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Marie Bovo стансы

Marie Bovo
Cтансы (Stances)
OSL Contemporary 16.11 22.12.17
You’re sitting still, and the world and all its life rush calmly by like a silent film, perfectly composed, frame by frame, everything is quiet and serene. 
I have, for as long as I can remember, been interested in trains and stationary, but the latter is irrelevant here. One of my first memories is of me falling between a train and the platform at Oslo central station, as my tiny feet tried stepping off a train arriving from Hamar.  When I got a bit older I spent my teenage years surfing and spray-painting as many trains as I could, and when I was traveling, the first thing I would do was locate the central train station and jump on the first train, or subway, I could find. It didn’t matter where it was heading. 
For 15 years, Marie Bovo has been photographing views of natural and urban landscapes. Bovo began Stances in 2016, working in different trains, traveling great distances across Eastern Europe and Russia. At each stop, before seeing the landscape, the architecture or the light, which the doors would open upon, Bovo set up her camera in the narrow entryway of the train car. Before the doors closed, she would photograph the landscape beyond. The resulting images captures the junction between the train and what is beyond its doors, giving the viewer a strong situational experience, recreating the sensation of Bovo’s body in space. Caught inside the architectural framework of the train car, the viewer looks out of the train’s windows while shifting across the vast Russian landscape. It is the landscape, rather than the train, that seems to be moving before our eyes.
From left: 1:Стансы Красницы / Stance Krasnitsy. 2017 || 2:Стансы Поляны / Stance Poliany. 2017 || 3: Стансы КАВГОЛОВO / Stance Kavgolovo. 2017
Inspired by the cultural representation of the region through its own literature, Bovo’s photographs evoke a solitude and poetic universe that reflect her passion for literature in general, and a hesitation to accept the Western point of view on Russia that is presented in international media. Her choice to travel by train, a means of transportation often used by locals, also reflects her culture-specific starting point. Bovo excludes any anecdotes and overt aesthetic effects, focusing instead on the essential elements of the landscape beyond. She lets the train frame the image for her, capturing the eternity that is just outside the train window trees, plains and houses and in the extension, what is at the heart of both the past and present of the Eastern European region.

The time of year is important: every scenery is covered in snow. The snow changes the landscape’s atmosphere, covering it in a veil, erasing the horizon and removing most identifying marks. Roads and paths disappear, transforming the environment to a vast, tranquil mass. The usual traces of people in Bovo’s photographs have disappeared as the snow covers the echoes of human intervention, creating an abstract and poetic air. Remaining truthful to the landscape she sees, Bovo shows a Europe marked by the communist and post-communist era, neither taking part in the same history nor the same reality as the rest of the Western world.