Submit your contribution
HERE
If you're interested in working with us or have written a text on a related subject, or had an interview with an artist you think might be a discovery for us, you can send it to us for a publication review.
Submit your inquieries
HERE
We're a team of eight artists, curators and critics with a broader network of art professionals on the post-soviet, post-communist and diasporic spaces. With our ability to grasp, to describe and to invert the sensable, we might be your best collaborator.

How to contact us

@transitorywhite
EN  DE

Mission

 

TransitoryWhite is an online platform for the connectivity of intersected discourses of local, regional, and global perspectives on art, design and activism. TransitoryWhite is about contemporary art from the blind spots (“white spots”) from Central Asia, Caucasus and Eastern Europe.
 
Despite the territories heterogeneous cultural, historical and religious diversity, the respective countries share a fundamental experience of a realised utopia, which lasted over more than 70 years. In the turbulent time of the 20th century, the political events taking place were differing from those in Europe, which also resulted in an original set of cultural and aesthetic questions. The uniqueness of these questions was underlined by the particular term “Post-Soviet” which was coined to describe the political, economic and artistic transition from the communist regime to the democratic states. While we don’t deny that the initial generalisation was making sense, we claim for the new discussions and discourses for the art from these regions which are not tied by the restrains of its brand. We would love to show video art, bio art, art on the edge of science, communal projects, feminist initiatives, new media performances and much more on our platform and give the possibility for discovering the transnational connections and influences of the artists from these countries. Apart from that, we aim to translate and to publish the new and old texts written by the local art historians, art theoreticians and curators, which are usually expelled from the contemporary art discourse.
 
Crucial to our investigation of those regions is furthermore, the representation of artists and theoreticians from any ethnic, religious, sexual and even political minorities as an opposition to the accumulating national discourse. We’re dedicated to exploring any transnational networks as well as limits of connection within and on the borders.
 
TransitoryWhite is the White Noise of the post-post-Soviet, a constant disturbance, a random signal, cacophony, turbulence, restlessness, which - contrary to the musical White Noise - is not constant, but is in fluctuation and transition.

Contributors

Alex Ulko

Antonina Stebur

People

Irina Konyukhova

Ira Konyukhova is an artist, writer, curator, feminist activist and the founder of TransitoryWhite. In her practice, she explores the connection between female sexuality, pop-resilience, death as well as colonial technological practices. As an artist, her works have been presented on various international festivals and exhibitions, including DocLisboa, Athens Biennale, Teneriffa Espacio del Arte, Exground Film Festival e.t. Her latest article on the early 2000s Russian lesbian stars T.a.T.u. And their influence on queer politics has been recently published by Pop-Zeitschrift by University Siegen. Ira was a grantee of BS Projects Artist-in-Residence scholarship Programm and lives and works in Berlin.

Lene Vollhardt

Lene Vollhardt-Wongrowska is an artist, filmmaker, triple Gemini, and speculative pragmatist based in Berlin and London. Through various media, her work undermines the classical juxtaposition between conceptuality and corporeality. Fascinated by the cultural signification of the female body as a processing site for transfer of value and valuation, she conceives shapeshifting, liquid counter-processes in alliance with people across various backgrounds – philosophers, human rights activists, intuits, sex workers, economists, and so on.
Vollhardt's interest in the implied aesthetic of political negotiation and its proprietary tactics of performative gaslighting is reflected in her works. She explores this in transposition with the embodiment of herself as an environment and remote viewing the weather. She has exhibited and screened at many institutions: LOOP Barcelona, Vitra Museum Basel with BlessBerlin, Athens Digital Arts Festival, European Days of Culture Karlsruhe, and Toronto Arthouse Film Festival. She has received the scholarship from the German National Foundation and the Art Foundation Baden-Wuerttemberg, and her works have received the Nikolaj Kunsthal Fokus Award (DK) and Hong Kong Arthouse Award (HK).

Pavel Metelitsyn

Pavel Metelitsyn is a software engineer and developer focusing on interactive data presentation, user interfaces and web technologies. He is driven by the idea of making the information more accessible through interactivity and gamification. Working together with creative agencies he implemented interactive multimedia stations for Neues Historisches Museum, Frankfurt/Main, made a kiosk app for a permanent exhibition at Deutsche Nationalbibliothek, Frankfurt/Main. Besides that, he works with a wide range of clients from FinTech Startups to national research institutions, helping them to collect, process and present the business information. Pavel holds an M.Sc. in Mathematics.

