OLEG KLIMOV (photographer, Moscow)
Born in Tomsk in 1964. Studied at Kazan university and majored in astrophysics. While studying worked in planitarium. Since 1991 has worked as a photographer for the Dutch influential daily newspaper NRC-Handelsblad. Covered all war conflicts in the USSR and Eastern Europe. In 1991 in collaboration with Dutch journalist Hubert Smeets published a book on Russia ‘Offended souls. Liberty in Russia», with support from NRC-Handelsblad newspaper published «The collapse of the Soviet Empire». In 1992 in collaboration with Dutch photographer Maurice Boyer published a book on the Kosovo events «Between Belgrad and Skopje. Photographs of the Kosovo War».
In 2000 with assistance from the Soros Foundation exhibition «Just a war» was shown in Moscow, Kazan, Ulyanovsk and Petrozavodsk. In 2001 worked on the large project about the Volga river shown at Prozrenie biennale in Nizhny Novgorod. In 2003 — exhibition «To Russia with love» by Amnesty internation. In 2007 — exhibition about racism «Black Russia».
In 2005 his book on the consequences of the Soviet Union collapse «Heritage of an Empire. My Doomed Country» was published in the Netherlands, Belgium and Germany, exhibition in Amsterdam. Since 2005 he’s been more interested in photo projects and been teaching documentary photography in the Rodchenko school of photography and Multimedia. Today he finishes his project on the Russian water borders «From the River to the Sea»…
Hubert Smeets,
NRC Handelsblad
1. Tomsk — Biographical Notes
Oleg A. Klimov was born January 3, 1964 in Tomsk, an old University City in the heart of Siberia. After finishing school and serving the army, he moved to the city of Kazan to get a degree in astrophysics. However, in five years he fixed his choice on photojournalism. The local newspaper Vechernaya Kazan became his first employer. In the following years he worked for other national newspapers and magazines — Izvestia, Komsomolskaya Pravda, Ogonyok, Itogi, Medved. The failed coup d’etat made moved him further west — to Moscow, where he worked as a freelance photojournalist for AFP, photo agency Sygma and such periodicals as The Washington Post, Time Magazine, Le Monde, The Independent, The Times or Het Parool. For the Dutch newspaper NRC Handelsblad he has become a permanent photo correspondent in Russia. Besides, at the editorial request he made special reports in the Netherlands, Germany, Iraq, Bosnia, Serbia and Kosovo.
Oleg A. Klimov was born January 3, 1964 in Tomsk, an old University City in the heart of Siberia. After finishing school and serving the army, he moved to the city of Kazan to get a degree in astrophysics. However, in five years he fixed his choice on photojournalism. The local newspaper Vechernaya Kazan became his first employer. In the following years he worked for other national newspapers and magazines — Izvestia, Komsomolskaya Pravda, Ogonyok, Itogi, Medved. The failed coup d’etat made moved him further west — to Moscow, where he worked as a freelance photojournalist for AFP, photo agency Sygma and such periodicals as The Washington Post, Time Magazine, Le Monde, The Independent, The Times or Het Parool. For the Dutch newspaper NRC Handelsblad he has become a permanent photo correspondent in Russia. Besides, at the editorial request he made special reports in the Netherlands, Germany, Iraq, Bosnia, Serbia and Kosovo.
2. Siberia — A Peculiar Place
Oleg Klimov is a Siberian and that is crucial, because Siberia is unique. This is a vast territory inhabited by prisoners and exiles, pioneers and refugees. Siberia is a part of Russia where tolerance and revolt co-exist and surprise no one. Siberia is a place where one can quarrel without having a serious argument and can be trusted as a friend without really being a friend. In short, Siberia is a different Russia.
Oleg Klimov is a Siberian and that is crucial, because Siberia is unique. This is a vast territory inhabited by prisoners and exiles, pioneers and refugees. Siberia is a part of Russia where tolerance and revolt co-exist and surprise no one. Siberia is a place where one can quarrel without having a serious argument and can be trusted as a friend without really being a friend. In short, Siberia is a different Russia.
