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A special place at the exhibition is occupied by the exposition of selected works by the outstanding artist Sergey Chilikov — one of the brightest leaders of the new photography that emerged in the USSR in the 1970s. It includes 50 photographs, including a series of photos from the Russian countryside that brought the photographer worldwide fame.
PhotoTOP 2021 exhibition was held at the Classic Photography Gallery
from June 10 to September 19,
authors whose works are presented at the "PhotoTOP 2021" exhibition:
Andrey Abramov (Junior)"Today in Russia, many cultural initiatives and institutions have ceased to exist against the backdrop of property redistribution due to pandemics. Investments in art, especially in contemporary domestic art, attract only because any work can be bought practically for a pittance. The elite's interest in the development of domestic visual culture cannot overcome the level of courtly parties and employment of those not adapted to high-paying jobs in business or family members who wake up for service. In such conditions, the underdeveloped Russian market in the segment of artworks created today is ready to become a myth again. At present, due to the lack of a large and truly representative review of talented authors, one could say that we don't have them, we don't have a high level of works and their diversity, to declare Russian photography as a real player in the global market.
The PhotoTOP project sets visualizing the existing potential of Russian photography for investments as one of its tasks.
A large number of talented authors work "on the table." This applies not only to Russia but also to most of the post-Soviet space and those authors scattered around the planet who associate themselves with Russia. The culture of photography and the conditional quality of the image are closely related to the history of the entire visual culture and, in particular, domestic history and the established criteria of beauty and what could be defined as cultural codes. The information revolution has created the opportunity for any image to penetrate the internet unrestrictedly. The prevalence of low-grade photos, like tabloid texts, has filled our being. Sometimes they are just outright bad and unskillful things, and sometimes they are skillfully created glamorous images that mean nothing. Beauty is not the same as prettiness; it imitates beauty. Many professional and amateur photographers are unwittingly infected by this "disease." Some viewers mistakenly associate vulgarity with images of naked bodies as a violation of the norm of coexistence in the public space, with images of intimate processes of gender interaction (it has developed in our culture). But art always works at the intersection of entering the viewer's personal space and therefore uses nudity both literally and metaphorically since even the best portrait is one where the soul of the portrait being is laid bare and a landscape where our connection with it is laid bare, through the meaning that the author of the work has embedded in it.
The PhotoTOP exposition includes a wide range of directions, genres, and styles. For many photographers, such coexistence seems tense due to the literary approach to creativity. For them, what happens in the frame is more important than the fundamental basic principle in art — formal harmony, balance between spots, light and shadow, colors, textures, etc. And if you look at the exposition from this point of view, there is no formal difference between reportage and staged photography, abstract and realistic composition.
On the internet, photography is easier to perceive than painting and sculpture, but unfortunately, even a full impression of photography cannot be obtained other than through real viewing in the hall since it is an object, and, like any object, it has size, texture, and, if you will, aura. There is also a very important element for perception — context, that is, in what environment, in what atmosphere the work is presented. And, summing up the reasoning, I conclude: it is necessary to look at art, if there is such an opportunity, directly, live, in the gallery.
I recommend this exhibition for visiting not only because many high-quality works are immediately presented here.
The exhibition will showcase a series of works by well-known artists and documentarians for whom photography has become a space for expressing their creative individuality."
Oleg Arnautov - project idea author and head of the curatorial group "PhotoTOP 2021"
The exhibition "PhotoTOP Still Life 2022" took place at the Gallery of Classic Photography from April 28 to July 3, 2022.
The authors whose works were featured in the exhibition "PhotoTOP Still Life 2022" include: Andrey Abramov (Sr), Andrey Abramov (Jr), Andrey Akimov, Oleg Arnautov, Slava Baranov, Alexey Belov, Olga Belova, Natalya Berkutova, Vivian del Rio, Sergey Gaylet, Oleg Grachyov, Vadim Gushchin, Tatiana Danylantz, Vadim Dimov, Dmitry Egorov, Ruben Zakharjan, Ilya Ivankin, Francisco Infante-Arana and Nona Goryunova, Vyacheslav Kabakov, Mikhail Kalamkarov, Konstantin Kalugin, Yulia Kaminska, Katerina Kiryanova, Igor Kul'tyshkin, Nikolay Kulebyakin, Ekaterina Kazantseva, Georgy Kolosov, Alexander Kopelev, Misha Maslennikov, Alexander Maslenitsyn, Alexander Podosinov, Natasha Podunova, Olga Polesovschikova, Valery Samarin, Julia Semchenko, Vladimir Selenkov, Mikhail Sidlin, San Sanych Slyusarev, Ilya Udalov, Ivan Filimonov, Alexander Fursov, Yessenia Khizhnyakova, Natasha and Valery Cherkashiny, Andrey Chezhin, Stasis Shakarvis, Lisa Ashva.
