archive was sent.

interview on "Still Want You" video by Brandon Flowers

I would like to ask Brandon Flowers the next questions on his musical video,

Are your costumes which are shown in the video are handmade by dressmaker?

Are they contemporary European or modern Oriental?

How were selected fabrics for your costumes? How long ago?

Are they in colonial or in muslim style?

How many different costumes, men dresses you wear in the video?

Who dressed women in the video?

Was there uttered any particular dresscode for feminine characters? In which words or phrases it can be described?

How long the video was shooting? How many years or days it took?

Are there depicted several men characters or the same heroe in different age?

Are you satisphied with the amounth of women that were shot in the video?

Are female characters expressed for the duration of the video are the same characters?

What we have to wait from you in sence of musical video?

With technical or creative team with which abilities or vision you would like to collaborate? What they have to express?

Is it your new band, new brand and collaboration with "The Killers" was interrupted or the fact of publication of some songs is the way to express any ideas or additional ideas which should not be published under "The Killers" name?

Are music of this video is coloured in different manneer in comparison with other your songs?

September 17, 2018

original copyright © ∞ Olga Gubanova 2018

interview on "Still Want You" video by Brandon Flowers

I would like to ask Brandon Flowers the next questions on his musical video,

How to describe genres of the video?

What are the professions of characters depicted in the video?

What do you like in women which were shot in the video?

What do you like in the selection of images of women which were shot in the video? What made the selection of them for these roles possible?

Do they symbolize symbols in the culture, types of woman, types of professional relations with woman, or types of relations inside business structures?

Could it be said that it is the video about relationship between businesses, ways of doing business.

Was the video inspired by a scene or a moment? What are the situations or what is the durations of moments?

Is it based on your contemplation or on researches of opinions? How the screenplay of this video was created?

Was the video inspired by any particular artwork?

What did you tried to express in video, ideas or feelings?

Why the video is in black and white? was it shot in black and white since its most beginning?

Can the current condition of telecommunicational systems to transmit the fascination of professional video since your point of view?

What are the epithets which spectators who value art use to describe the video? Have anybody describe it by the word cinematographic?

How many books have you read before you shot this video?

September 14, 2018

original copyright © ∞ Olga Gubanova 2018

On colour in impressionism and photography

“Стремление импрессионистов «рисовать цветом», почти полное исчезновение в некоторых работах линии (рисунка) делает очень трудным, а иногда и невозможным чёрно-белое репродуцирование их живописи”.

Клод Моне, Автор-составитель В. А. Кулаков, издательство «Изобразительное искусство», 1989, стр. 10.

On the subject of prohibition to take photographs of temporary exhibitions

The text below is from the Christian M. Nebehay's book “Gustav Klimt. From drawing to painting”, 2007, pp. 68-69, 78:

Philosophy was thus described in the seventh Secession exhibition (8 March to 6 June 1900), where it was seen by 35,000 visitors:

“No. 22 Philosophy. One of the five allegorical paintings for the ceiling of the University's Great Hall (commissioned by the Ministry of Culture and Education). Left-hand group: Birth, Fertile Life, Death. Right: the Globe, the Enigma of the World. Surging from the depths, an illuminated apparition: Knowledge. The painting is on show until the end of March, after which it will be sent to the world exhibition in Paris.”

The catalogue was printed in two versions. In the second this page was reset and unnumbered, Philisophy already having been sent to Paris.

No colour photographs were made of the three University paintings, except for a detail of Medicine. For inexplicable reasons the paintings were put away too soon during the Second World War and stored, not with the contents of the Kunsthistoriches Museum in the salt mines of Bad Ausseem, but in Schloss Immendorf in the northern part of Lower Austria. Why colour photographs were not made before their storage remains a mystery [At the time there were 'Agfa Colour Films' for the Leica and other 35mm cameras].

It seems that the three University paintings, along with other of Klimt's works originally part of the Lederer collection, were taken immediately after the memorial exhibition to Schloss Immendorf in the wine region near the Czech frontier, north-east of Schongrabern, where they were destroyed by fire in May 1945.

As a result we must content ourselves – apart from the detail mentioned above – with black-and-white reproductions.

A text by Ludwig Hevesi provides the only evidence of what colours Klimt used:

“Klimt's Philosophy is a grandiose vision of almost cosmic inspiration... We have before us a fragment of space filled with mysterious fermentation, with movement and a rhythm at which we can only guess. The figures, too, are wrapped in a mystic vagueness which clouds the eye with colour. The artist's job is, as far as possible, to render this vision purely in terms of colour, for it is as colour that he conceives it. The space is filled with mingling colours: blue, violet, green and grey, and these colours are intertwined with a gleaming yellow that sometimes intensifies to gold. One thinks of cosmic dust and swirling atoms, of elemental forces seeking to become tangible. Swarms of sparks fly around, each one a red, blue, green, yellow-orange or flashing golden star. But the chaos is a symphony, and the artist's sensitive soul has mixed its colours. He dreams up a colour harmony, and the eye loses itself, dreaming, in the strange amalgam of those colours. In one spot a green mist has gathered... The longer you look at it, the more it takes shape: a stony, impassive face emerges, dark, like an Egyptian basalt sphinx... children, fresh young intertwined bodies embracing, joy and sorrow, labour, strife, life's struggle, creation, suffering, and at the end the passing away, the grey old man with his face buried in his hands, a feeble husk sinking into the depths. But from below a great, living head emerges, with wide-open eyes and red-gold hair, crowned with laurel leaves and girdled with veils: it has a finger to its lips, it holds its peace, and looks and meditates. It is bathed in a fiery light, it glows and flowers in its own splendour, it heralds a creative power equal to the chaos above. The apparition... is Knowledge or Philosophy...”