Willi Reinecke

Willi Reinecke is a film director, writer, and researcher on Lev Vygotsky's Psychology of Art at the Institute for East European Studies (Freie Universität Berlin). He is teaching at Szondi-Institute for Comparative Literature and Institute for East European Studies. He worked as assistant director of the documentary film "Familienleben" which premiered at Berlinale 2018. The film was nominated for German Documentary Film Award and was awarded prizes at Saratov Sufferings Festival (RU) and Neisse Filmfestival (GER). He's currently working on documentary films for Institute of Contemporary Art Yerevan and Deutsche Gesellschaft e.V.

Sascia Reibel

Sascia Reibel is a graphic and product designer. Her focus lays on printed matter, especially books and posters, with a strong dedication for typography. She engages in projects within the field of culture, art, and education. She studies communication design at the University of Art and Design Karlsruhe and has also studied in the design master program of the Central Academy of Fine Arts in Beijing, China. Her work has been honoured with several awards, including «Most Beautiful Swiss Books», «Most Beautiful Books from all over the world», «Bronze Nail, ADC», as well as the «Badge of Typographic Excellence, TDC New York.

Thibaut de Ruyter

Thibaut de Ruyter is a French curator and critic who lives and works in Berlin since 2001. In the last ten years, he has organized exhibitions at Kunstmuseum Bochum, Museum Kunstpalais Düsseldorf, Museum of Applied Arts in Frankfurt, HMKV in Dortmund, EIGEN + ART Lab and CTM in Berlin, Muzeum Sztuki in Łódź and CRP / in Douchy-les -Mines. One of his latest projects is a travelling exhibition co-curated with Inke Arns for the Goethe-Institut: The Frontier that calls into question the dividing line between Asia and Europe in the former Soviet states. Since 2017 this exhibition has been exhibited in St Petersburg, Moscow, Tashkent, Almaty, Krasnoyarsk (u.A.) and will open in Erevan in May 2019. His areas of interest range from new media to spiritualism to "exhibitions that are not exhibitions". Most of his projects are related to everyday, pop or underground culture. He has been the German correspondent for the French magazine artpress since 2003.

Lioudmila Voropai

Lioudmila Voropai is a curator, art critic and media artist. She studied philosophy at the Russian State University for the Humanities (RGGU) in Moscow and New Media Art at the Academy of Media Arts (KHM) in Cologne. Her curatorial and artistic projects are mainly focused on issues related to institutional critique and fake as an artistic strategy. As an art critic, she contributes to XZ Moscow Art Magazine, Art Issue, Logos and other periodicals. She is also a translator and editor of the Russian translations of Jürgen Habermas (Legitimation Crisis), Slavoj Zizek (Parallax View), Giorgio Agamben (State of Exception), Michael Walzer (The Company of Critics) among others. Lioudmila Voropai is an adjunct professor for Media Theory and Philosophy at Karlsruhe University of Arts and Design.

Ina Hildebrandt

Ina Hildebrandt is an art historian and cultural journalist. Born in Kazakhstan, she grew up as a so-called Russian-German in the south of Germany. After spending years of total assimilation she developed a strong interest in her cultural roots. Several long travels and stays took her to Easter-Europe over Russia to Central-Asia. Thereby she started to focus more on those regions also as art historian and journalist. She lives and works in Berlin. 

Disclaimer

This disclaimer ("Disclaimer", "Agreement") is an agreement between Website Operator ("Website Operator", "us", "we" or "our") and you ("User", "you" or "your"). This Disclaimer sets forth the general guidelines, terms and conditions of your use of the transitorywhite.com website and any of its products or services (collectively, "Website" or "Services").

Representation

Any views or opinions represented in this Website belong solely to the Content creators and do not represent those of people, institutions or organizations that the Website Operator or creators may or may not be associated with in professional or personal capacity, unless explicitly stated. Any views or opinions are not intended to malign any religion, ethnic group, club, organization, company, or individual.

Content and postings

You may print a copy of any part of this Website for your personal or non-commercial use.