The largest genre photo exhibition in recent years is dedicated to still life and its metamorphoses, reflecting the diverse plastic and conceptual approaches of the most famous contemporary Russian authors. The exposition includes about 200 selected works from 50 photographers actively working in this genre. Different types of still life created over the past 30 years are being shown for the first time in the domestic exhibition practice.
"The seemingly plotless genre of still life is one of the most philosophical, reflecting the myriad connections between humans and the world of objects. Modern artists still dedicate their canvases to fruit and flower compositions, but the depiction of 'still life' has long ceased to be mainstream, and therefore this concept today may encompass much more than, say, a few centuries ago," says the project curator Oleg Arnautov.
The main idea of the exhibition is to guide the curious viewer through still life through the prism of time. The exposition features Moscow and St. Petersburg photographers of different generations, allowing the development of the genre to be traced over several decades. It is worth noting that many authors have rarely exhibited publicly and are practically unknown to the wider Russian audience.
Among the participants are the outstanding Soviet photo innovator Alexander Slyusarev, his students and followers Vadim Gushchin and Andrey Abramov Sr. The works of Vadim Gushchin, known for his post-conceptual still life pieces, are presented in works from several series unified by the theme of 'books'. The exposition of Andrey Abramov Sr. allows the viewer to discover his special method of creating still life-landscapes on the table. At the exhibition, he will showcase works from various series over the years, providing a mini-retrospective.
Laureate of All-Russian and international competitions Valery Samarin will present
black-and-white photo works with shadows from forks. A prominent representative of the romantic spirit of St. Petersburg Slava Baranov will demonstrate the visual poetry of iconic elements, while Nikolay Kulebyakin, one of the most famous masters of still life in Russia, will present the metaphysics of simple objects.
The exhibition will also feature works by photographers working not only in the still life genre. Among them are Andrey Akimov, Andrey Abramov Jr, Oleg Arnautov, Vivian del Rio, Ilya Ivankin, Vyacheslav Kabakov, Ekaterina Kiryanova, the ideologist of modern pictorialism Georgy Kolosov, Igor Kul'tyshkin, Alexander Podosinov, Ivan Filimonov, Stasis Shakarvis.
Foreign authors will be represented by the works of Marina Batyukova from Belarus and Russian photographer Misha Maslennikov, who currently resides in Ukraine. The audience will see prints from private collections authored by Francisco Infante-Arana and Nonna Goryunova, Sergey Chilikov, Olga Polesovschikova. Works from the 90s will be showcased by Valery and Natasha Cherkashiny, and Mikhail Ladeishchikov. Some authors will be represented by one or two pieces. For example, Sergey Gaylet with ambrotypes, and Alexey Belov with Polaroid transfers.
The preparations for the exhibition "PhotoTOP. Still Life 2022" have been underway for a year. The curatorial team includes: artist, curator, and gallery owner Oleg Arnautov, photographer, teacher, and collector Vyacheslav Kabakov, photographer and designer Ivan Filimonov, and translator Ksenia Kabanova. A photo album with the same title is planned to coincide with the exhibition opening.
Curated by Oleg Arnautov.
"The exhibition was organized under the challenging conditions of quarantine (Covid-19 restrictions). Furthermore, it is opening during a special operation in Ukraine, when news from the frontlines is of greater interest to all of us than cultural news... Nevertheless, the opening of a significant exhibition of domestic photography in the largest gallery in Moscow, both in terms of volume and the composition of the authors, is crucial for me as a citizen, not just a curator. Some local peacemakers, in despair, condemn any cultural activity, some urgently leave, some spit on dissent in social media, some start giving propagandistic speeches. Why can't people just focus on their professional work, why do they need to get involved in political discussions?!! My opinion on this matter was formed long ago - in my youth, if not in childhood. That's when I heard that in the starving, besieged Leningrad, they were giving classical music concerts and ballet performances in 1941 while the fascists were at the gates of Moscow. Due to my Soviet upbringing, and having completed my schooling in the 80s, these stories were like myths of heroes from ancient Greece to me - a high example of dedication to a cause. Apparently, my civic position will remain like this until the end of my days.