3. Kazan — The Bridge
Oleg Klimov is still a son of the city of Kazan, the bridge between Europe and Asia. In Kazan he became an astrophysican — someone stuck between physics and philosophy. In Kazan he met people who grew dear to him and became a father. All of that happened before the moment when Klimov sold a couple of personal items, bought a Nikon and met a photographer Lyalya Kuznetsova. Astronomy gave the way to photography. All of that happened in the Soviet Union of the late 1980s — when glasnost mattered a lot, at least for journalists and photographers. Glasnost has opened Klimov’s eyes. The 1988 earthquake in Armenia revealed to him that misery and corruption go hand in hand. His perceptions of Man and World turned into one.
Oleg Klimov is still a son of the city of Kazan, the bridge between Europe and Asia. In Kazan he became an astrophysican — someone stuck between physics and philosophy. In Kazan he met people who grew dear to him and became a father. All of that happened before the moment when Klimov sold a couple of personal items, bought a Nikon and met a photographer Lyalya Kuznetsova. Astronomy gave the way to photography. All of that happened in the Soviet Union of the late 1980s — when glasnost mattered a lot, at least for journalists and photographers. Glasnost has opened Klimov’s eyes. The 1988 earthquake in Armenia revealed to him that misery and corruption go hand in hand. His perceptions of Man and World turned into one.
4. The Darkroom — A Door Outside
Oleg Klimov I met in Kazan where I arrived in the spring of 1991 to make a reportage on teenage streetgangs that operated downtown. I was introduced to Klimov in the house of Ljalja Kuznetsova. The two photographers were discussing the respective superiority of art photography and photojournalism. Because I did not possess a good knowledge of the language, I stayed out of the conversation. Nonetheless, Klimov invited me to visit him at «home». Next morning the taxi arrived at «Vechernyaya Kazan» editorial building. Klimov invited me in. His home proved to be a 12 sq. m. darkroom that hosted some chemistry, fixing baths, one small sofa and nine ashtrays. I wrote my first article on Kazan for NRC Handelsblad. This was also Oleg Klimovïs first publication in this newspaper.
Oleg Klimov I met in Kazan where I arrived in the spring of 1991 to make a reportage on teenage streetgangs that operated downtown. I was introduced to Klimov in the house of Ljalja Kuznetsova. The two photographers were discussing the respective superiority of art photography and photojournalism. Because I did not possess a good knowledge of the language, I stayed out of the conversation. Nonetheless, Klimov invited me to visit him at «home». Next morning the taxi arrived at «Vechernyaya Kazan» editorial building. Klimov invited me in. His home proved to be a 12 sq. m. darkroom that hosted some chemistry, fixing baths, one small sofa and nine ashtrays. I wrote my first article on Kazan for NRC Handelsblad. This was also Oleg Klimovïs first publication in this newspaper.
5. Two Fronts — God and Devil
Oleg Klimov does know and does not this world. That is where his strength lies. In the winter of 1992 in the city of Omsk, in a restaurant called Mayak, Oleg asked his Dutch colleague: «By the way, are there any writers in Holland» The question sounded insultingly unfair, but at the same time very logical. Holland is a land of painters and not writers. Why? In Holland, the conflicts are eliminated before they can become dangerous. If there is one country so opposite to Russia it is Holland. Klimov himself once noted while driving in a trafficjam on the highway between Amsterdam-Rotterdam early morning: «It’s morning. It’s raining. Burgers are heading in a hurry to their work. This is Holland.» And that’s to the point. Russia is different — extremes collide on every corner.
Oleg Klimov does know and does not this world. That is where his strength lies. In the winter of 1992 in the city of Omsk, in a restaurant called Mayak, Oleg asked his Dutch colleague: «By the way, are there any writers in Holland» The question sounded insultingly unfair, but at the same time very logical. Holland is a land of painters and not writers. Why? In Holland, the conflicts are eliminated before they can become dangerous. If there is one country so opposite to Russia it is Holland. Klimov himself once noted while driving in a trafficjam on the highway between Amsterdam-Rotterdam early morning: «It’s morning. It’s raining. Burgers are heading in a hurry to their work. This is Holland.» And that’s to the point. Russia is different — extremes collide on every corner.
