Nadav Kander

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Priozersk XIV (I was told she once held an oar), Kazakhstan 2011

Edition:
23/ 30+6AP
Sold out from gallery or publisher
Signed and numbered on a separate label in label's folder.
C-Print
Condition:
Near Fine -
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Image size:
400 x 513 mm
Print size:
504 x 614 mm
Framed size:
unframed
Dimensions:
x
"
Provenance:
Cantz
Year of work:
2011
Printed in
2014
$
1020
Inquire
Currently on hold
$
1020
(incl. shipping)
Currently on hold
Note: prints larger or higher than 17" are custom-shipped.
Please inquire about shipping methods & costs.

This image is part of Nadav Kander's series Dust, which documents abandoned Soviet-era secret military sites in Kazakhstan, including Priozersk, a closed town on Lake Balkhash that served as a testing ground for Soviet missile defense systems during the Cold War. Kander photographed the crumbling monuments, statues, and infrastructure left behind after the sites were decommissioned; the parenthetical title, referencing a statue that "once held an oar," points to how these figures have been stripped of their original attributes by decay or removal. The work sits in a lineage with Kander's better-known Yangtze, The Long River project, large-format, elegiac images of landscapes marked by state power and its aftermath.

Nadav Kander

Icon for no cover picture available yetPriozersk XIV (I was told she once held an oar), Kazakhstan 2011
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Nadav Kander
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Priozersk XIV (I was told she once held an oar), Kazakhstan 2011

Edition:
23/ 30+6AP
Sold out by gallery or publisher
Signed and numbered on a separate label in label's folder.
Signed
Image size:
400 x 513 mm
Print size:
504 x 614 mm
Frame size:
unframed
Provenance:
Cantz
Year of work:
2011
C-Print
Printed in:
2014
$
1020
Inquire
Currently on hold
Note: prints larger than 18" are custom-shipped. Inquire about shipping methods & costs.
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This image is part of Nadav Kander's series Dust, which documents abandoned Soviet-era secret military sites in Kazakhstan, including Priozersk, a closed town on Lake Balkhash that served as a testing ground for Soviet missile defense systems during the Cold War. Kander photographed the crumbling monuments, statues, and infrastructure left behind after the sites were decommissioned; the parenthetical title, referencing a statue that "once held an oar," points to how these figures have been stripped of their original attributes by decay or removal. The work sits in a lineage with Kander's better-known Yangtze, The Long River project, large-format, elegiac images of landscapes marked by state power and its aftermath.

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