Today, in a difficult historical period for everyone, people are becoming less mentally balanced, susceptible to all sorts of hysteria, even obsession, and at this time, it seems to me that we all need art. Not just any art, but a complex kind that speaks to our souls. Here, it is necessary to clarify what exactly I mean by the term art. To put it simply, art can be divided into two types: the first and most common - that which is created simply as illustration-communication or as bait for emotional reaction - informational-entertaining art, and the second - which reflects the complexity of human nature - figurative art. Information and entertainment are understood - it always revolves around what is depicted, what should evoke empathy or desire to possess it, even if only hypothetically, or just knowledge of how it looks. Food - to stimulate salivation, a cute puppy - adorable, the body - sexuality, an unknown animal - ah, so that's what it is... These images can be amateur or professional, but their essence does not change. With complex art, it is different - the image conveys a message of what is not in the frame, and this message can be complex to decode and ambiguous. But why all these complexities? Maybe it's best to just live for one's pleasure? That's how most people think. I don't blame them for that, but I genuinely feel sorry for them. For them, the treasure troves of human culture remain closed, where all the greatest achievements are shrouded in complexity...
Well, most people only listen to popular music, watch popular movies, decorate their homes solely with works that don't "challenge their brains." They are the ideal candidates to be controlled and manipulated by others. They only see external characteristics in everything. Brodsky spoke about this in his Nobel speech, then he was talking about literature that fits facial expressions into the zeros... Yes, the culture of humanity, especially Russian culture, has overcome this naive approach, calling to see the complexity of human beings... If in their childhood, overcoming boredom, they did not contemplate works that were unclear to them, trying to understand, see with their mind and heart the invisible, if they did not read complex books, did not watch complex movies, but sought only pleasure, then they will undoubtedly have problems in perceiving figurative art.
This kind of art cannot be consumed on the go, like fast food, it requires concentration, almost prayerful, meditative focus to penetrate the author's thoughts. And at that moment, you are no longer just a consumer, but a spectator. In this focus before the artwork, there arises an intertwining, co-creation, kinship with the observed, and an understanding of that hidden, deep meaning. The soul is nourished by this "kinship," in this process of connecting to the masterpiece's portal, spiritual needs are satisfied. Great art of this kind usually doesn't call for barricades; it calls for acceptance of the complexities of human beings. Before some such works, you will understand that they are confessing to you, with some you will feel your soul weeping, regretting some mistakes, weeping, liberating itself from the burden of the past, and next to some works you may feel an inexplicable thrill... Develop your ability to perceive works deeply. And while art may not save you from external troubles, it will make you infinitely richer internally. Parallel worlds and amazing universes will open up to you. And this richness will be with you until your mind fades.
Art gives us an understanding of the complexity of the world and the main takeaway that there is always more than one correct answer, and hopeless situations are extremely rare. Perhaps it is this salvation, the salvation of our minds, our souls, that we should care about the most?
Yes, dear viewers, for me, art has become a haven of personal faith, overcoming the pride of disdain, the pride of superiority, the condemnation of human imperfection, a faith that looks at the unsightly with great hope, without contempt or deceit.
Respected viewers, I invite you to visit this exhibition, where photographs in the still life genre are presented. I hope that many things in the exhibition will provide food for thought for your mind and heart.
The PhotoTOP project was conceived as a regular review of masters of domestic photography. Speaking about the internal art market of artistic photography today is unfortunately challenging, but, in my opinion, it is necessary to engage in the process, not to let everything go to waste. And if until recently Russian photography was seen more as an exotic product, in the future, if it finally stops mimicking European visual standards and is loved and demanded primarily in its homeland, respect for it will be restored. It deserves it. Today, as yesterday, and tomorrow, the connection of art with the audience is essential, a direct conversation about the contemporary in the language of high photography. The problem of perception is complicated by the presence of a huge flood of photographic images, creating a false impression in people's minds that photography is a lightweight and low form of art based on technical advancements. This is vehemently promoted in all advertising articles and videos by technology manufacturers, but it is a big deception. Photographic technology and equipment are merely tools that yield results only in the hands of the artist. The author chooses the camera, the process, film or digital, the type of printing and paper... There are, of course, more unique techniques, but they alone do not make the work a masterpiece of high art.