Indemnification and warranties

While we have made every attempt to ensure that the information contained on the Website is correct, Website Operator is not responsible for any errors or omissions, or for the results obtained from the use of this information. All information on the Website is provided "as is", with no guarantee of completeness, accuracy, timeliness or of the results obtained from the use of this information, and without warranty of any kind, express or implied. In no event will Website Operator, or its partners, employees or agents, be liable to you or anyone else for any decision made or action taken in reliance on the information on the Website or for any consequential, special or similar damages, even if advised of the possibility of such damages. Furthermore, information contained on the Website and any pages linked to from it are subject to change at any time and without warning.

We reserve the right to modify this Disclaimer at any time, effective upon posting of an updated version of this Disclaimer on the Website. When we do we will revise the updated date at the bottom of this page. Continued use of the Website after any such changes shall constitute your consent to such changes. Policy was created with WebsitePolicies.com

Acceptance of this disclaimer

You acknowledge that you have read this Disclaimer and agree to all its terms and conditions. By accessing the Website you agree to be bound by this Disclaimer. If you do not agree to abide by the terms of this Disclaimer, you are not authorized to use or access the Website.

Contacting us

If you have any questions about this Disclaimer, please contact us.

This document was last updated on March 10, 2019


Privacy policy

This privacy policy ("Policy") describes how Website Operator ("Website Operator", "we", "us" or "our") collects, protects and uses the personally identifiable information ("Personal Information") you ("User", "you" or "your") may provide on the transitorywhite.com website and any of its products or services (collectively, "Website" or "Services"). It also describes the choices available to you regarding our use of your Personal Information and how you can access and update this information. This Policy does not apply to the practices of companies that we do not own or control, or to individuals that we do not employ or manage.

Collection of personal information

We receive and store any information you knowingly provide to us when you fill any online forms on the Website. You can choose not to provide us with certain information, but then you may not be able to take advantage of some of the Website's features. Users who are uncertain about what information is mandatory are welcome to contact us.

Collection of non-personal information

When you visit the Website our servers automatically record information that your browser sends. This data may include information such as your device's IP address, browser type and version, operating system type and version, language preferences or the webpage you were visiting before you came to our Website, pages of our Website that you visit, the time spent on those pages, information you search for on our Website, access times and dates, and other statistics.

Use and processing of collected information

Any of the information we collect from you may be used to personalize your experience; send notification emails such as password reminders, updates, etc; run and operate our Website and Services. Non-Personal Information collected is used only to identify potential cases of abuse and establish statistical information regarding Website usage. This statistical information is not otherwise aggregated in such a way that would identify any particular user of the system.

We may process Personal Information related to you if one of the following applies: (i) You have given their consent for one or more specific purposes. Note that under some legislations we may be allowed to process information until you object to such processing (by opting out), without having to rely on consent or any other of the following legal bases below. This, however, does not apply, whenever the processing of Personal Information is subject to European data protection law; (ii) Provision of information is necessary for the performance of an agreement with you and/or for any pre-contractual obligations thereof; (ii) Processing is necessary for compliance with a legal obligation to which you are subject; (iv) Processing is related to a task that is carried out in the public interest or in the exercise of official authority vested in us; (v) Processing is necessary for the purposes of the legitimate interests pursued by us or by a third party. In any case, we will be happy to clarify the specific legal basis that applies to the processing, and in particular whether the provision of Personal Data is a statutory or contractual requirement, or a requirement necessary to enter into a contract.

Information transfer and storage

Depending on your location, data transfers may involve transferring and storing your information in a country other than your own. You are entitled to learn about the legal basis of information transfers to a country outside the European Union or to any international organization governed by public international law or set up by two or more countries, such as the UN, and about the security measures taken by us to safeguard your information. If any such transfer takes place, you can find out more by checking the relevant sections of this document or inquire with us using the information provided in the contact section.

The rights of users

You may exercise certain rights regarding your information processed by us. In particular, you have the right to do the following: (i) you have the right to withdraw consent where you have previously given your consent to the processing of your information; (ii) you have the right to object to the processing of your information if the processing is carried out on a legal basis other than consent; (iii) you have the right to learn if information is being processed by us, obtain disclosure regarding certain aspects of the processing and obtain a copy of the information undergoing processing; (iv) you have the right to verify the accuracy of your information and ask for it to be updated or corrected; (v) you have the right, under certain circumstances, to restrict the processing of your information, in which case, we will not process your information for any purpose other than storing it; (vi) you have the right, under certain circumstances, to obtain the erasure of your Personal Information from us; (vii) you have the right to receive your information in a structured, commonly used and machine readable format and, if technically feasible, to have it transmitted to another controller without any hindrance. This provision is applicable provided that your information is processed by automated means and that the processing is based on your consent, on a contract which you are part of or on pre-contractual obligations thereof.