The Saint Petersburg Photographer Magazine about the winners of Prix de la Photographie, Paris (Px3)

The Saint Petersburg Photographer Magazine, an elite magazine about art of photography, published an article about “Prix de la Photographie, Paris” (Px3) and the winners of this year. Now you can read the detailed information about the famous international photography competition and news about “Brittle Marble”, which was bestowed by silver and bronze awards, also in Russian.

Журнал Петербургский фотограф, статусное петербургское издание, опубликовал статью о «Prix de la Photographie, Paris» (Px3) и о победителях этого года. Теперь вы можете прочитать подробную информацию об известном международном конкурсе фотографии и новости о том, что моя фотография «Хрупкий мрамор» была награждена серебряной и бронзовой наградой, также на русском языке.

Olga Gubanova's photograph Brittle Marble was awarded by silver and bronze in The Prix de la Photographie, Paris (Px3)

I am incredibly happy to inform engaged in my creative struggle people that I am one of the winners of the prestigious international photography competition in France.

My work “Brittle Marble”, 2013 was bestowed by silver and bronze awards in the eight edition of The “Prix de la Photographie, Paris” (Px3) in categories Fine Art and Nature. The series “Streams of Particles”, 2013 was awarded by Honorable Mention in the category Advertising.

The prestigious competition “Prix de la Photographie, Paris” (Px3) is one of the highest honors in the photographic world.

Historically Paris Photography Prize (Px3) is a younger sister of The International Photography Awards. It was created by the founders of IPA in 2008, since then Px3 became one of the most important European Photography competitions. “Prix de la Photographie, Paris” strives to promote the appreciation of photography, to discover emerging talents and to introduce photographers from around the world to the artistic community of Paris.

The contest is judged and attentively curated by the international decision-makers and opinion-formers of the photography industry. The criteria are equal, the procedure is statistically clear, the list of the jury is open.

8th edition of Px3 was juried by: Carol Johnson, Curator of Photography of Library of Congress, Washington D.C.; Gilles Raynaldy, Director of Purpose, Paris; Viviene Esders, Expert pres la Cour d'Appel de Paris; Mark Heflin, Director of American Illustration + American Photography, New York; Sara Rumens, Lifestyle Photo Editor of Grazia Magazine, London; Francoise Paviot, Director of Galerie Francoise Paviot, Paris; Chrisitine Ollier, Art Director of Filles du Calvaire, Paris; Natalie Johnson, Features Editor of Digital Photographer Magazine, London; Natalie Belayche, Director of Visual Delight, Paris; Kenan Aktulun, VP/Creative Director of Digitas, New York; Chiara Mariani, Photo Editor of Corriere della Sera Magazine, Italy; Arnaud Adida, Director of Acte 2 Gallery/Agency, Paris; Jeannette Mariani, Director of 13 Sevigne Gallery, Paris; Bernard Utudjian, Director of Galerie Polaris, Paris; Agnes Voltz, Director of Chambre Avec Vues, Paris; and Alice Gabriner, World Picture Editor of Time Magazine, New York.

In this year the distinguishing jury selected PX3 2014's winners from thousands of photography entries from over 85 countries.

Series of Winners 2014, Mohammad Ali Berno, Photographer of Year, “The Last Moment”, and Giorgio Bianchi, Best New Talent, “Battle in Kiev”, convey powerful and sad and it seems timeless messages.

Bestowed by silver and bronze awards photograph “Brittle Marble” will be published in the high-quality, full-color Px3 Annual Book in France. My name also will be included in the separate chapter of the book with the names of the recipients of the Honorable Mentions. After “Best of Photography 2013” which was printed in the US in 2013 it will be the second book with my photographic work.

I would like to congratulate and to thank colleagues photographers and visual artists whose works and texts I am contemplating and reading with the greatest interest and admiration and who undeniably are strong and talented company which describes and gradually, but inevitably changes this world. We have painted a picture together, have published a strange form of book every element of which of different genres and styles conveys meaning, mosaic of eminent intellectual depth, photograph of condition of reality through a flying-dragon's eyes.

I would like to thank organizers for perfect organization. Reading about the procedure and seeing the final exquisite selection, which is able not only form tendencies, but refined taste, I must admit that PX3 do accomplish every component of its mission: it promotes the appreciation of photography, discovers emerging talents and introduces to the artistic community photographers from around the globe.