Unlike last year, when "PhotoTOP 2021" presented the full diversity of genres and 250 works by nearly a hundred authors, this time it's a bit different. Due to genre restrictions, several significant authors have been given the opportunity to present large blocks of their works, practically mini-exhibitions within the larger exhibition.
And the rest, as in the previous year, will showcase only one - two works at most.
This year, we invited young authors and everyone who simply does not fit into our circle of communication to submit their works. We announced an open call, and a selection was made, as a result of which some works from the submissions will also be presented to the public.
Speaking about the relevance of the exhibition in general, those works that are somehow associated with the theme of war sound more vividly in today's news context. This includes my own works as well. I must say that I created them while studying the history of one of my grandfathers. He was from Kherson, and at the age of 14, he lost his parents and the native sister as a result of hunger. I read and watched a sea of various documents, trying to understand how people could starve and die of hunger in the granary that fed Russia and Europe with bread, how they died, how people in general lived back then, devouring and shooting each other. From here came the images of the "red room" - a grater and jars filled with red color.
Equally dramatic are the things of Ilya Ivankin. In his photograph, with a figure turned away from us and inclined in desperation, in prayer, a person seems to be trying to hide from the world in his boundless loneliness. In some way, this work resonates with the prayers of Andrey Kuzkin, although in his sculpture-installation, all the worshippers face us, and there is a different message there…
Often, or almost always, the artist comes to his theater, to his stage, where one or several of his plays are being played out, where his favorite actors-characters-attributes play. Remember, for example, Robert Balen and, as an addition to the still life, Dmitry Krasnopevtsev, Oscar Rabin, in Boris Smelov's photograph, Alexander Slyusarev. Each has its very "own" space… Alexander Aleksandrovich Slyusarev's photograph will be exhibited in the exposition, as well as the works of his students and followers Vadim Gushchin and Andrey Abramov senior. Here, Vadim Gushchin's theater is suprematist, although supremely realistic. The exhibition features works from several of his series, where the main characters are books. In his works, he always debates with art, mostly with Russian art. Andrey Abramov senior's still lifes always unfold into a tabletop landscape. There are always smells, memories of sea spaces with a hint of bitter fog and fairytale. Andrey presents works from different years, almost a mini-retrospective. From black and white seascapes to colorful cosmic ones.
In Slava Baranov's still lifes, they are filled to excess, but in almost every one of them, you can feel the fleeting spirit of St. Petersburg, the entropy, decadence, long conversations into the night in a studio filled with smoke and alcohol fumes. "In the evenings above the restaurants, the hot air is wild and deaf" comes to mind and appears, "breathing with spirits and mists," a stranger…
Valery Samarins's works are like the results of scientific research, where experiment after experiment, he immortalizes them into artworks. And what we see strikes our imagination with the beauty and simplicity of birthing an image. Shadows from forks – his recognizable series.
Nikolay Kulebyakin's images strive for ephemerality and conceptualism at the same time, they want to dissolve, leaving a trace in our consciousness. Andrey Abramov junior has something similar, but cooler, purified from empathy.
Alexander Podosinov presents a series of photographs, which I first saw when he called it "last still lifes." Rebuses, built in the comparison of different things, give each of us space for reflection. In these encountered objects framed within the frame, there is something of the strangeness of our associative thinking. Examining them, it seems that their materiality hinders them, and it is so strained that they are about to explode from within.
In the "Box" series by Vyacheslav Kabarov, there is a completely different atmosphere, in it, the energy of drama, the classic struggle of light and darkness. Despite all its "staging," it creates the impression of reportage, as if this material world caught off guard. The author emphasizes the fragility and transience of the world through movement, through playing with focus-not focus.
The headline photograph of "PhotoTOP Still Life 2022" is a still life by Olga Polesovshchikova. In this work of hers – a flower portrait, all our tender vulnerable and beautiful world, disconnected from its roots. It glows on dark fabric awaiting withering, but its beauty still gifts us its final scent.