The right to object to processing

Where Personal Information is processed for the public interest, in the exercise of an official authority vested in us or for the purposes of the legitimate interests pursued by us, you may object to such processing by providing a ground related to your particular situation to justify the objection. You must know that, however, should your Personal Information be processed for direct marketing purposes, you can object to that processing at any time without providing any justification. To learn, whether we are processing Personal Information for direct marketing purposes, you may refer to the relevant sections of this document.

How to exercise these rights

Any requests to exercise User rights can be directed to the Owner through the contact details provided in this document. These requests can be exercised free of charge and will be addressed by the Owner as early as possible and always within one month.

Privacy of children

We do not knowingly collect any Personal Information from children under the age of 13. If you are under the age of 13, please do not submit any Personal Information through our Website or Service. We encourage parents and legal guardians to monitor their children's Internet usage and to help enforce this Policy by instructing their children never to provide Personal Information through our Website or Service without their permission. If you have reason to believe that a child under the age of 13 has provided Personal Information to us through our Website or Service, please contact us. You must also be at least 16 years of age to consent to the processing of your personal data in your country (in some countries we may allow your parent or guardian to do so on your behalf).

Newsletters

We offer electronic newsletters to which you may voluntarily subscribe at any time. You may choose to stop receiving our newsletter or marketing emails by following the unsubscribe instructions included in these emails or by contacting us.

Cookies

The Website uses "cookies" to help personalize your online experience. A cookie is a text file that is placed on your hard disk by a web page server. Cookies cannot be used to run programs or deliver viruses to your computer. Cookies are uniquely assigned to you, and can only be read by a web server in the domain that issued the cookie to you. We may use cookies to collect, store, and track information for statistical purposes to operate our Website and Services. You have the ability to accept or decline cookies. Most web browsers automatically accept cookies, but you can usually modify your browser setting to decline cookies if you prefer. If you choose to decline cookies, you may not be able to fully experience the features of the Website and Services. To learn more about cookies and how to manage them, visit internetcookies.org

Do Not Track signals

Some browsers incorporate a Do Not Track feature that signals to websites you visit that you do not want to have your online activity tracked. Tracking is not the same as using or collecting information in connection with a website. For these purposes, tracking refers to collecting personally identifiable information from consumers who use or visit a website or online service as they move across different websites over time. How browsers communicate the Do Not Track signal is not yet uniform. As a result, this Website is not yet set up to interpret or respond to Do Not Track signals communicated by your browser. Even so, as described in more detail throughout this Policy, we limit our use and collection of your personal information.

Links to other websites

Our Website contains links to other websites that are not owned or controlled by us. Please be aware that we are not responsible for the privacy practices of such other websites or third-parties. We encourage you to be aware when you leave our Website and to read the privacy statements of each and every website that may collect Personal Information.

Information security

We secure information you provide on computer servers in a controlled, secure environment, protected from unauthorized access, use, or disclosure. We maintain reasonable administrative, technical, and physical safeguards in an effort to protect against unauthorized access, use, modification, and disclosure of Personal Information in its control and custody. However, no data transmission over the Internet or wireless network can be guaranteed. Therefore, while we strive to protect your Personal Information, you acknowledge that (i) there are security and privacy limitations of the Internet which are beyond our control; (ii) the security, integrity, and privacy of any and all information and data exchanged between you and our Website cannot be guaranteed; and (iii) any such information and data may be viewed or tampered with in transit by a third-party, despite best efforts.

Data breach

In the event we become aware that the security of the Website has been compromised or users Personal Information has been disclosed to unrelated third parties as a result of external activity, including, but not limited to, security attacks or fraud, we reserve the right to take reasonably appropriate measures, including, but not limited to, investigation and reporting, as well as notification to and cooperation with law enforcement authorities. In the event of a data breach, we will make reasonable efforts to notify affected individuals if we believe that there is a reasonable risk of harm to the user as a result of the breach or if notice is otherwise required by law. When we do, we will post a notice on the Website.

