Zoya Alsharawneh is a Russian/Ukrainian photographer, was born in Crimea in 1978. Working at the intersection of the genre, documentary and art photography.
In most of project she explores the theme of a particular place (space, territory), it changes in the context of time and historical landmarks, environment problems, interaction with human activity, personal relationship, woman's archetype in the world and the myths of the place and artifacts.
2020- Modern Still life personal course of Monika Dubinkaite in Photoplay, Moscow
2020- Educational modules with Yuriy Gudkov Picture and the Context, Foundation FotoDepartament, Saint-Petersburg, Russia;
2019 — A personal course Intellect or Susceptibility by Ekaterina Vasilyeva, Saint-Petersburg, Russia
2017−2019 Academy of Photojournalism and Documentary photography Fotografika, St. Petersburg
2019- Workshop in portrait photography from Sergey Sarakhanov, Odessa
2019- Course «Real visualist» at Art-Studio «Sun in Bun», Moscow
2019- Project educational course by Ekaterina Vasilyeva «Invisible Cities»
2019- A course of lectures by Ekaterina Vasilyeva Photography as art. Genres of photography from the point of view of the 21st century, Saint-Petersburg, Russia
2016- Workshop in Newborn photography from Natalia Gorbachenko (Sevastopol)
-2020 Republic project Inland Empire
-2019 Wall-online project Magic Carpet
-2020 Privare Photo review project Inland Empire
-2020 Group project in Fotografika about self-isolation
-2019 Group exhibition at Wall-online with the project «Magic Carpet»
-2019 Group exhibition with the project «Future Vision» at Fotografika gallery (St.Petersburg)
-2019 Group exhibition with the project «Future Vision» with Fotografika on Festival «Future» at First Factory of Avantgarde
-2019 Group exhibition with project «Inland Empire» at Fotografika gallery, St.Petersburg
-2019 Group exhibition «Storage devices» with digital collage art work «Layers M» at Omelchenko Gallery, Moscow
I left home on June 12, 2005 and no longer stayed in it for more than three months in a year. My old childhood carpet remained at home in Crimea: it remembers vows and tears, examining its pattern, when I couldn’t sleep, but you were forced to, fantastic journeys to distant lands, a painful search for a way out of the labyrinths of its weaves during colds. It was my «friend» and a witness, the only thing preserved from childhood. Life in two cities in two different countries simultaneously: Saudi Arabia and Crimea, pushed me to create a single carpet-landscape. An invisible city, like a carpet woven from details and landscapes of two different places, allows me to move in time and space without borders and frames.
It was 1440 AH (2019 CE). An ambitious, all-out, beautiful and a costly project «Vision 2030» has already begun to be implemented and, according to plans, will affect all major industries in the Kingdom of Saudi Arabia. Modernization and a leap into the future will occur in all aspects of people’s lives: culture, education, construction and production. But most of all, Vision 2030 will affect the desert: as calculated, by 2025, the forecasted urbanization with an increase in boundaries of cities and their number will be about 88%, which will undoubtedly change the desert’s appearance. I will observe the process using Google Earth’s tools and my camera, comparing them with what’s visible from afar to real sites as they are seen on Earth.
The total informational flow covers a person from birth. He is forced to absorb tons of information, like a mythical giant, throwing food into a voracious womb. There hits a point of no return: the memory shorts, sparks and a failure occurs. People can no longer exist without external memory. It’s so convenient: you can set aside «now» for tomorrow and live it later. Terabytes of photographs conserve moments of life, leaving the observer an illusion that he can then relive them again. Overfilled disks of a lived life, deferred megabytes of good weather, sea wind and the smell of grass. Do we remember these moments? We remember the screen refreshing, the neon smell of a motherboard. After all, memory works through touch and smell. Screenshots, links, save as… we are confident in the file’s location. And so while we are standing by that side behind the screens of phones, tablets and cameras, life goes on the opposing side. Do you shoot? I do! Outside the phone frame there is no smell, no participation, no feelings. In general, we’re rarely here and now, we responsibly record everything on drives, observing what is happening from the outside. Some information will be lost, partially broken, distorted and not in demand, it is devoured by glitches, and corrupted hard drives. 0 MB available. We are where we are now. Students of the SUN in BUN Art Studio investigate the territory of memory and the problem of conscious presence in the moment.