P.S. I thank everyone who contributed their efforts to make this project happen: Vyacheslav Kabarov, Ksenia Kabanova, and Ivan Filimonov – for the teamwork on the project, Mark Kobert - for providing the opportunity to showcase a unique exhibition to the public in Moscow's largest photographic gallery, the printing studio "Ptichka" for the partnership, and "Photographer.ru" for the informational partnership. As well as all the authors of "PhotoTOP Still Life 2022" for the high artistic quality of their works."
Oleg Arnautov
Works by contemporaries who are already considered classics set a high museum standard for the festival: Nikolay Bakharev, Oleg Videnin, Georgy Kolosov, Nikolay Kulebyakin, Alexey Myakishev, Valery Plotnikov, Evgeny Mokhorev, and Alexander Chernogrivov. This list is complemented by works from private collections by authors such as Alexander Kitaev, Alexander Slyusarev, Boris Smelov, Sergey Chilikov, Andrey Chezhin, and others.
Also, this year, talented students, students of the masters, have joined the project.
Participants and guests at the festival can expect a full program: portfolio reviews for photographers; meetings with top photographers in the "Masters Marathon"; lectures, discussions, and master classes from the best photo masters and the Union of Photographers of Russia; curator-led tours of the exhibition; awards for the best artistic solution to a photographic portrait within the festival; a ceremonial concert "ADVANCE," and much more.
The best works from "PhotoTOP. Portrait 2023" will be on display from November 22 to December 17 at the "Gallery of Classical Photography" in Moscow.
Festival program:
November 22nd
19:00 – Opening.
Presentation of the layout of the "PhotoTOP. Portrait 2023" album.
November 25th
"Masters Marathon." Lectures by top photographers.
12:00-13:00 Alexander Smirnov
13:00-14:00 Alexander Maslenitsyn
14:00-15:00 Ilya Ivankin
16:00-17:00 Vyacheslav Kabanov
17:00-18:00 Nikolay Kulebyakin
18:00-19:00 Elena Agafonova
November 26th
12:00-14:00 "Portfolio Review." Opportunity to showcase your work to experts.
Reviewers:
Vyacheslav Kabanov, Evgeny Berezner, Oleg Arnautov
14:00-15:00 Curatorial tour of the exhibition. Oleg Arnautov
15:00-16:00 Announcement of the results of the competition: "Best Photo of PhotoTOP. Portrait 2023."
18:00 Concert of classical music "ADVANCE"
Separate tickets for concert admission
December 2nd
"Festivals as Guests at the Festival." Meetings, lectures, presentations
12:00-13:00 "History of 'PhotoCROC'. Projects, exhibitions, best works" /Vasily Prudnikov
13:00-16:00 Master class "Portrait Photography" /Vasily Prudnikov
16:00-17:00 "Moscow Youth Photography Festival. Projects, exhibitions, best works" /Yulia Zhdanova
17:00-18:00 "Department of Photographic Mastery at MGIC" /Mikhail Kalamkarov
December 3rd
"Photo and Video Festival within PhotoTOP". Meetings, lectures, masterclasses
11:15-12:45 "Modern Portrait Photography Techniques" / Andrey Zhukov
13:00-14:00 "Psychology in Portraiture" / Alexander Chertok
14:15-15:15 "What to Do When Asked 'How Should I Pose?'" / Alexey Trifonov
15:30-16:30 "How to Prepare a Model for a Photoshoot?" / Olga Kharlamova
16:45-17:45 "Creating a Mood Board and Choosing a Style for the Photoshoot" / Alexandra Yudina
18:00-19:00 "Common Mistakes Photographers Make When Working with Models" / Oksana "Chucha"
19:15-20:30 "Lighting Solutions for Client Portrait Photography" / Alexander Talyuka
December 9th
12:00-14:00 "Portfolio Review." Opportunity to showcase work to experts.
Reviewers:
Mikhail Kalamkarov, Dmitry Morgulis, Vasily Prudnikov
"Masters Marathon." Lectures by top photographers
14:00-15:00 Mikhail Kalamkarov
15:00-16:00 Stas Shakarvis
16:00-17:30 N. & V. Cherkashin
18:00-20:00 Roundtable: "Portrait Projects in the Contemporary Art of Photography"
December 10th
12:00-13:00 Curatorial Tour of the Exhibition. Oleg Arnautov
"Masters Marathon." Lectures by top photographers
13:00-14:00 Andrey Akimov
14:00-15:00 Oleg Arnautov
16:00-17:00 Dmitry Morgulis
17:00-18:00 Georgiy Kolosov
18:00-19:00 Announcement of the results of the digital competition.
