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A large, tree-shaped diving platform stands in the centre of an indoor pool. Several people stand on the platforms and around the pool's edge against a backdrop of tall, colourful curtains.

Anastasia Tsayder captures enormity of 1980's Moscow Olympics decades later

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Date
15 May 2015

The buzz post-Olympics usually centres on the athletes, their achievements and the tirade of endorsement campaigns that inevitably follow. But what about the structures that house these magnificent quadrennial events? Often the stadiums and swimming pools have been purpose-built, but post-event many remain unused, abandoned or unimaginatively repurposed.

In a similar vein to Jamie McGregor’s series of the abandoned sites for the 2004 Athens Olympics, Russian photographer Anastasia Tsayder’s Summer Olympics captures the heritage of the 1980 Moscow Olympics and the way the buildings fit into the landscape 30 years later.

As the first Eastern Bloc capital to hold the Olympics, there was much controversy surrounding these games with 65 countries boycotting the event completely due to a Soviet invasion of Afghanistan in December 1979. To the USSR it was their chance to prove the superiority of a Socialist regime and so the 90 purpose-built Olympic buildings they developed were said to be beacons of optimism for a brighter future and display the power of the Soviet State.

The buildings remain a stoic reminder of Russia’s communist past, unwilling to blend into Moscow’s cityscape. The scale Anastasia has managed to capture in her images is wonderful. Tiny children practise diving in colossal swimming pools and learn dance in halls that are still enormous despite being curtained off in swathes of coloured fabric.

Vast and grey, the empty buildings have a fallen majesty about them and it’s clear when looking through the series, crowds are what make these spaces come alive. The 1980 Moscow Olympics games has long shed its concrete skin, but Anastasia’s beautiful images remind us of how the Soviet Union once was.

A group of children in black and white dancewear stretch on a pale floor in a large studio. They are positioned in a loose grid, performing a seated leg stretch in front of a tall blue curtain.
Above

Anastasia Tsayder: Summer Olympics

A wide shot of a brutalist interior featuring a high, textured ceiling of yellow triangular panels. A white balcony with wooden railings overlooks a ground floor containing a Coca-Cola vending machine and a wide staircase.
Above

Anastasia Tsayder: Summer Olympics

A wide, empty hall with beige carpeting and wood-panelled walls. A dramatic, angled wooden ceiling slopes down towards a wall of floor-to-ceiling windows.
Above

Anastasia Tsayder: Summer Olympics

A wide shot of an indoor tennis arena with a blue court and red perimeter. Large banners hang from the high, curved ceiling, including a blue flag with a white logo and the Russian tricolour.
Above

Anastasia Tsayder: Summer Olympics

Empty stadium seating in red and blue, partially covered in snow. A white metal grandstand structure looms overhead against a pale, overcast sky.
Above

Anastasia Tsayder: Summer Olympics

Children practice gymnastics in a bright, blue-floored gym. A large, colourful mural of stylised figures dominates the far wall.
Above

Anastasia Tsayder: Summer Olympics

A large, brutalist concrete stadium with a heavy, overhanging grey roof. A wide white pedestrian bridge runs across the foreground, overlooking a road and a line of small evergreen trees.
Above

Anastasia Tsayder: Summer Olympics

A large indoor swimming pool with a central, tree-like diving tower. The tower is surrounded by tall, vertical curtains in red, blue, green and yellow.
Above

Anastasia Tsayder: Summer Olympics

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About the Author

Rebecca Fulleylove

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Rebecca Fulleylove is a freelance writer and editor specialising in art, design and culture. She is also senior writer at Creative Review, having previously worked at Elephant, Google Arts & Culture, and It’s Nice That.

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