6. Man — Insight and Focus
Oleg Klimov thinks while he photographs and the other way around. This requires an explanation. While looking at his pictures there is never a 100% clarity on what is more important: his perception of the object or the representation of the object itself. Take, for instance, an image from the city of Sukhumi. There are three men in military uniform and a woman. The first man is playing the piano, another is cleaning his machinegun and the third one is embracing the crying woman. What is happening here? One can imagine almost anything. It is just a war, and it is here, in Abkhazia.
Oleg Klimov thinks while he photographs and the other way around. This requires an explanation. While looking at his pictures there is never a 100% clarity on what is more important: his perception of the object or the representation of the object itself. Take, for instance, an image from the city of Sukhumi. There are three men in military uniform and a woman. The first man is playing the piano, another is cleaning his machinegun and the third one is embracing the crying woman. What is happening here? One can imagine almost anything. It is just a war, and it is here, in Abkhazia.
7. Photographer — Distance and Immediacy
Oleg Klimov is against wide-angle and telephoto lenses. It is dangerous. When an average sports photographer would use 300 mm shooting a football game, Klimov applies the maximum of 35 mm if it is possible. The consequences are often extraordinary. As he is choosing a unique, extremely close position to what he captures, the reality, however disgusting it may appear, acquires a human face. His war reportages are an illustration of this.
Oleg Klimov is against wide-angle and telephoto lenses. It is dangerous. When an average sports photographer would use 300 mm shooting a football game, Klimov applies the maximum of 35 mm if it is possible. The consequences are often extraordinary. As he is choosing a unique, extremely close position to what he captures, the reality, however disgusting it may appear, acquires a human face. His war reportages are an illustration of this.
8. Writer — Reflection and Style
Oleg Klimov is not a perfectionist. He does not worry about his negatives in particular. He does not think the camera a treasure either. The same can be said about his written works — the language is harsh, the sentences are incoherent. However, they possess their own style, and the reason is clear: using the typewriter, Klimov puts into words everything that he knows from his experience in photography. That is why the features of a writer and those of a photographer are combined in his personality. There are few people like him.
Oleg Klimov is not a perfectionist. He does not worry about his negatives in particular. He does not think the camera a treasure either. The same can be said about his written works — the language is harsh, the sentences are incoherent. However, they possess their own style, and the reason is clear: using the typewriter, Klimov puts into words everything that he knows from his experience in photography. That is why the features of a writer and those of a photographer are combined in his personality. There are few people like him.
9. Pacifist — War and Peace
Oleg Klimov hates the war but he can’t live without it, which is typical of all pacifists. They have very particular views on violence, even if they are difficult to grasp. They conceal their ideas under pacifist slogans. In this sense Klimov differs from typical pacifists described in books, as he is a pacifist with anarchist lifestyles — he belongs to reality.
Oleg Klimov hates the war but he can’t live without it, which is typical of all pacifists. They have very particular views on violence, even if they are difficult to grasp. They conceal their ideas under pacifist slogans. In this sense Klimov differs from typical pacifists described in books, as he is a pacifist with anarchist lifestyles — he belongs to reality.
10. Skeptic — Don’t Trust Your Eyes
Oleg Klimov takes no notice of worn-out phrase. A foreigner sees only interesting images in Russia, so that he could have something to tell about it to his friends and relatives. Klimov sees these images too, but he is reluctant to capture them. For him, a camera is no more than a mean to capture the reality. He might as well use another tool to express what he is able to see and how he understands it. The result is: his images of Russia are more difficult to grasp than a foreigner would like it to be.
Oleg Klimov takes no notice of worn-out phrase. A foreigner sees only interesting images in Russia, so that he could have something to tell about it to his friends and relatives. Klimov sees these images too, but he is reluctant to capture them. For him, a camera is no more than a mean to capture the reality. He might as well use another tool to express what he is able to see and how he understands it. The result is: his images of Russia are more difficult to grasp than a foreigner would like it to be.
11. Dreamer — Water and Gas-station
Oleg Klimov changes his plans often. To him photography is not an aim, but a mean of a constant comparison of views and ideas about a Man and the world he lives in. A photographer can do it wherever he wishes: at the bar, at the filling station, aboard a ship.
