Yesterday at home in Yoshkar-Ola after a long illness on 67-m to year of life died a famous photographer Sergey Chilikov. His work drew attention in the early 2000s thanks to the exhibitions of the Moscow Biennale and numerous international shows. Taking compatriots in direct staging, he showed in them the essential, not subject to external circumstances.In 2001 Sergey Chilikov immediately fall in love with the homeless the public at the exhibitions of the festival “Fashion and style in photography” held by Olga Sviblova. Primarily snapshots. The heroine of his series “Fotoprojektai” and “Russian province”, exhibited in Gum— young and not so young women from the provinces — the most shameless way they pulled the attention of numerous projects for Western and Russian fashion photographers. In its own way anigrand glamorous and relaxed — with a pitchfork in the hayloft in a swimsuit in the garden, at home in my Bathrobe, revealing lens, the chest. And the “cinematic” frame — woman in a bright yellow dress, shot from behind, running down a country road in the evening dal, cloud-Laden sky. Russian suspense, he — Russian life.Colorful was the author of the Sergei Chilikov just communicate a little man with a beard, which never suspects a teacher of philosophy, PhD, author of the comprehensive volume about the ontology of subjectivity. But in professional circles he was well known. Graduated from the Mari pedagogical Institute and then graduate school in Moscow, Chilikov since 1976 he taught at the universities of Yoshkar-Ola. Having worked as a poet, a musician, he at the same time in parallel into photography, gathered like-minded people who organized the photo club “Fact”, and they developed an incredibly rapid activity, first in Yoshkar-Ola, then in Cheboksary. Since 1980 Chilikov organizes and conducts in Yoshkar-Ola Biennale “Analytical exhibitions of photography”, and the annual “photo plein airs” at his dacha, which gathers authors from all over the country that do not fit in the officialdom.Now it seems that no sedition that filmed the participants of the “Facts”, but then self-treatment of photographers to private life reveals a completely different scale of existence — if gut-wrenching inside out the entire Soviet bravado. And yet — philosophical and humanitarian knowledge photographers, the knowledge of modern European photography. The members of the Association did not seek to document reality: their characters were playing to the camera certain pre-designed mise-EN-scene in this game suddenly revealed itself true. “Chilikov was brilliant, a very gifted Director, says of him, an art historian and curator Eugene Berezner, first reported the sad news.— He had a sense of the photographic PL��sticks, his images — a kind of pantomime, MIME, theatre, human instincts, passions, immersed in a society”.In a glorified Chilikova series 2000-ies made in the villages, on the beaches, in squalid apartments and houses, full of erotic and absurdist scenes, recognized the signs of the times. But still, these pictures ciscowsa success in the West, on the other. Answering the question that he wanted them to convey Chilikov said, “My infinite admiration for life boundless immediacy”. In this sense, the photographer never did not change, although since then, to be direct it was getting harder and harder, and on both sides of the camera lens.Igor Grabelnikov