December 14th
18:00-20:30 "Capturing the Modern World Through an Antique Camera." Filming process with Moisey Solomonovich Nappelbaum's vintage photo camera.
December 17th
19:00-20:00 Album launch event for "PhotoTOP. Portrait 2023". Oleg Arnautov, Ivan Filimonov.
Andrey Abramov Jr., Elena Agafonova, Andrey Akimov, Mariya Akimova, Daria Alexandrova, Violetta Alkhovka, Seryozha Anisimov, Evgeny Antonenko, Pavel Apletin, Marina Argunova, Oleg Arnautov, Madina Astakhova, Nikolay Bakharev, Slava Baranov, Olga Belova, Andrey Bezukladnikov, Anatoly Boldin, Victor Borovskikh, Elena Bragina, Anastasiya Buzanova, Stanislav Chabutkin, Valera & Natasha Cherkashin, Ariadna Cherkasova, Alexander Chernogrivov, Polina Chervyakova, Andrey Chezhin, Sergey Chilikov, Tatyana Danilyants, Alla Dolgalyova, Alexandra Doroshenko, Venera Dzhumbaeva, Ivan Filimonov, Igor Flis, Denis Fontanov, Alexander Fursov, Oleg Grachyov, Alina Grebeshkova, Arthur Ionauskas, Ilya Ivankin, Olga Ivanova, Vyacheslav Kabanov, Mikhail Kalamkarov, Marianna Kashirskaya, Anna Kevrel, Yury Kharitonovich, Katerina Kiryanova, Alexander Kitaev, Svetlana Klochkova, Mariya Kolesnikova, Georgy Kolosov, Evgeniya Komarova, Irina Kontsevaya, Alexander Kopelev, Olga Korsunova, Boris Kravetsky, Yasha Krayny, Evgeniya Kroll, Yuliya Kucheeva, GrandBoris Kudryakov, Nikolay Kulebyakin, Lyudmila Kvasova, Mikhail Ladeyshchikov, Slava Lagutkin, Alexander Lapardin, Alexander Lepyoshkin, Evgeny Levitan (Voensky), Elena Losevskaya, Stanislav LuftiRakhmanov, Victor Lugansky, Alexander Maslenitsyn, Nikolay Matryonin, Anna Medvedeva, Uren Merte, Alexey Mikhaylov, Vyacheslav Mikhaylov, Ekaterina Miryukova, Ekaterina Mishina, Evgeny Mokhorev, Mary Moon, Dmitry Morgulis, Igor Mukhin, Alexey Myakishev, Alex Naanu, Elena Nesmeyanova, Vadim Opalin, Alexey Orlov, Tatyana Ostrovskaya, Vera Panova, Olesya Pasynkova, Natalya Pereverzeva, Irina Permyakova, Alexander Petrov, Valery Plotnikov, Sergey Podgorkov, Alexander Podosinov, Olga Polesovshchikova, Maxim Poluboyarinov, Sergey Potapov, Stas Privalov, Dmitry Provotorov, Vasily Prudnikov, Ekaterina Putrya, Nataliya Rachkova, Nadezhda Raskina, Irina Reginskaya, Victoriya Rumyantseva, Valentin Samarin, Alexander Savatyugin, Danila Sedov, Yuliya Semchenko, Elena Serafimova, Stas Shakarvis, Alexandra Shanovich, Sergey Shcherbakov, Anatoly Shishkov, Anna Silyutina, Alexander Slyusarev, Boris Smelov, Pavel Smertin, Alexander Smirnov, Gennady Smirnov, Dmitry Soshnikov, Vasily Stazhadze, Mikhail Stenin, Lyudmila Tabolina, Svetlana Tarasova, Svetlana Tenyanko, Vladimir Tesyolkin, Makar Tiunov, Evgeniya Tsoi, Anna Tut, Mariya Usmanova, Van O, Sergey Varaksin, Alexander Velikotsky, Alexey Vasilyev, Igor Vasilyev, Oleg Videnin, Anastasiya Yakimova, Igor Yunakovsky, Alexander Zabrin, Natalya Zarutskaya, Alexander Zavyalov, Mariya Zavyalova, Alexey Zelensky, Yuliya Zhdanova, Evgeny Zhilyaev, Sergey Zhirkevich