Oleg Klimov changes his plans often. To him photography is not an aim, but a mean of a constant comparison of views and ideas about a Man and the world he lives in. A photographer can do it wherever he wishes: at the bar, at the filling station, aboard a ship.
12. Tax — Difficulties in Accounting
Oleg Klimov is poor at the bookkeeping, and it is not that surprising as it seems. All photographers are poor at counting money, which is the reason why the majority of them live in need, and only some of them become well off by lucky chance. That’s why they need an accountant’s services. As they are not aware of their poor count and do not trust bookkeepers, their bank accounts are less than modest. Those who command their money well are always surrounded by people. On the contrary, photographers are lonely. However, loneliness is important for their work, because it helps to grasp the truth.
Oleg Klimov is poor at the bookkeeping, and it is not that surprising as it seems. All photographers are poor at counting money, which is the reason why the majority of them live in need, and only some of them become well off by lucky chance. That’s why they need an accountant’s services. As they are not aware of their poor count and do not trust bookkeepers, their bank accounts are less than modest. Those who command their money well are always surrounded by people. On the contrary, photographers are lonely. However, loneliness is important for their work, because it helps to grasp the truth.
13. Philosophy — Truth and Mirror
Oleg Klimov is constantly on the road. He seeks the truth which he needs and which he wants others to understand. If some people want to wipe out Saddam Husseinïs empire and everything that has to do with it, he sets off to the Garden of Eden. If people think that in Kosovo the Muslims are battling on one side and the Orthodox on the other, he finds a Muslim volunteer form Russia who proves this belief not to be true. It is his poor sense of orientation that brings him to places where reality is transparent.
Oleg Klimov is constantly on the road. He seeks the truth which he needs and which he wants others to understand. If some people want to wipe out Saddam Husseinïs empire and everything that has to do with it, he sets off to the Garden of Eden. If people think that in Kosovo the Muslims are battling on one side and the Orthodox on the other, he finds a Muslim volunteer form Russia who proves this belief not to be true. It is his poor sense of orientation that brings him to places where reality is transparent.
14. Patriotism — Siberian in a Strange Land
Oleg Klimov is not shy and at the same time, he is modest. Only the strongest personalities have the courage to confront him, though his only weapon is his camera. His demanding charm comes out of his timorously restrained manner. Moreover, it works everywhere. The language of humane photography does not need a dictionary.
Oleg Klimov is not shy and at the same time, he is modest. Only the strongest personalities have the courage to confront him, though his only weapon is his camera. His demanding charm comes out of his timorously restrained manner. Moreover, it works everywhere. The language of humane photography does not need a dictionary.
Angst is het voornaamste gevoel, hier
Oleg Klimov
artikel Fotograaf Oleg Klimov vaart over het Belomorkanaal, richting Sotsji aan de Zwarte Zee, en legt aan bij 'Werkkamp nummer 7, in een van Jozef Stalins 'verboden zones'. Goedendag, we komen voor Chodorkovski, zeg ik luchthartig.
Bij nederzetting Segezja worden we meteen verwelkomd door een verbodsbord. We zijn in de 'zone', zoals het gebied sinds de tijd van Jozef Stalin heet, in de taiga van Kareli�, nog geen twintig kilometer ten zuiden van sluis nummer 10 van het Belomorkanaal in het hoge noorden van Rusland. Achter het verbodsbord staan hoge omheiningen. En wachtposten met automatische wapens, prikkeldraad en blaffende honden. Voor Werkkamp nummer 7, in de volksmond het 'zeventje'.
Ik bel aan. Een zware deur gaat open. Na nog een paar van zulke deuren komen we bij de cipier/officier van dienst. Goedendag, we komen voor Chodorkovski, zeg ik luchthartig.
In het 'zeventje' zit olie-oligarch Michail Chodorkovski zijn tweede gevangenisstraf van in totaal veertien jaar uit. Voormalig bewaker A van het 'zeventje' heeft ons eerder verteld dat 'Chor' net zo leeft als alle andere gevangenen. Er is maar ��n verschil. Boven zijn bed, in zijn cel die regelmatig door de cipiers in een 'huiszoeking' overhoop wordt gehaald, hangt een videocamera die hem dag en nacht observeert.
