Metrobeambten met klok en telefoon in station Ochodnji Rjad 1930 - 1935

Editor: So, this gelatin silver print, titled "Metrobeambten met klok en telefoon in station Ochodnji Rjad," was created sometime between 1930 and 1935 by Mospo Sostawitol. It depicts two uniformed officials, one with a phone and the other with a stopwatch. It feels staged, almost propagandistic. How do you interpret this work? Curator: It’s a fascinating image in the context of Soviet-era art. This wasn't simply a documentary photograph, it’s more of a visual statement intended for public consumption. Look at the attention to detail: the crisp uniforms, the prominent placement of the telephone and the clock. What does that communicate to you? Editor: It emphasizes efficiency and control, I guess. The Soviets were all about modernization. Curator: Precisely. Think about the historical backdrop: The rapid industrialization and collectivization occurring during that period. Images like this helped solidify the image of the efficient state and the control of every process from train arrival times to the fulfilment of quotas. Did the placement of the images have implications? Editor: Maybe, these images would be displayed publicly? Serving almost as advertisement, encouraging compliance and hard work? Curator: Exactly. By presenting a specific, idealized version of reality, it played a role in shaping public perception and reinforcing Soviet ideals. Note too the figures appear to be white...Who did the narrative reach? And who did the imagery omit? Editor: Wow, seeing it like that, it’s much more than just a picture of metro workers. It's like a window into the values and strategies of the time. Curator: Indeed, and by recognizing these underlying functions we understand how powerful even a seemingly straightforward photograph can be within a specific social and political landscape.