Legal disclosure

We will disclose any information we collect, use or receive if required or permitted by law, such as to comply with a subpoena, or similar legal process, and when we believe in good faith that disclosure is necessary to protect our rights, protect your safety or the safety of others, investigate fraud, or respond to a government request. In the event we go through a business transition, such as a merger or acquisition by another company, or sale of all or a portion of its assets, your user account, and personal data will likely be among the assets transferred.

Changes and amendments

We reserve the right to modify this Policy relating to the Website or Services at any time, effective upon posting of an updated version of this Policy on the Website. When we do we will post a notification on the main page of our Website. Continued use of the Website after any such changes shall constitute your consent to such changes. Policy was created with WebsitePolicies.com

Acceptance of this policy

You acknowledge that you have read this Policy and agree to all its terms and conditions. By using the Website or its Services you agree to be bound by this Policy. If you do not agree to abide by the terms of this Policy, you are not authorized to use or access the Website and its Services.

Contacting us

If you have any questions about this Policy, please contact us.

This document was last updated on March 10, 2019

6th September 2019

It is more important to make films queerly than to make queer films

interview

12th July 2019

When there are no opputurnities, create your own Giardini

article

Asli Samadova

1st July 2019

Juggling Dinosaurs

article

The precariousness of motherhood in arts
Anna Kamay

24th June 2019

Interview with Elene Abashidze

interview

14th June 2019

Unfortunately, we cannot pay for your flight and accommodation

article

Thibaut de Ruyter

28th May 2019

Ich liebe dich!

article

Antonina Stebur

17th May 2019

Interview with Anna Vahrami

interview

23rd April 2019

Artist Portrait: Anastasia Akhvlediani

portrait

13th April 2019

Artist Portrait: Alisa Berger

article

Thibaut de Ruyter

21st March 2019

Faig Ahmed

interview

Interview geführt von Ira Konyukhova und Pavel Metelitsyn

18th March 2019

There Is Sex After Soviet Union!

article

Irina Konyukhova

11th March 2019

Interview mit Samvel Saghatelian

interview

Geführt von Ira Konyukhova

8th March 2019

Artist Portrait: Salome Dumbadze

portrait

4th March 2019

Interview mit Chinara Majidova

interview

Geführt von Ira Konyukhova

26th February 2019

East Wind - Art in the Former Soviet Republics

article

Thibaut de Ruyter
Die Körper der Astronauten
Experimental fictional feature film, 73min, 2017
Die Körper der Astronauten
Experimental fictional feature film, 73min, 2017
Die Körper der Astronauten
Experimental fictional feature film, 73min, 2017
GHOSTS OF BODY
digital photography, work-in-progress, 2018
Solo for One: Identity Climax
video and performance, steaming water, ten performers, fireworks dimensions variable, 2017
Solo for One: Identity Climax
video and performance, steaming water, ten performers, fireworks dimensions variable, 2017
Three Borders
Video 55min, Digital, Color & BW, 4:3, 2017
Three Borders
Video 55min, Digital, Color & BW, 4:3, 2017
✕
More: transnational transasian performance art photography young artist universe cosmos armenia russia ukraine germany video art artistic film

Artist Portrait: Alisa Berger

Thibaut de Ruyter

13th April 2019

German artist Alisa Berger, graduate (2016) of Cologne’s prestigious Kunsthochshule für Medien (KHM), was
born in 1987 in Makhachkala, Dagestan, Russia and grew up first in Lviv, Ukraine and then in Essen, Germany. Her work blends cinema, video, installation and performance, playing with historical references and personal anecdotes to tell absurd, incredible, poetic stories.
Alisa Berger’s graduation film is a 73-minute feature, produced using the school’s technical resources. A work in Cinemascope and DOLBY 5.1, titled Die Körper der Austronauten (The Astronauts’ Bodies), two sisters take invented rocket trips wearing a motorcycle helmet while their brother lends his body to scientific experiments on weightlessness.
Note that from the vocabulary related to the conquest of space, Alisa Berger chose the term astronaut (used by the Americans) and not cosmonaut (used by the Russians) or spacenaut (Europeans). Perhaps her choice demonstrates that though born in the Soviet Union, her life is made up of the Internet, English and travel. But mostly, not of nostalgia. In her film she weaves the link between one of the 20th century’s greatest myths (the conquest of space, its heroes and their tragic destinies) and the common people on the Earth. It is not helpful to recall how, in the middle of the Cold War, Yuri Gagarin and Neil Armstrong opposed each other without ever meeting. But these figures, these icons, also add souls and bodies: this is what Alisa Berger reminds us of in her film, closer to the existential wanderings of Andrei Tarkovski’s Solaris (1971) than to the grandiloquence of Philip Kaufman’s Hero Fabric (1983).