Een van de bewakers neemt meteen mijn documenten in beslag en drukt mijn camera tegen zijn borst. We fotografeerden inderdaad, ondanks het verbodsbord. Fotograferen is altijd en overal verboden. Zelfs buiten het kamp. Want de 'zone' mag niet in beeld komen.
Maar het is toch niet verboden om met mensen te praten, dachten wij. Ten onrechte. Al in de nederzetting buiten het kamp was een majoor met een pet en een camera ons tegemoet gekomen. Jullie moeten de nederzetting onmiddellijk verlaten. Dit is een verboden zone, zei hij. Hij keek zo doordringend en haatdragend, dat ik me kon voorstellen hoe de tsjekisten (geheime agenten) van Jozef Stalin in de jaren dertig uit hun ogen keken.
We varen door het Belomorkanaal in het kader van onze reis van Solovki Eilanden in de Witte Zee, waar in 1923 het eerste sovjetconcentratiekamp werd ingericht, naar Sotsji aan de Zwarte Zee, waar in 2014 de Olympische Winterspelen worden gehouden.
Tachtig jaar geleden werd het Belomorkanaal, een heropvoedingsproject van het Volkscommissariaat Binnenlandse Zaken (de staatsveiligheidsdienst NKVD), door dwangarbeiders gegraven om een waterweg tussen de Witte Zee en de ijsvrije Baltische Zee te scheppen. Bij de feestelijke opening op 17 augustus 1933 kwamen 120 schrijvers opdraven. Onder wie Maksim Gorki, Aleksej Tolstoj, Boris Pilnjak, Ilja Ilf & Jevgeni Petrov en Michail Zosjtsjenko. Fotograaf Aleksandr Rodtsjenko, die voor de NKVD werkte, was hen voor gegaan. Een groot deel van deze schrijvers werkte daarna mee aan een gedenkboek voor het 17de congres van de communistische partij, het 'congres van de overwinnaars'. Van de naar schatting honderdduizend 'volksvijanden' die hier onder leiding van de 'tsjekisten' van de NKVD in recordtempo aan het Belomorkanaal hadden gewerkt, kwamen er officieel 12.000 om het leven, officieus 25.000.
Nu, na tachtig jaar, is het Belomorkanaal meer een herdenking dan een rationele en rendabele waterweg. Als gedenkplek is het vooral een herinnering aan staatsterreur en misdaden tegen de menselijkheid. Althans, als dat eerlijk wordt gezegd. Iets eerlijk zeggen was toen verboden. Tegenwoordig wordt iets eerlijk zeggen niet positief gevonden.
Langs het Belomorkanaal wonen nu in meerderheid mensen zonder historisch besef. Zij die het kanaal hebben gegraven, zijn gesneuveld of neergeschoten. Nadat de NKVD de leiding over de bouw hadden overgedragen, vestigden zich nieuwe mensen: 'gedekoelakiseerden' (vrije boeren, koelakken die gecollectiviseerd waren), tot ballingschap veroordeelden en voorwaardelijk vrijgelaten criminelen. Velen van hen sneuvelden ook, door de zware arbeid en de ruige natuur.
Maar er is wel een verschil. Van deze laatsten zijn wel graven en kruisen overgebleven, niet alleen 'executiekuilen' waarin de eerste dwangarbeiders liggen.
Net als tachtig jaar geleden liggen er langs het Belomorkanaal en de sluizen ook nu nog steeds werkkampen en gevangenissen. En net als toen is de bevolking verdeeld in twee standen: zij die zitten of werken in de gevangenissen en kampen en zij die de hen moeten bewaken.
Ook direct naast Sluis nummer 10, waar we eerder langs voeren, bevindt zich een gevangenis: eentje onder 'zwaar regime'. Als ik het motorschip 'Moeder Siberi�' zie - ik ben geboren in Siberi� - begin ik te fotograferen. Meteen hoor ik: H�, h�! Ik moet me ertoe zetten om me niet om te draaien naar de bewaker met zijn automatische wapen. Ik ga door met fotograferen. De bewaker van de MVD roept opnieuw: H�, h�! . Mijn camera doet weer 'klik'. Waarna de bewakers zijn automatische geweer ontgrendelt, een geluid dat ik altijd zal onthouden sinds ik in Tsjetsjeni� voor een vuurpeloton ben gevoerd. Ik stop met klikken en keer me om.