I would like to thank all the jurors for their time and attention, devotion and love to their profession. It is great honor to be noticed by masters, experts of the top level and renowned curators. I am happy to be associated with “Prix de la Photographie, Paris” brand. It is a privilege to have the opportunity to place PX3 winner's logo on my page.


“Brittle Marble”
“Streams of Particles”
px3.fr

Olga Gubanova's Essay / The Tweed Run in Saint Petersburg

19 July 2014

“Non, Je Ne Regrette Rien”
by Edith Piaf

The third Saint Petersburg Tweed Run happened on July 19, 2014. Almost the middle of summer, almost daytime. Firstly, it was raining, then the temperature raised to +26°C, cameras showed 32° in the sun. 450 registered participants. The most trained ones are able to control themselves in any circumstances, they looked pretty fine at the start. Flowers in baskets also were fine. At the finish everybody looked as if it was +26°C and felt like 32° in the sun.

The original Tweed Run is a bicycle vintage attire-themed ride through the centre of London. Petersburg's edition also winds through the historical center, however in comparison with London's performance the topic of our Tweed Run and evening party in this year was altered, it was fashion of Paris in the 1940s.

It was a war period and later the time when France and its people recovered after the war. Of course, if French fashion in 1940s had looked this way, German troops would have never left Paris. Probably German forces would have never visited any other places in this world apart from Paris. But somehow French women in 1940s in spite of any later interpretations managed to keep balance (in fashion) and to control a situation.

And if there had been so many French men at the streets of Paris in 1940s like for the time of this ride, French women would have never opted for wearing transparent stockings.

The finish was at the intersection of Zamkovaya and Klenovaya streets in the public garden near Saint Michael's Castle. There are different levels of participation, I arrived at the picnic at the finish and contemplated flamboyantly decorated bikes and enthusiastic and creative people who won bowties. And girls won bowties as well!

Below is my saved for forthcoming generations look in style of Paris 1940s. Believe it or not, the thinnest dark-brown gloves with a small fringe and a purple clutch bag Mark by Marc Jacobs are hidden among flowers.

The Tweed Run's Look / © Olga Gubanova 2014

Olga Gubanova. Essay. On happy numbers, books and time

Numbers

Thirteen was Maya's beloved number, it was believed to be happy, it was connected with positive changes. The next equally beautiful opportunity to change something will be correspondingly every 100 and 1000 years later. We are also there.

Some people believe that past and future don't exist, that only present is real. But it is almost impossible for a person of my profession to believe that the future isn't predefined, it is predefined and also shaped by our actions. The past can't exist if it is improbable. The future can't be achieved if it is unbelievable. And the past is also unfinished otherwise it won't require to be saved so emphatically. How (and why) otherwise the past and the present can be analyzed, if the future couldn't be predicted, how otherwise it can be predicted influenced and formed with acceptable probability of success? So there is the past, the present and the future. There are many roads and many landmarks. But these three aspects of reality exist simultaneously.

So in these two months I was engrossed by forming premises.

Meanwhile, I received a book with my work and tear sheets. Although all three times exist simultaneously, it is interesting that there couldn't be another book “Best of Photography 2013” and there will have never been other photographs which will be secured by the title of describing them book as the best photographs of 2013, the year of positive changes.

The next equally beautiful opportunity to change something will be in 2113 and 3013 correspondingly. I am here. But if you are reading this at least in 2113, then the past, the present and the future do exist simultaneously.

original copyright © ∞ Olga Gubanova 2014

Olga Gubanova's photograph / Change of Seasons - Replacement of Favourites

There is the strange combination of symbols in the different corners of the picture. Probably you can hear music.

You might discover here Angel ou Demon by Givenchy, edition of 2007, and J'Ose by Jose Eisenberg (which means “I dare”). Gin Bombay Sapphire and Martini Bianco. Four silver rings. Bowie's “The Next Day” limited edition and “Girolamo Frescobaldi and Louis Couperin, harpsichord” by Gustav Leonhardt. “Dappled Things” by Robin Chapman and Peter Miller. The elusive Norwegian Dragon behind the translucent panel at the wall above the white sofa like those sofas which were in 2013 in Enric Miralles's Scottish parliament. The dragon was created by me in 2007. Art books dedicated to Gustav Klimt, Claude Monet and Russian impressionists in 1920-1930. Some magazines on architecture. Something inside the big folder covered by blue berries. “Influential Saint Petersburg State University Graduates” book. Details.

Probably the most important thing is in the center. It is:

“Change of Seasons”

© Olga Gubanova 2013

(Private collection, Saint Petersburg)

I am especially proud because this art work belongs to the person who has done a lot for the beauty of this city.

Olga Gubanova. Essay. Bird

Bird

In a silence bigger than cold I heard the black rustle beneath the white sky, above the sea, frozen and white. Flown above the sea covered by snow, lowly, the big black bird touched it by wings.

Don't Lose in the Eternity of White | photograph | © Olga Gubanova 2013