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ALEXANDER MARTIROSOV
Critical issue by Alexander Borovskiy
Alexander Martirosov is engaged in advertising, and quite successfuly: most recently, in January, his photo-shoot made for Mania Grandiosa, was nominated in Los Angeles for the prestigious 6th PHOTOGRAPHY MASTERS CUP. This is not the only difference: Martirosov is very much in evidence on the professional photo and advertising scene for several years. 

Usually if the master of advertising agrees to work with landscape, they cannot give up certain craft professional installation. It's not even the matter that as a rule these landscapes are oriented at the genre of tourist booklet with all the requirements it imposes.

No, the installation is demonstrated trough the visual aspect. The advertising photography primarily represents ecstatic things. "The Ecstasy of Things», - the name of one of the best albums, showing the evolution of object in advertising, is not a coincidence - from function to fetish (Sost.T.Seeling and U. Stanel; Steidl, 2005). This refers to the thing’s own ecstasy of show, exhibition, importance and ecstasy of possession, let it be symbolic, which flows into the potential consumer-buyer. Considering the landscape series of Martirosov I have not noticed any traces of such craft installation. Well, there is no trace of advertising "work-away" - to broadcast outside paradigmatic beauty with that optical package, which stimulates the tourist demand. I have even watched intentionally the advertisement of the same Mania Grandiosa. Women's shoes are of quite tortuous style. Martirosov transforms them to the scale of a certain architectural object - something of a modern urban environment, trough transparent, widely opened for (to) the passer-by: hall, show room, small stage. This object is populated by Martirosov with the models in swimsuits- there they are doing something with their accessories: screw up, highlight. Or just relax. The artist somehow, preserving the functionality of the task (fashion is fashion, try one iota oppress these fashionable), tells his own not so funny fairy-tale - the version of "Cinderella": girls are not trying on shoes hoping to change fate; they are forever "prescribed" in heels and generally attributed to the shoes. Well, now it is clear why the scenes of Martirosov are not connected with the advertising supply: if he is striving for making advertisement more intimate, he is obliged to solve his own extraordinary tasks in the genre of scenes…