De loop is op mij gericht. Een kameraad van de bewaker, zonder automatisch wapen maar met een pistool, loopt snel naar me toe. Ik doe mijn armen omhoog en zeg: Ik ben journalist. Zo deed ik ook altijd als in oorlogsgebied een wapen op me werd gericht. De bewaker pakt mijn documenten en wil me arresteren. Terwijl ik niet weet wat er verder zal gebeuren, komt de sluiswachter op ons aflopen. Ik vraag hem: Zijn er spionnen gepakt? Spion of niet, toon hem nogmaals uw documenten, antwoordt de sluiswachter terwijl hij mij met zijn arm verwijst naar de gevangenis. Zou uw bewaker hebben geschoten als ik niet was opgehouden met fotograferen? Hij zou hebben geschoten. Dat is zijn werk.Prima. Mijn werk is fotograferen. Vooruit. Wij geven u de documenten terug en u stopt met fotograferen.
De mens moet bang zijn voor de staat. En hij is ook bang voor de staat. Angst is het voornaamste gevoel van het Belomorkanaal en alle totalitaire systemen. Die angst is kennelijk genetisch geworden.
Verderop langs het kanaal varen we langs een beeltenis van Stalin. Het is uit wit marmer in zwarte stenen opgetrokken aan de oever van een singel. Ze zeggen dat het profiel van 'de leider aller volkeren' uitzonderlijk goed te zien is, in vogelvlucht of uit een militaire helikopter.
Overbodig nog te zeggen dat we, met onze fotoreportage, niet bezig waren het systeem te bestrijden, maar streden tegen onze eigen angst.
Van Solovki naar Sotsji Rusland heeft een obsessie met vrije vaarwater. Tegelijkertijd zijn deze waterwegen altijd het afvalputje van de maatschappij geweest. Om het leven van de Russen daar in beeld te brengen, zijn de Russische fotograaf Oleg Klimov en enkele collega's begonnen aan een multimediale expeditie van de Witte Zee via de Volga naar de Zwarte Zee. Ze varen met een zeilboot van 7,6 bij 2,6 meter. Rond de Witte Zee begon negentig jaar geleden de terreur van de Sovjetleider Stalin. Aan de Zwarte Zee is de Russische president Poetin volgend jaar de gastheer van de Olympische Winterspelen. Afgelopen weken voeren ze door het Belomorkanaal. Deze waterweg, die tot 1961 Stalin-kanaal heette, werd begin jaren dertig door ruim 125.000 dwangarbeiders gegraven. Nog altijd zijn er langs het Belomorkanaal vele gevangenissen en werkkampen gevestigd. In ��n ervan zit de dissidente oligarch Chodorkovski.
Info: Het reisverslag is te volgen via http://journal.liberty.su of http://whitetoblack.liberty.su
Foto-onderschrift: Tussen de eerste en de tweede sluis in het Belomorkanaal. Bij de eerste sluis. Tichon, bij de zevende sluis. Zijn vader bouwde als gevangene mee aan het kanaal. Jongeren bij de eerste sluis. De kerk is gebouwd door kinderen van een omgekomen dwangarbeider. Een priester bij Sandarmoch, waar in 1937 1.111 gevangenen werden ge�xecuteerd. De plek bij Sandarmoch waar in 1937 1.111 gevangenen werden ge�xecuteerd. Tot 1996 was dit verboden gebied.
Foto-onderschrift: Tussen de eerste en de tweede sluis in het Belomorkanaal. Bij de eerste sluis. Tichon, bij de zevende sluis. Zijn vader bouwde als gevangene mee aan het kanaal. Jongeren bij de eerste sluis. De kerk is gebouwd door kinderen van een omgekomen dwangarbeider. Een priester bij Sandarmoch, waar in 1937 1.111 gevangenen werden ge�xecuteerd. De plek bij Sandarmoch waar in 1937 1.111 gevangenen werden ge�xecuteerd. Tot 1996 was dit verboden gebied.
Op dit artikel rust auteursrecht van NRC Handelsblad BV, respectievelijk van de oorspronkelijke auteur.
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