 

HUMOUR AND DISTANCE

 

Post-colonialism is one of the discourses, the themes, that even the most diverse biennials like to deliver to us. Alisa Berger’s biography could fit neatly into this catalogue, and she uses it in her own works, avoiding any form of morbid exploitation. Indeed, it would be easy for an artist born in the USSR to a Jewish Ukrainian father and a Korean mother to recall the violence with which Russia in the 19th century and the Soviet Union in the 20th conquered territories and eradicated languages. But when she approaches this subject, the artist shows her humour and her distance. In 2016, for an exhibition questioning the existence and nature of the border between Asia and Europe, Alisa Berger produced Three Borders, a 55-minute slide show from her family’s archives. The artist’s voice accompanies the images, with an autobiographical text that also adds various historical contexts. How Stalin deported people of Asian origin, how Ukrainians ended up in the Caucasus, how customs officers cannot comprehend the link between a passport and a face. Until her emigration to Germany in the early 1990s, which while an opportunity for the artist, proved problematic for her father who was unable to learn and integrate the German language.A history of languages: Russian, Ukrainian, German and Korean, which finally converge in one person.

Die Körper der Astronauten
Experimental fictional feature film, 73min, 2017

Die Körper der Astronauten
Experimental fictional feature film, 73min, 2017

 


THE BODY’S WEIGHT

 

The aesthetic of Three Borders sits between that of Godard of the Histoire(s) du Cinéma (the video effects at least) and Chris Marker of La Jetée (the slide show as a form of literary essay). A game with fairy stories (the grandmother’s exile, the father’s lie when marrying) and crucial moments in history (genocides, the fall of the Eastern Bloc). While the story’s end is quickly understandable—one day, all these characters will meet to give birth to Alisa Berger—this is not a pretentious or self-analysing exercise. She loves her family, her artist father and her graphic designer mother, and above all, she pays tribute to people caught up in the torments of history.

Alisa Berger’s biography may seem extraordinary, but in the historic framework of the former Soviet Union, it is one of many. Following on from her story, the artist now searches for strange origins. During a residency in Erevan, Armenia, she set up pyrotechnic effects to ‘set fire’ to a ruined building (Domesticated Spectacle, 2017) and soon after, she left for Japan to film, and learn, the famous Butoh dance (Ghosts of Body, 2018). Obviously, we think of Hito Steyerl who before becoming the post-Internet generation’s muse, realized the brilliant Lovely Andrea, a documentary of her visit to Japan searching for the bondage photographs that she had posed for several years earlier. But while Hito Steyerl has a direct family link with Japan, Alisa Berger is only ‘part’ Asian. She humorously evokes this part of herself in Three Borders, as she recalls the moment in her adolescence when one of her two eyes took a more slanted shape than the other. What she looks for in Butoh, though, just as in her first film, are mutilated, masked and transformed bodies. In this dance, born in Japan after Nagasaki and Hiroshima, ghostly slowness and the body’s weight have a vital dimension. That same weight that astronauts, cosmonauts and spacenauts try to forget as they are flying into space, that weight that our history has written on our faces, the weight of family that makes us what we are. 

Die Körper der Astronauten
Experimental fictional feature film, 73min, 2017

GHOSTS OF BODY
digital photography, work-in-progress, 2018

Solo for One: Identity Climax
video and performance, steaming water, ten performers, fireworks dimensions variable, 2017

Solo for One: Identity Climax
video and performance, steaming water, ten performers, fireworks dimensions variable, 2017

 

Thibaut de Ruyter is an architect and independent curator. He lives in Berlin.

 

Translation: Bronwyn Mahoney

 

The text was commissioned and first published at ArtPress Nr. 460

 

 

Subscribe to our newsletter